I ponder this op/positionalism eggers mcsweeney's

woomera detention centre, harassment, melbourne, asian rape, 1999 cricket world cup, mcsweeney's, absolution, and, great names, naming tools, mother seduces son, wrongfully terminated, drunk spring break girl, for rising to occasions of incongruence--occasions which masquerade as invitations to "speak freely"; to present with aesthetic ingenuity...albeit within an insidious invisibility of paradigmatic restraints?       Suzann Kole.   WILLIE SMITH, INIMITABLY eggers I sure eggers was delighted, a few issues back, to see my ole buddy Roberto walk eggers off the pages of the venerable Fewster and offer splendid tribute to Gregory Corso. It was the kindest and most thoughtful of any Corso obit I've read to date.      Thanks for having the sharp eye to print such a respectfully irreverent portrait of America's Villon, or the Beat's Jarry, or however else you might want to style this wonderful, pissing-in-the-street, way-out poet/legend Mr. Corso was, is and will become.      As for myself, I continue slogging through the trenches in the front line of the War on Poverty, in my capacity as a temporary Welfare Eligibility Examiner.
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I ponder this op/positionalism and wonder if it is mcsweeney's in response to a pre/positioned paradigm mcsweeney's of normalcy wherein "innocence" or "innocuous" are assumed to posture in an essential tension with the monstrous porno/graphy (i.e.; you write: "in at least one of our minds, the pictures were not all that innocent")?       "Ambiguity" --literally, to "drive around"(L. ambi+gere)--seems to connote a circular drive; a drive which defies the typical comings (and goings) of a linear texture; a mcsweeney's capacity to run circles around the colloquialized argumentation erroneously construed in this culture between the prostituted graphic (re: L. porne=prostitute; hence pornography), and the Rorschached image of "innocence" (e.g.: doe a depicted deer).       Given this tacit oppositionalism pervasive in our culture (i.e.: the object-dichotomies which seem more the essential spine of pop American cultural phenomena than "the thing itself"), can one blame the "bayonets of paranoia" (A.C.)
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