Browsing: In Search of Lost Identities

March – April, 2013

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… “How did Proust read?” it begins. “As a child, like all of us: for the plot and characters. But even at a very young age, reading was for him a very serious business, and he was outraged by the fact that it could be considered by grownups as something one did to amuse oneself.” …

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Madonna, still the patron saint of scandal, has lost none of her power to piss people off.

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Taylor was rarely given her due as an actor during her career, but she always saw herself as a serious actress: “The emotion has got to be there behind your eyes, behind your heart. You can never act superficially and get away with it.” Certainly her Oscar-winning performance in Who’s Afraid of Virginia Woolf? (1967) lay to rest any lingering doubts about her talent. In the same year, she made the underrated film Reflections in a Golden Eye, based on a Carson McCullers novel, which included a smoldering homosexual subplot. This is one of her most interesting and experimental interpretations, and critics called her performance superb.

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… Golden Age is a provocative meditation on the overlapping nature of sexual love and artistic creation. Both the artist and the lover strain to grasp what is ineffable, creating in one’s mind a beauty that can never be fully realized, much less tangibly enjoyed. …

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A review of 9 poetry books; Slow Lightning, Divining Divas: 100 Gay Men on their Muses, When We Become Weavers, Among the Leaves:  Queer Male Poets on the Midwestern Experience, Lady Business: A Celebration of Lesbian Poetry, Skin Shift, Butcher’s Sugar, and Later Poems Selected and New: 1971-2012.

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The following article arrived as an unsolicited manuscript from the Attica Correctional Facility in upstate New York, where the author is incarcerated. Because I was unable to interact with him in preparing the piece for publication, I decided to run it almost verbatim, making only a few minor corrections. However, the piece was quite long and included a few digressions that I thought detracted from the narrative, so I have taken the liberty of cutting these passages (totaling some 1200 words). These three cuts are marked by an ellipsis in brackets.

– The Editor

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