I-id-Enigma
Modern Lovers Handbook
Kofi Fosu Forson
The yuppie writer was given an unfair burial.
The term Bad Boy made applicable to the literary author owns a link to Norman Mailer, Henry Miller and William Burroughs. Two writers termed yuppie Brett Easton Ellis and Jay MClnerny owned the name "bad boy" based on the allure given the trend-setting lifestyle surrounding these two writers at a time when New York endured a burgeoning late-night culture.
They owned a certain sophistication found best and reminiscent of F. Scott Fitzgerald and Tom Wolfe. In tailored suits they were featured on magazine covers and saw the fortune of having their novels made into successful Hollywood films. They were modern lovers.
The "I" in every proclamation dictates authority. Less served are the idiosyncrasies which determine who is truly behind the unobjectionable "I". This very pronoun represents the immediate presence of those quick to use it as a form of reproach or disclosure.
In theatre we find Julius Caesar displaying the mindset of a person who governs. Much can be said in these our political times when senators and representatives incorporate their intensions along with their affirmation by using the "I" for effect.
Who is the I-id-Enigma? At its psychological centre are there not many influences that determine or undermine who we are as human, animal, schizoid? The human condition labours on pointlessness. Whatever merits this understanding is usually prolonged in the life process. We don't all subscribe to a governing philosophy. Much the difference in our finger prints such is the parallel in how we approach the certainty of death.
The act of love brings to life new birth. To secure this very life the act of love takes on complex interpretations. Understandable are the differences within gender culture. That indeed we are different species can be made normal in light of the summation we live in a genderless society. That is by rule a philosophy.
Woman gives birth. Husband stands outside talking on a wireless. There’s the rub…
There are aspects of love which an individual must guard against. Some of them are generational warfare, gender politics and fraternizing. The male and female symbol ratified as genderless and androgyny in defeat is an idea the individual embraces based on personal beliefs. Style overall structured within society’s depeche mode usually fits into a subculture allowing for a better connection between male/female dynamics.
Fraternizing would then present a sticking point causing one to place in high order people with whom they associate. Friends would then be labelled in order of importance. The very fact of love would warrant a need to please those found among social circles. They tend to range from childhood friends, sorority brothers and sisters and others who have climbed the corporate ladder having endured gender and sexual politics.
Within generational warfare are those who use their seniority or philosophical and cultural experience as an advantage. This has breeched a category as in mature and teen where middle-aged men and women date those ten to twenty years younger. The politics hereby allows older men and women to relive their youth. While the younger ones gain a sense of expertise. However there are bouts of jealousy, misunderstanding and confrontations.
That indeed language is text, men as well as women are keen in recognizing and operating based on the I-id-Enigma whereby women are structured by their body parts, men approach them not so much out of desire but insatiable hunger.
This very feeling of longing need be reinterpreted to benefit the interaction between men and women. Much the cause for time and evolution, women sense a libidinal fury among their gender.
Artists speak la langue de conscience sexuelle. It will determine a future interaction between artists and politicians. If not much like Vaclav Havel, artists need to find their way in politics to affect implementations of moral conduct, perhaps at least a re-ordering of beauty, conscience and love.
Modern Lovers Handbook
Kofi Fosu Forson
The yuppie writer was given an unfair burial.
The term Bad Boy made applicable to the literary author owns a link to Norman Mailer, Henry Miller and William Burroughs. Two writers termed yuppie Brett Easton Ellis and Jay MClnerny owned the name "bad boy" based on the allure given the trend-setting lifestyle surrounding these two writers at a time when New York endured a burgeoning late-night culture.
They owned a certain sophistication found best and reminiscent of F. Scott Fitzgerald and Tom Wolfe. In tailored suits they were featured on magazine covers and saw the fortune of having their novels made into successful Hollywood films. They were modern lovers.
The "I" in every proclamation dictates authority. Less served are the idiosyncrasies which determine who is truly behind the unobjectionable "I". This very pronoun represents the immediate presence of those quick to use it as a form of reproach or disclosure.
In theatre we find Julius Caesar displaying the mindset of a person who governs. Much can be said in these our political times when senators and representatives incorporate their intensions along with their affirmation by using the "I" for effect.
Who is the I-id-Enigma? At its psychological centre are there not many influences that determine or undermine who we are as human, animal, schizoid? The human condition labours on pointlessness. Whatever merits this understanding is usually prolonged in the life process. We don't all subscribe to a governing philosophy. Much the difference in our finger prints such is the parallel in how we approach the certainty of death.
The act of love brings to life new birth. To secure this very life the act of love takes on complex interpretations. Understandable are the differences within gender culture. That indeed we are different species can be made normal in light of the summation we live in a genderless society. That is by rule a philosophy.
Woman gives birth. Husband stands outside talking on a wireless. There’s the rub…
There are aspects of love which an individual must guard against. Some of them are generational warfare, gender politics and fraternizing. The male and female symbol ratified as genderless and androgyny in defeat is an idea the individual embraces based on personal beliefs. Style overall structured within society’s depeche mode usually fits into a subculture allowing for a better connection between male/female dynamics.
Fraternizing would then present a sticking point causing one to place in high order people with whom they associate. Friends would then be labelled in order of importance. The very fact of love would warrant a need to please those found among social circles. They tend to range from childhood friends, sorority brothers and sisters and others who have climbed the corporate ladder having endured gender and sexual politics.
Within generational warfare are those who use their seniority or philosophical and cultural experience as an advantage. This has breeched a category as in mature and teen where middle-aged men and women date those ten to twenty years younger. The politics hereby allows older men and women to relive their youth. While the younger ones gain a sense of expertise. However there are bouts of jealousy, misunderstanding and confrontations.
That indeed language is text, men as well as women are keen in recognizing and operating based on the I-id-Enigma whereby women are structured by their body parts, men approach them not so much out of desire but insatiable hunger.
This very feeling of longing need be reinterpreted to benefit the interaction between men and women. Much the cause for time and evolution, women sense a libidinal fury among their gender.
Artists speak la langue de conscience sexuelle. It will determine a future interaction between artists and politicians. If not much like Vaclav Havel, artists need to find their way in politics to affect implementations of moral conduct, perhaps at least a re-ordering of beauty, conscience and love.
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