Nomography. Eloy Fernández Porta
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Now books of poetry end this way:
I believe in reevaluating my sexual identity
as a new vocabulary emerges.5
Could this be the new specter haunting the world? A homogenizing force? A claim that we are all the same, pronounced in a tiresome and despondent way? A becoming-normal? How has this happened? Didn’t they tell us that we were living in the age of shifting identities, of proliferating subjectivities, of a plethora of personalities? Haven’t the affects, sexuality, and technology teamed up, in a triumphant triumvirate, to confer on each body its singularity and on each individual her transformations and renunciations, his undoing [contra-devenir] of gender, class, and occupational destiny? From what foul maze of cubicles and grids do these forces emerge, these forces that lead even those who are changeful by nature – children, musicians, fashionistas, the freest of free spirits, those who play at life and play their lives as if on a multicolored chessboard – to end up in the greyest square?
Notes
1 1. Boris Vian, Vercoquin et le plancton, Madrid: Impedimenta, 2010, 105–7.
2 2. Gaby Bess, Post pussy, Almería: El Gaviero, 2015, 9.
3 3. Guy Baret, Éloge de l’héterosexualité, Paris: Les Belles Lettres, 1994, 27.
4 4. Alain Naze, Manifeste contre la normalisation gay, Paris: La Fabrique, 2017. See also Lee Edelman, No Future, Durham, NC: Duke University Press, 2004.
5 5. Bess, Post pussy, 68.
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