Edward W. Said, the author of The Question of Palestine. (Sophie Bassouls / Getty)
What all Palestinians refer to today as the Palestinian Revolution is not the negative distinction of being unlike others, but a positive feeling of the whole Palestinian experience as a disaster to be remedied, of Palestinian identity as something understandable not only in terms of what we lost but as something we are forging–a liberation from nonentity, oppression, and exile.
Her breasts though small were beautifully shaped beneath her blouse, and her hips though narrow gave her long, dusty skirt a sharp, sensual angularity. As she moved back from the vampire, I saw the tears standing in her eyes like glass in the flicker of the lights, and I felt my spirit contract in fear for her, and in longing. Her beauty was heartbreaking.
Art and sex occupy similar positions under capitalism. The commodification of each, while rampant, is also rife with anxiety and subject to questions of ethics, purity, and meaning. This is because we are told art and sex shouldn’t be commodified. Both are seemingly sacred forms of human expression, and we are taught to keep them close to ourselves, safe from capital’s voracious appetite. And yet, art and sex– and specifically the art and sex industries–are actually capital’s stress points: two industries saturated in hyper-capitalist relations while also existing on the outskirts of the formal economy.
page 5, Working Girl: On Selling Art and Selling Sex
