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By Stephen Pfohl

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Extra info for Death at the Parasite Cafe: Social Science (Fictions) and the Postmodern

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36 QUESTIONS OF ACCESS AND EXCESS As a man engulfed in a commercial radiation of heterosexist imagery I find it difficult to take my eyes off the terrorized figure of a white woman on the verge of being raped. Aesthetically raped on prime-time in the shape of inFORMation. This show is obscene. The man drags the double of the woman to her bedroom and pins her to the sheets thrashing. The double appears naked. As a viewer I am invited to follow the camera as it studies the woman's exposed thighs spread and bared shoulders inching toward her breasts.

Somebody or somebodies. This message comes with a byte. I open the door that is myself to this (im)possible situation. I hope against hope, not simply to access what's been forgotten but to exceed the almost instant BINARY PRAMED OSCILLATIONS THAT vocat;on my most compulsive repetitions and power. Looping densely modulated wavelengths speed across the surface of what's becoming time going nowhere. Literally. The message reads: OPEN THE DOOR GIVE YOURSELP AWAY HOT FIERY FLOWING AS POR LAUGHING MATTERS CONJURED I feel that it's really useless (w)riting this way, so let me tell you I WAS TRULY SCARED.

3o On the other hand, Acker's spiralling texts scream of the pornographie violence tattooed across the bodies of women who, like the female protagonist in her re(w)riting of Don Quixote, discover that "BEING BORN INTO AND PART OF THE MALE WORLD, SHE HAD NO SPEECH OF HER OWN. ALL SHE COULD DO WAS READ MALE TEXTS WHICH WEREN'T HER. "31 Sometimes, by virtue of a commitment to styles of (w)riting that refuse the homogenizing phallocentrism of modernist prose, feminist (w)riters encounter questions about the accessibility of their texts to the generalized (predominantly male) audience of scholarly discourse.

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