Max Eichelberger

“According to Padilla, remembered Amalfitano, all literature could be classified as heterosexual, homosexual, or bisexual. Novels, in general, were heterosexual. Poetry, on the other hand, was completely homosexual. Within the vast ocean of poetry he identified various currents: faggots, queers, sissies, freaks, butches, fairies, nymphs, and philenes. But the two major currents were faggots and queers. Walt Whitman, for example, was a faggot poet. Pablo Neruda, a queer. William Blake was definitely a faggot. Octavio Paz was a queer. Borges was a philene, or in other words he might be a faggot one minute and simply asexual the next.”
― Roberto Bolaño, Woes of the True Policeman

“The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.”
― Guy Debord, The Society of the Spectacle

“Just as early industrial capitalism moved the focus of existence from being to having, post-industrial culture has moved that focus from having to appearing.”
― Guy Debord, The Society of the Spectacle

“In Socrates' time, an orator was accustomed to ask his audience which genre or mode of expression was preferred: myth i.e., narrative-- or logical argumentation? In the age of the book, this decision cannot be left to the audience: the choice must be made in order for the book to exist and one merely imagines (or hopes for) an audience that will have given one answer rather than the other; one also tries to listen to the answer suggested or imposed by the subject itself.”
― Tzvetan Todorov, The Conquest of America: The Question of the Other