MÄDCHEN.

1. Emmy Hyche, Corpse Logic 2. Tiqqun, Preliminary Materials for a Theory of the Young-Girl  3. Magda Romanska, NecroOphelia: Death, femininity and the making of modern aesthetics 5. Joshua Foer, A Minor History of / Useful Corpses 6. Alice Notley, Mysteries of Small Houses 7. Claudia Rankine, Citizen: An American Lyrics 8. Kathy Acker, The Following Myth of Romantic Suffering Has to be Done Away With 9. Claudia Rankine, Don’t Let Me Be Lonely: An American Lyric 10. Rebecca Solnit, A Rape a Minute, A Thousand Corpses a Year: Hate crimes in America—and elsewhere—add up to the world’s longest war

Thinking about Angelika as a hauntological object (in herself)

… and then: how that psychological confrontation— of you (human; firmly situated in the present) and something past-seeming— ensues; it is unavoidable. With the latter as a bewildering contraction of (temporal) presence oriented (physiologically and sensorily) about the past. A somatised pastiche; a blurring agent to actuality: there is acute discomfort within a single moment. Boundaries are a tenderised pressure point of human anxiety; perceptible separation defines ontological experience. We understand presence via demarcation. Angelika oscillates in-between;  her liminal physicality threatens the integrity of the ‘real’—  which is lovingly flipped onto its head— via death’s suspension. The deviation— rather the ontological perforation created in it— is borderline erotic: inexplicable, strange distance. There is nothing more psychologically desirable than this prospect of separation; within it Desire feels no mutative pressure: it can be its full indulgent self. There is only the transgressive lull of deranging boundaries (which is transcendence); the acute pain of reconstruction.