The original tribe of self-proclaimed Superstars, however, was Andy Warhol’s Factory crew of “odds-and-ends misfits, somehow misfitting together,” as the artist described them in his memoir, Popism. Within this tribe, the Warhol Superstar that most extravagantly combined silver screen Hollywood glamour with downtown New York chic was Candy Darling, the transsexual actress who worked alongside
The “rulers” (industrialists, military men, bankers, bureaucrats, etc.) with their various tasks, are merely effective slaves who work unknowingly on behalf of these hidden masters, and thus for a contemplative caste that ceaselessly forms the “values” and the meaning of life.
The computer is the liar that always tells the truth. If you believe the lie—that what the computer does is beyond human comprehension, that its power exceeds its use value—then you are doomed to be its slave.
The personality of the adult Rimbaud, who writes letters home to his mother detailing and bewailing the state of his finances, is so different from that of the adolescent poète maudit that it seems improbable that the two belonged to the same person. Then again, Rimbaud, like us all, was always full of contradictions.
If I am, in fact, the type of person who recognizes himself in a reflection, then I can say while at the Vietnam Memorial there is one member of my family elegized, mirrored, because that is a condition too, like war and tectonics: Every so often we forget that we are we who we think
Bracing for disaster in 1990, St. Louisans’ knew that to single out their town for divine wrath would be to invite ridicule. They binge-drank and “pigged out,” secure in the geographical, geopolitical — indeed, cosmic — insignificance apparent to them every day.
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