Going everywhere on that little yellow bike. To the base of mountains and looking up at the boundary where snow becomes rain. Retreat just below treeline on account of distant thunder. On the downhill a pebble could mean disaster, but … Read More
“The Wyeth saga began with N.C.: a maverick unimpressed by his industrializing world who became infatuated instead with adventure, romance, and old America––back when the connection between humanity and nature was more immediate.”
The minute details of sex never escape the eye of the prehistoric human artist. What registers here is a fascination with the sexual that extends beyond its ritual fetishization in functional appeals to some magical force for human fertility or robust herds. This art is uncanny and wonderful because sex is not sublimated or displaced into some other visual language, but is itself sublime, itself celebrated.
“It was her turn to paint the world in a different light, through words carefully arranged on a page. To assume the role of the enchanter and cast her clever spells. To dream with her eyes wide open.”
When a movement exclusive in membership, religious in orientation, and all comprehensive in its ideological scope attempts to gain the sanction of a secular university community committed to diversity and inclusion, it obviously puts itself into a paradoxical situation. This was the situation the founders of Princeton’s Anscombe Society, a group “dedicated to affirming the importance of the family, marriage, and a proper understanding for the role of sex and sexuality” (their website) faced when they decided to apply in February 2005 for official University recognition as a campus group.
Watch the balloons sway in the center of the slick dance floor. You are here and you are not here, swaying yourself on too-thin heels and much too much mixed drink. Tie your hair back. You’re hopped up on hoping the ending of your night will deliver what the beginning has promised since you fished your junior prom dress out of the dorm closet you’re sure has moths.
President Christopher Eisgruber is reclining in the middle seat of a long table, looking as relaxed as I’ve seen him and wearing a mortarboard with an impressive tassle. Famed history professor Julian Zelizer is here too, sitting with famed improviser Adam Mastroianni ’14, so already the fame count in the room is too high for my personal comfort
Inevitably and with curious necessity, the recitation of trivia turns to the subject of death-counts. This is because the death-count is the ne plus ultra of trivia: “how many people died there.”
We have bought into Hillary’s image; reality has been supplanted by a flimsy representation of what we might like it to be. But the thing is, the representation sells: the spectacle becomes not just a collection of images, but a “social relationship between people that is mediated by images.”