The mad are said to keep a film or stage set in their heads, which they order and art-decorate and move through. But Tod is sane, apparently, and his world is shared. It just seems to me that the film is running backwards.Martin Amis - ‘Time’s Arrow’
It’s also important to note that punishing women for complying with cultural demands for performative femininity is a key component of women’s oppression. Our culture insists that women conform to a certain conventional beauty standards, and concern themselves with “girl things” like fashion and hair and makeup, in order to be acceptable as women. Yet when women like Kim do this, they are derided – called stupid, shallow, and vapid. As feminists, we must never stand by while women are called derogatory names for engaging in socially coded feminine activities. Even if we don’t like those women.
When we are shown scenes of starving children in Africa, with a call for us to do something to help them, the underlying ideological message is something like: “Don’t think, don’t politicize, forget about the true causes of their poverty, just act, contribute money, so that you will not have to think!”― Slavoj Žižek (via psych-quotes)
The effect of the cultural bomb is to annihilate a people’s belief in their names, in their languages, in their environment, in their heritage of struggle, in their unity, in their capacities and ultimately in themselves. It makes them see their past as one wasteland of non-achievement and it makes them want to distance themselves from that wasteland. It makes them want to identify with that which is furthest removed from themselves; for instance, with other peoples’ languages rather than their own. It makes them identify with that which is decadent and reactionary, all those forces that would stop their own springs of life. It even plants serious doubts about the moral righteousness of struggle. Possibilities of triumph or victory are seen as remote, ridiculous dreams. The intended results are despair, despondency and a collective death-wish.Ngugi wa Thiong’o, Decolonising the Mind (via daughterofzami)
"Now to give up the temptations of the projector; to see instead the web of cracks filtering across the plaster.
To read there the map of the future, the roads radiating from the initial split, the filaments thrown out form that impasse.
To reread the instructions on your palm; to find there how the lifeline, broken, keeps its direction.
To read the etched rays of the bullet-hole let years ago in the glass; to know in every distortion of the light what fracture is.
To put the prism in your pocket, the thin glass lens, the map of the inner city, the little book with gridded pages.
To pull yourself up by your own roots; to eat the last meal in your old neighbourhood.”
Adrienne Rich, from pt. 14 of ‘Shooting Scripts’
5. I am composing on the typewriter late at night, thinking of today. How well we spoke. A language is a map of our failures. Frederick Douglass wrote an English purer than Milton’s. People suffer highly in poverty. There are methods but we do not use them. Joan, who could not read, spoke some peasant form of French. Some of the suffering are: it is hard to tell the truth; this is America; I cannot touch you now. In America we have only the present tense. I am in danger. You are in danger. The burning of a book arouses no sensation in me. I know it hurts to burn. There are flames of napalm in Catonsville, Maryland. I know it hurts to burn. The typewriter is overheated, my mouth is burning, I cannot touch you and this is the oppressor’s language.from ‘The Burning of Paper Instead of Children’, Adrienne Rich
- me: what are taxes and how do I pay them?
- school system: worry not
- school system: mitochondria is the powerhouse of the cell
Only a fact could be so dreamlike.Adrienne Rich, ‘Like This Together’