Infrathin Erotica (Fragment from an Illicit Lover's Discourse)

 

The blissful feeling that the Illicit Lover experiences when he sits in a seat on the Tube vacated by a young woman and her body heat is transferred unto him is heightened by his knowledge that this is not merely a consequence of the second law of thermodynamics, but an example also of Duchamp's ambiguous concept of the infrathin - a concept which refers to (amongst other things):

(i) those fleeting sensory experiences whose pleasure escapes any form of rational explanation  ...

(ii) that intangible fourth dimensional state that transcends mundane existence ... 

(iii) the almost imperceptible difference that exists between two seemingly identical objects ...  

Later, he notices how the perfume of the Prostitute marries with the scent of her flesh into an intoxicating cassolette. And he delights also in the way that her cigarette smoke smells of the mouth that exhales it (the same mouth that fellates him with such consummate ease).  

Carri on Sex Pistols (Comments on the Case of Joe Corré and His Bonfire of Punk)

Artwork by Jamie Reid 

(Virgin 1979)

I've been asked to comment on Joe Corré's decision to burn his valuable collection of Sex Pistols memorabilia on the River Thames last month in order to mark the 40th anniversary of the release of Anarchy in the UK, whilst, at the same time protest punk's commercial co-option. Obviously, there was a good deal of vanity and a certain selfishness in the stunt which, from what I've seen of it, all looked a bit naff. And - who knows? - perhaps Henry Rollins is right to suggest that it should ultimately be interpreted as an act of revenge by an angry son left out of his father's will.

But, having said all this, the amount of scorn and vitriol directed towards Corré by aged, self-righteous punks - including, of course, that man-mountain of hypocrisy, Johnny Rotten (rightly identified as The Collaborator all those years ago) - is surely undeserved. For if a man wants to burn his own bondage trousers (and his own inheritance) that's really his own business and ultimately hurts no one. I'm not sure Malcolm would have found the whole thing hilarious, as Corré suggests, but I doubt it'll have him spinning in his grave either.

I suspect rather, that, were he still alive, what Mclaren would have done is remind us of his own ingenious and far more provocative attempt to expose and destroy the legend and the legacy of the Sex Pistols in the aftermath of the band's spectacular implosion, after Rotten flounced off in search of artistic integrity and a more mainstream career in the music business.

Ultimately, Never Mind the Bollocks was just another rock 'n' roll album; conventional in every regard. Obviously, there are some unbelievably powerful tracks. But I'm tempted to say now that the greatest thing about it is the title and Jamie Reid's artwork.

Similarly, the really interesting aspect of the Sex Pistols' story is the point at which they become more than just another corny 4/4 beat combo. And it starts when Malcolm conceives of The Great Rock 'n' Roll Swindle and begins the process of not only destroying everything - including the loyalty and expectation of their own followers - but anticipating precisely what would happen next; the assimilation and marketing of punk.

Julian Temple's film opens with Malcolm and Helen burning all traces of the band's existence in the hope that they might somehow prevent their posthumous exploitation in the form of either collectable artefacts to be showcased in museums and expensive art galleries, or cheap merchandise churned out for easy consumption by gullible fans. The same film later reveals the forlorn nature of this hope; if you like their pop music, you'll love their pop corn - it's pure punk!  

What I'm arguing, in short, is that Joseph Corré's rather feeble gesture was unnecessary; his father had alerted us in 1979 to fact that the Sex Pistols were by then no more than a brand name and that Bambi was already being butchered.         


Note: those interested in watching film of Corré's stunt should click here.

City All Over (Notes on Urban Wildlife)

Some creatures have always been happy living synanthropically alongside man and have long been residents of the city. Rats, pigeons, and cockroaches are three very obvious examples, drawn from three very different classes of animal. We may think of them as pests to be exterminated, but they think of us much more generously and not only survive but thrive in the urban environments we've constructed and gradually extended over the entire globe.     

Indeed, as our cities grow ever greater in size and areas of natural wilderness continue to shrink and disappear, more and more species are faced with the stark choice of either adapting to life within the concrete jungle, or face extinction. Some, obviously, aren't going to make it. But a surprising number of animals - large and small - are at least giving it a go and competing for food, space, and shelter alongside the more familiar magpies, foxes, squirrels, and stray cats.  

Unbelievably - but wonderfully - we can today find wild boar in the suburbs of Berlin, boa constrictors in Miami, baboons in Cape Town, big cats in Mumbai, and birds of prey in NYC. Even the Hollywood Hills are home to their very own mountain lion.      

What's amazing is the speed with which some creatures are getting the hang of things; learning to navigate the traffic or exploit the subway system; learning to communicate in new ways, thereby overcoming the problem of constant noise; learning to hunt by electric light; learning to exploit human waste as well as human kindness. It seems that, in some cases, we're not just witnessing radical adaptability and the acquirement of new transferable skills, but accelerated evolution; the creation of bolder, brighter, brand new urban species. 

All of which makes me happy and just a tiny bit hopeful for the future. I think everything that can be done to encourage and further this should be done; that we should welcome as many of our animal brethren in out of the cold as possible and allow them to enjoy the benefits of big city living.

Evening All: Reflections on the Case of PC Semple

Every now and then a story comes on the news that leaves me spluttering in the breakfast bowl; not so much in moral outrage, as amused disbelief. 

One such story is that of PC Gordon Semple, 59, who, tragically, was murdered by an Italian Lothario, Stefano Brizzi, with whom he'd arranged a sexual liaison via Grindr, the world's most popular gay dating app.

Details of the crime are sordid and shocking enough: the hapless bobby, who was simply looking for some sado-masochistic fun with a like-minded fellow, was strangled and dismembered. Over the course of the next few days, Brizzi attempted to dissolve the remains in an acid-filled bathtub - but not before cannibalising some of the tastier body parts (toothmarks were found by a forensic dentist on one of the policeman's ribs and puddles of human fat were discovered inside the poorly cleaned oven).      

As appalling and abhorrent as these details are, they aren't what made me choke on my cornflakes; this, rather, was caused by a victim impact statement read to the court by PC Semple's older brother, Ronald,  during Brizzi's trial at the Old Bailey.* In the statement, he said Gordon was a caring and gentle person, much loved by his family and friends, who were left devastated by news of his murder, blah, blah, blah.

So far, so platitudinous: but then he adds - preposterously - that his sibling deserved to be remembered by the community he served for over thirty years as a real-life Dixon of Dock Green ...!   

I have to say - with no disrespect to the deceased, his colleagues, his grieving family and friends, or members of the queer community - that's a bit rich ...

For not only does it reflect rather unfairly on the character played by Jack Warner who, as far as I recall, never once attended a drug-fuelled orgy, used his truncheon as a dildo, or indulged in his taste for hot, dirty, sleazy sex whilst still on duty, but it also falsely sanitizes and sanctifies the life of PC Semple, who, clearly, was a monster of depravity devoted to a life of kink and to finding love on the beat.       
     

Note: Brizzi was convicted of murder and sentenced to life imprisonment (instructed he'll serve a minimum of 24 years). 

The (Displaced) Task of the Translator 3: On the Limits of Zeitgeistiness - A Post by Simon Solomon

Simon Solomon (aka Dr Simon Thomas)

As the late English poet and essayist Geoffrey Hill insisted, in railing against the problem of our post-Romantic (and/or post-modern) suggestibility, every voice worthy of the name will be organised, at least in part, by a sensibility that combines cultural receptivity and counter-cultural resistance, not to mention a creative misreading of similarly strong precursors. Though the exemplary genius of Hegel's world-historical individuals resided in the propensity of such figures to both suffer and amplify the spirit of their time, the transmissions of the artist - and Kenneth Goldsmith's own thesis depicts translation as indisputably artistic - are not merely barometers, pulse-fingering fashion statements, or 'expressive' of a socio-cultural milieu to which they might even be psychoanalytically reduced. If such zeitgeistiness has its claim, it surely also has its limits. Ultimately, while steeped in their age’s particular species of sadness, the most original artists are Janus-faced, both prophetic and nostalgic, and hence ultimately timeless. While it may be true that the machinic flows of technocapital will one day turn us all into its dehumanised vehicles, there is a (perhaps perverse) love in raging against the machine.

As it transpires, Goldsmith seems not to be wholly in earnest about the disappearance of the subject, when one considers the lingering humanism of his discussion of the musician’s practice of sampling and mixing, emphasising as it does the value of 'mindful recontextualization' in a way that makes him seem to want to have his displaced cake and eat it. I find Goldsmith’s depiction of such techniques of conscious transformation especially congenial in relation to my own emerging translation practice around poetic 'convocations', in which I assimilate fragments from other poetries, films and songs into 'baroque' versions of beloved originals. We can and do beg, borrow or steal from other sources in our work as hipsters, creators or long-suffering makers - and, in an accelerating climate of global exchange, licences and permissions cannot in any case always easily be sought - but should never forget Pound’s modernist credo to 'make it new'. The justification for literary theft is the hunger for innovation ...

Finally, some readers might worry more about the apparent submission of Goldsmith's vision of displaced authorship to a political quietism - the way in which, as he himself concedes, 'the displaced text's entwinement with the latest technology […] aligns it with nefarious capitalist tendencies'. Though his whole point is that what he charmingly calls the 'meatspace audience' is missing the point (since life is less and less 'live' - compulsively played out instead behind or by means of a contemporary surplus of devices, apps and screens), one might wonder if he is not so much throwing the translator’s baby out with the bathwater as electrocuting it in a tsunami of technobubbles.

The ominous promise of a new battened-down all-American protectionism across the pond notwithstanding, if globalised capital is essentially a machine that engenders economic, social and cultural flows, the most interesting individuals, and their art, tend to occur where history slows and condenses. Though Goldsmith's poetics of displacement - a vision that highlights the planet-circling journey undertaken by contemporary translation, and the media by which it is carried - is indebted to our culture of hyper-mobility, there is also (thankfully) a dark art of entrenchment. And it’s not going anywhere …

See: Kenneth Goldsmith, Against Translation: Displacement is the New Translation, (Jean Boîte Editions, 2016).

Note: Simon Solomon (aka Dr Simon Thomas) is a poet, translator, critic and tutor. He is a professional member of the Irish Writers Centre, Dublin and currently serves as managing editor with the academic journal Psychoanalysis, Culture and Society. He blogs at simonsolomon.ink and a full (non-abridged) version of his essay will shortly be made available here.  

Simon appears here as part of the Torpedo the Ark Gastautoren Programm. I am very grateful for his submission of a lengthy text that he kindly allowed me to edit into three separate posts for the sake of convenience. Part 1: Magical Realism without the Magic can be read by clicking here. Part 2: Microdramas of Displacement, can be read by clicking here.

The (Displaced) Task of the Translator 2: Microdramas of Displacement - A Post by Simon Solomon

Dede Koswara, aka the Human Tree Man

Image Source: thechive.com

While we may be culturally instructed by Kenneth Goldsmith's undoubted flair for mediating the technological imaginary (albeit in a way that is perhaps already somewhat well-rehearsed, and which is, for me, more originally evoked by the writings of Jean Baudrillard), I feel more moved as a poet by his microdramas of displacement from real life. In his collection of anecdotal horrors and subcutaneous wonders - including, for example, the poignant story of a buried bullet beneath a boy’s face, its impact site permanently cauterised by the heat of the missile, that 'remains comfortably embedded' for the rest of his natural existence - there is a strange rapture of estrangement or post-modern beauty.

What Goldsmith ultimately discloses by telling us the story of a tree that grew around a metal grate erected to protect it until it became, in his luminously lyrical language, 'the guardian of the grate, swallowing it whole, nestling it deep within its core', is a beguiling phenomenology of incorporation: notes towards how we learn to take in and 'live with' foreign matter that have obvious affinities with literary (re)composition. I wondered what Goldsmith might make of less successful manifestations of human embodiment - such as the Indonesian carpenter, Dede Koswara, whose monstrous condition, a fantastically rare skin disorder called Lewandowsky-Lutz dysplasia (aka ‘Tree Man Syndrome’), caused bark-like cutaneous horns to sprout from his hands and feet and led to him being shunned by his community as an accursed object.

While doubtless more than a sliver of Schadenfreude attaches to such cases, in picking up his own bâton and running with it, Goldsmith extends his project into an inter-disciplinary revisionist thesis, in which acid rain is rebranded as 'displaced weather', petroleum as 'displaced prehistory', the melting ice caps as 'displaced Ice Age' and the Great Pacific garbage patch (aka the Pacific trash vortex) as 'displaced geography'. If this is a schtick of sorts, it is a thrilling one - though thrilling, perhaps, in the manner of a totalitarian music. By contrast, the niceties and decencies of the translator’s traditional craft - its meticulous attunements to the minutiae of syntax, the localities of diction and the pathos of distance - are derisively likened by Goldsmith to the cult of ‘slow food’. To pursue such an obsolescent quest now, on Goldsmith's thesis, is to be a wilful reactionary (though possibly a reactionary who enjoys better digestion), indulging a 'bourgeois luxury', 'faux-nostalgia' and 'a boutique pursuit from a lost world'. The good faith of the translator, that suspiciously friendly idealist forever trying to meet people halfway, is ultimately rotten to the core.

Among a raft of concerns here, one might wonder what place authentic nostalgia - or just real history - could play in such Goldsmith's vision of our creative dispossession, since translation is inescapably also a tradition, not merely a metamorphic instrumentality. Perhaps, indeed, the translator, at their finest, is a kind of time-travelling cultural attaché, drawn back like the former English Laureate Ted Hughes to the shape-shifting mythology of the ancient world, retracing and reimagining their embedded civilisations to keep the culture’s collective unconscious awake.

In a way that stirs my desire to unsettle the strategic dualities of his thought, Goldsmith views displacement as a binary trader, harnessing what can be displaced and jettisoning what cannot, while eschewing what he calls the 'messy questions of morality, ethics and nuance' in favour of 'the craft of the kludge'. Leaving aside the manifold ways in which both literature and life are endlessly (if not necessarily) entangled in such varieties of disorder, I would be interested to learn more about those poetogenic entities the author thinks by implication might defy displacement - about what, in other words, might not get lost in translation ...


See: Kenneth Goldsmith, Against Translation: Displacement is the New Translation, (Jean Boîte Editions, 2016).

Note: Simon Solomon (aka Dr Simon Thomas) is a poet, translator, critic and tutor. He is a professional member of the Irish Writers Centre, Dublin and currently serves as managing editor with the academic journal Psychoanalysis, Culture and Society. He blogs at simonsolomon.ink and a full (non-abridged) version of his essay will shortly be made available here.  

Simon appears here as part of the Torpedo the Ark Gastautoren Programm. I am very grateful for his submission of a lengthy text that he kindly allowed me to edit into three separate posts for the sake of convenience. Part 1: Magical Realism without the Magic can be read by clicking here. Part 3: On the Limits of Zeitgeistiness (Or How to Have Your Displaced Cake and Eat It), can be read by clicking here.

The (Displaced) Task of the Translator 1: Magical Realism without the Magic - A Post by Simon Solomon

Kenneth Goldsmith 

Image Source: queensmob.com

Against Translation: Displacement is the New Translation.

So claims the title of an ambitious new essay by the New York poet, curator and cultural provocateur, Kenneth Goldsmith. Though its bipolar declaration reads at first glance as curiously equivocal, the author's ostensible desire to oppose a practice he also wishes to renew points rather to a wor(l)d that is no longer what it was. The traditional concept of translation, in a nutshell, is to be badly - which is to say unfaithfully - retranslated. In this usurper's charter, Goldsmith’s withering opening salvo is clearly designed both to antagonise the old guard and clear new interpretive ground:

'Translation is the ultimate humanist gesture. Polite and reasonable, it is an overly cautious bridge builder. Always asking for permission, it begs understanding and friendship. It is optimistic yet provisional, pinning all hopes on a harmonious outcome. In the end, it always fails, for the discourse it sets forth is inevitably off-register; translation is an approximation of discourse – and, in approximating, it produces a new discourse.'

Quaintly conscientious, yet quietly hobbled by its lack of ambition, the classical practice of translation invariably founders on its own tendency to generate novelty. Since such productions go with the territory, however, what the translator should accept - and indeed celebrate - is their activity's irrepressible affinity with the politics of displacement: its complicity, in effect, with wilful miscarriages of (poetic) justice.

Now translators are being everywhere reborn as the renegade children of technology, the utopian spirit of the digital networks is to be channelled and dispersed. In this virtual dispensation, we are all refugees. The new task of the translator, Goldsmith implies, is to embrace their occupation as emblematic of man’s indifference (if not inhumanity) to man, as their dislodged products, borderless and lawless, unapologetically expropriate themselves beyond bodies, identities and the moribund personality cult of the author.

Indeed, as a form of 'magical realism without the magic', displacement 'answers to no one' mainly because 'there's no one on the other end to take the call'. In a pivotal passage that points up Goldsmith’s indebtedness to the flâneur philosopher Walter Benjamin, he contends:

'Displacement is modernism for the twenty-first century, a child of montage, psychogeography, and the objet trouvé. Unlike much modernism, displacement doesn’t move toward disjunction; it trucks in wholes. Schooled in Photoshop and reared in cut-and-paste, the world is now our desktop. Drop-and-drag architecture: pick up something and plunk it somewhere; it soon becomes natural. Displacement is Duchamp for architecture. Frank Gehry is a master of architectural displacement; Bilbao - a fantasy displaced off a CAD screen - soon becomes a beloved Basque landmark.'

The dialogical conscience of translation has been superseded by a 'boundless annexing machine' that 'sucks indiscriminately' as a shameless infant on the flickering nipples of cosmopolitan culture - culture, it is clear, that has long since failed to serve as a mother. In a decontextualised economy of viral reproduction, it may take a (global) village to raise a child, though not necessarily a human one.

But this economy, for Goldsmith, is also an ecology, illimitably extending the transcendental dispossession of language while the relentlessly replicative online ecosystem recycles its resources 'in bizarre Frankensteinian artifacts', ranging from multi-sourced PDF pseudo-book assemblages to Hollywood blockbusters with Telugu subtitles. If this is all monstrously poetic, its analogues are indissociably political. What might darkly be called the datafication of the human is the contemporary modus of transnational technocapitalism, driven by the indifferent engines of its displacement apparatus that 'spits its subjects across the globe, redundantly segmenting and replicating them […] thereby minimizing chances for loss while increasing chances for totality'.

If the effect of this global dispersal is to orphan translation by ripping up its roots, re-routing its genealogies, puncturing its pedantries and saturating its markets - driving, in effect, its whole humane history over the cliff of technology - the happy outcome for Goldsmith is a 'playful anarchy' in which homophonic transformations (think van Rooten's delicious nonsense rendering of 'Humpty Dumpty / sat on a wall' as 'Un petit d'un petit / S'étonne aux Halles') become the irreverent gambits of a ludic poetics distinguished by its abandonment of all writerly ownership or privilege.

For those of us who might defiantly trumpet the tendency of the talented toward a strategic singularity, the ambition here would seem to go further than merely purging late-Romantic souls of their residual preciousness. Rather, the rules of the language game of translation are being dazzlingly rewritten - liberated (or deconsecrated) in a blizzard of technics.

See: Kenneth Goldsmith, Against Translation: Displacement is the New Translation, (Jean Boîte Editions, 2016).

Note: Simon Solomon (aka Dr Simon Thomas) is a poet, translator, critic and tutor. He is a professional member of the Irish Writers Centre, Dublin and currently serves as managing editor with the academic journal Psychoanalysis, Culture and Society. He blogs at simonsolomon.ink and a full (non-abridged) version of his essay will shortly be made available here.

Simon appears here as part of the Torpedo the Ark Gastautoren Programm. I am very grateful for his submission of a lengthy text that he kindly allowed me to edit into three separate posts for the sake of convenience. Part 2: Microdramas of Displacement can be read by clicking here. Part 3: On the Limits of Zeitgeistiness (Or How to Have Your Displaced Cake and Eat It), can be read by clicking here.

Reflections from a Sickbed

Having been obliged to take to my bed with the flu, thoughts turn quite naturally once more to questions of sickness and death - and, in particular, a growing concern with what will happen posthumously to my wretched corpse, that most accursed of all objects. 

Obviously, it will need to be disposed of. But this isn't a simple or straightforward matter; for there are numerous methods of getting rid of the inconvenient (rapidly decomposing) body and here's where the headaches begin for someone like me who, when faced with the blackmail of choice, instinctively chooses not to choose.

However, let us briefly consider some of the main options ...  

(1) Cremation

Cremation certainly has points in its favour and I like the idea of being reduced by flame back to basic chemical compounds. There's also something attractively anti-Christian about cremation; the thought of rising like a pagan phoenix from the ashes rather than resurrecting like an end time zombie ready to face Judgement Day appeals more to me as a Lawrentian. 

Having said that, there's enough Jewishness in my nature to feel profoundly uncomfortable with the thought of furnaces and tall, free-standing chimneys, etc. And then there's the problem of the left over ashes; either to be scattered to the four winds (sounds quite nice), or - horror! - housed inside some ghastly urn and stuck on top of the bookcase before eventually being knocked over by the cat. 

On balance then, I don't think I want to go up in smoke and be ground down to dust, thank you very much.

(2) Inhumation

Having rejected cremation, burial is left as the only major alternative and, all in all, I'm more than happy with the thought of being placed (or even thrown) into a hole in the ground and thence to push up daisies. But I don't want anything done that will retard the inevitable decomposition; no embalming, for example - and preferably no closed coffin or casket. I want naked exposure to the soil and to allow the worms and whatnot do their holy work as quickly as possible. And if wearing a mushroom death suit helps this along, then sign me up for one.

As for where I'm buried, I really don't care; though not at sea, obviously. I don't want any kind of service or religious ritual observed and would prefer an unmarked grave. However, if there is a stone, it should simply read curb your enthusiasm, which pretty much summarizes my philosophy. 

(3) Immurement / Preservation

Any form of posthumous immurement or attempt at artificial preservation is, for me at least, completely out of the question; the thought of being permanently enclosed in a tomb or mausoleum, mummified in bandages like an Egyptian pharaoh, deep frozen like James Bedford in a cryogenic chamber, stuffed like the English utilitarian Jeremy Bentham and put on display in a glass case, or letting that freaky German anatomist, Gunther von Hagens, pump my corpse full of curable polymers so that I might enjoy plastic immortality, fills me with a strange mixture of disgust and despair. 

I would, quite literally, rather be fed to the vultures (as in a Tibetan sky burial) ...                      

Corpus Delicti (With Reference to the Case of D. H. Lawrence)

Death is always an inconvenience. Not so much for the deceased; for trust me, corpses don't care. But for those who are left with the problem of disposal; be these grieving relatives, or fastidious killers hoping to cover up all traces of their victim and their crime.  

Fortunately, there are several long-accepted methods of disposal; including the top two, burial and burning. But even these ancient methods present problems. In the case of cremation, for example, there's the question of what to do with the ashes; stick 'em in a ghastly urn and put granny on the mantelpiece, or scatter them to the four winds and risk the unpleasant humiliation of having them blow back in one's face. 

The English novelist D. H. Lawrence was famously first buried in Vence, where he died in 1930, and then, five years later, exhumed and cremated on Frieda's orders by her Italian lover and third husband to be, Angelo Ravagli. 

As to what happened to Lawrence's ashes, this has become subject to confusion and controversy. Ravagli was supposed to transport them to the ranch in New Mexico, where a suitable shrine had been built. Frieda had even provided a lovely little vase. But it seems likely that Ravagli simply threw them away (possibly into the harbour at Marseilles) and then filled the urn with a handful of dust upon his return to America. 

Frieda never knew. As far as she was concerned, she'd brought Lawrence back to the place they'd been happiest and sealed his fate by mixing his ashes into a concrete block in order to prevent anyone from stealing them and, symbolically, to prevent him from wandering in death without her. 

Lawrence's biographer, John Worthen, suggests that Ravagli did Lawrence a favour by rescuing him from his wife's posthumous plans: 

"Lawrence may finally have managed to evade her ... and to finish his career solitary, free, unhoused, with no lid sealing him down or block containing him: scattered, perhaps into the estranging sea he had so often contemplated."

John Worthen, D. H. Lawrence: The Life of an Outsider, (Allen Lane / Penguin Books, 2005), p. 418. 

Of Clowns and Catwomen

                                                                                                                

As everybody knows, there's an unwritten rule in the world of clowns that one must never copy the face make-up of another, thereby enabling each performer to retain their own unique identity.

In order to help ensure that this unwritten rule is followed and not accidentally infringed, some clowns voluntarily have their likeness painted onto a ceramic egg and registered with Clowns International. New clowns are able to consult the registry and avoid the potential embarrassment of looking like somebody else; one is tempted to say that face on egg thus prevents egg on face.

It's worth noting, however, that the registry is unofficial and Clowns International cannot enforce compliance; indeed, as far as I'm aware, you can't legally copyright a hairstyle, facial feature, or a way of applying make-up, no matter how individual or distinctive it may be. And neither - I believe - can you copyright a stage name, nickname, or any other type of alias.

I thought of this when reading recently about the punk icon, Soo Catwoman, who is desperately fighting a rearguard action to reclaim, protect and market her own extraordinary image - albeit forty years too late and after the young actress Judy Croll showed us all to brilliant effect in The Great Rock 'n' Roll Swindle just how easy it is to steal and to simulate a look, no matter how original the original may be. 
  
For Soo, like many punks naively committed to notions of authenticity and the Real, it's terribly important that we not mistake Croll for her and she carefully points out the differences in facial bone, hairline and breast size, as if we should care about such anatomical details - we who care only for masks and cosmetics and the free-floating aspect of a persona as something to be performed (not essentialised or trademarked).

Interestingly, Soo also expresses her moral and maternal outrage over the fact that Croll was only fourteen and raises the spectre of child abuse by the filmmakers, thereby demonstrating her poor understanding of the Swindle as a provocative work of cinema, a crucial aspect of which is its brutal exposure of the inherently exploitative nature of the music industry which blithely trades in young flesh and talent.

Despite what she seems to believe, there's nothing degraded or inappropriate about the nudity or sexuality of a minor, nor indeed its representation in art; obscenity begins when this is commodified and prostituted by men in positions of power for their own perverse pleasure or financial gain: Mummy! Mummy! They've killed Bambi!

And so, I'm sorry if Julien Temple's film and Croll's appearance in it have caused Soo and her family great distress over the years, as she claims, but she needs to understand that most viewers either don't know who the fuck she is, or, if they do, don't care that a small role she turned down was eventually given to an actress happy to play the part.  


Note: those interested in knowing more about Soo Catwoman might like to visit her official website: click here.