Watching Won’t Wash You Clean
In Regarding the Pain of Others, Susan Sontag writes about the distance of the spectator. Today, that distance becomes a Russian question: can one look at Ukrainian pain and still remain a bystander?
Late Youth as a Political Condition: On Didier Eribon, Unfinished Adulthood, and the Life One Never Quite Manages to Enter Fully
In Return to Reims, Eribon writes about an adulthood that does not arrive with success. One can acquire language, status, and a name, and still continue assembling oneself out of shame, rupture, and other people’s expectations.
Disappear, My Russia
Russia is once again learning to see itself through someone else’s eyes — through the eyes of Merezhkovsky’s Vasyuta: “some milk, maybe… but I don’t feel like it”. And that “I don’t feel like it” is enough to describe today’s reaction and the war.
The Privilege of Reversibility
I now see My Own Private Idaho not as a film about beautiful rootlessness, but as a film about the difference between those who have an “afterwards” and those who don’t.
The Somatics of Queer Flaw: How Thought Inevitably Gets Bogged Down in The Body, The Frame, and Biography
Why No Skin Off My Ass matters not only as a film, but as a trace of a queer culture that had not yet become polite, institutional, and safe.
A Manual for Disappearing
The Masturbator’s Heart speaks of death calmly, almost matter-of-factly, as something simply pencilled into the schedule.
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