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On Digital Extremities
I'd Rather have Fingers than Toes; I'd Rather have Ears than a Nose; And As for my Hair, I'm Glad it's All There; I'll be Awfully Sad, when it Goes! byĀ Frank Gelett Burgess
Would it be insane of me to say there are āgenderedā roles in Koja novels that are based only on exploitation vs transcendence/artistry . And itās at its barest in Skin where we see an almost classic tale of meaningless&false man exploiting talented&genuine women for their art and also sexually. Her story is about art and misogyny every time even if itās about something else too. But applying this dichotomy with Skin as the hypothetical in physical, like a piece of theory to apply, thereās some interesting analysis of everything. Nakota is the man in the Cipher and Nicholas is the woman by these terms even though arguably their story is really gendered in terms of Nicholas as male and the half mocking portrayal of a certain type of man. Something to chew on, right? Inarguably thereās this dynamic of exploitation by total chance, convenience, which in the realm of Koja is a male-coded thing. And yet what is the Cipher if not a commentary on pathetic, violent, wanna be artist men? Thereās some clash of inherent diametrics here which is exciting. Take Strange Angels. Grant is obviously in the manās role, Robin in the womanās. And What makes these assignments? In the Cipher itās really just proximity to transcendence. For whatever reason Nicholas is chosen and then exploited for it. Strange Angels poses the question, is the dichotomy really man | woman? or is it man | any disadvantaged artist? But Kojaās portrayals of masculinity and also the inherent feminist statement of her body of work, which is seen in another very plain way in āthe Neglected Gardenā, probably the most direct, cut and dry example of this point, sort of refutes itās anything but the dichotomy of these socialised gender roles. The Grant /Robin situation when given this gendered feminist reading provides really interesting insight on Grantās behaviour and thought, I guess, and proves the fact that Kojaās ultimate exploiter is always, no matter towards whom, acting with assurance from some form of misogyny. I could say that Koja gives Robin āfeminineā features to accentuate this dynamic like long hair and an attraction to men but that would be getting into some sort of skirtingly homophobic university essay bullshit . Basically, I just think playing around with this provides a neat way to look at her work and youāre fucking stupid if you donāt know by this point all my posts come fromthe mind of the futile critical essay writer . Just kidding, I love you. Smile
11:52 PM EST December 1, 2024:
Killing Joke - "Extremities" From the album Ā Ā Extremities, Dirt and Various Repressed Emotions (November 20, 1990)
Last song scrobbled from iTunes at Last.fm
KILLING JOKE-MONEY IS NOT OUR GOD

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Alfre Woodard Filmography Part 1
Extremities (1986)
St. Elsewhere (1985-1988)
Miss Firecracker (1989)
Passion Fish (1992)
Heart and Souls (1993)
Crooklyn (1994)
Gulliver's Travels (1996)
A Step Toward Tomorrow (1996)
Star Trek: First Contact (1996)
Homicide: Life on the Street (1998)
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