Song & Transcription with References

7:47

To decide what to write is a problem of a different order

Part 1: SORT IT ALL OUT AND END UP WITH A SICK OBJECTIVITY

Here’s another tableau of intimacy that won’t respond to questions. (LEPSELTER 2004)
I found myself particularly moved by this video clip; it was silent (likely by some encoding error) but I think that the silence moved me further. (SHESHADRI 2020)
Empathy is rough. (UNATTRIBUTABLE 2008)
Remember When is the lowest form of conversation. (SOPRANO 2006)
I feel I can give you everything without giving myself away. (NELSON 2015)
As we became less sure what came from one, what came from the other, or even from someone else, we would become clearer about “What is it to write?”. (DELEUZE & PARNET 1980)
I had hoped that everyone there would be new, that there would be no one I had ever met before. That way, I could put on a new set of airs; I could say I was something that I was not, and no one would ever know the difference. (KINCAID 1983)
Had she been a direct inspiration for his work? Had he been a tyrant? An uncompromising lover? Was there going to be another episode in their dark drama, or was this the end? (DE JONG 1977)
A tough, ambiguous depiction of traditionally female imagery. (CRIMP 1972)
The freedom to be happy restricts human freedom if you are not free to be happy. (AHMED 2010)

Part 2: ARE YOU RELENTLESS OR UNRELENTING?

A paranoiac treasure hunt, incriminatory, clues planted everywhere around the seasick room. (KRAUS 251)
Bars had a hyper-plain intimacy of a sixties basement rec room. (BERLANT & STEWART 2019)
Wallabies may be breeding in the wild in Britain. Artificial light may be driving mosquitos from day-biting to night-biting. Colorado spruce forests killed by beetles become mildly cooler, and Guam’s coconut rhinoceros beetles have started burrowing into cycad trees. (FINDINGS 2020)
We were warned about spiders, and the occasional famine. We drove downtown to see our neighbors. None of them were home, we nestled in yards the municipality had created. (ASHBERY 2004)
Dread fears the event, too, because it’s only going to be confirming of the time one suffers as the historical present. Dread looks forward to rest from even the possibility of the event. (BERLANT 2011)
During the trial, all the city all the city’s penny papers fabricated information and embellished their stories in a tawdry effort to keep the public enthralled. (GONZALEZ & TORRES 2011)
The historical society is a lackey of the real estate agents. (KING 1971)
The society immediately adjacent to where they now live — the police and the administration — still see them as thieves, robbers, criminals. And definitely use them in criminal activities. (MAHASWETA 1971)
I, the sovereign, who am outside the law, declare that there is no outside the law. (AGAMBEN 1997)
Unrelenting: not softening or yielding in determination; relentless showing or promising no abatement of severity, intensity, strength, or pace. (MERRIAM-WEBSTER 2020)

Part 3: CRUEL TAXONOMIES

People are different from each other. Unfortunately, the dynamic of becoming a spokesperson almost always threatens to bury this fact. You may keep saying that you only speak for yourself, but your very presence in the public sphere begins to congeal different into a single figure, and pressure begins to bear down hard upon it. (NELSON 2015).
It is simply wrong to begin with a theme, symbol, or other abstract unifying agent, and then try to force characters and events to conform to it. (BARTHELME 1984)
fuck Annie; fuck the waif from Les Mis; fuck the poor, innocent kid on the Net; fuck Laws both with capital ls and with small; fuck the whole network of Symbolic relations and the future that serves as its prop. (EDELMAN 2004)
To be honest within the limits permitted by the profession, I wondered whether it would not be necessary to show the personality of my subject in another light. (CORTAZAR 1967)
What are its distinguishing features? What did I discover? What did I find curious? (GREEN 2014)
You’re suggesting (FEATURE OF GOOGLE DOCUMENTS 2020)
Although documents are frequently scripted with posterity in mind, history in one sense is an afterthought, only incidentally related to the sources that are fetishized as so fundamental to the craft of history itself. (DIRKS 2002)
But there are times when the narrator forgets themselves, as Beckett often does, and finds something too interesting or too grotesquely funny to be bothered about questioning its role in the narrative, its truth or its fictiveness. (TOIBIN 2011)
The day’s lesson drones on, but the camera is more interested in what the pupils see: a feather they keep. (SEALE 2020)
The lesson here, obvious but now, and then overlooked, is just to corroborate one’s data, in particular those acquired casually, such as through hearsay or off the backs of record albums. (BARTHELME 1984)

– AS

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