In “The Little Typewriter,” Kracauer offers a cautionary tale against commodity fetishization with humor, while also conjuring an uncomfortable metaphor to do with the purchase of women and the use of their bodies for pleasure. The reader is left to wonder: is the story an exercise in making an object woman, or thinly describing a woman as object?
I’ve never seen the author of Tender Buttons and Three Lives look as she looks in this painting by Picabia from 1937. Her head is small, perched on wide and rounded shoulders draped in brown. Beneath the cloak, a soft blue blouse with a large brooch peeks through. On her face, a sort of “oh well” smirk on thin, taut lips.
In 1872, Susan B. Anthony cast a ballot in the presidential election in which Ulysses S. Grant would win his second term in office. Nearly half a century before women would actually get the right to vote in this country, this was of course an illegal act, and one for which Anthony was ultimately arrested and tried.
When I told people in New York that I was moving to Texas, the conversation pretty much always went the same way: “To Austin, I assume?” (Yes.) “Oh, well, Austin isn’t Texas. I hear people love Austin.” In fact, Austin is in Texas, as evidenced by the very name of the university at which I now work, and the fact that the capital of the state is here. From the iconic bell tower on campus, one can look upon the domed and columned capital building down below, the largest state capital in the United States (no surprise there).
At the same time I see that the academy has its ways of inuring too many of its chosen ones against a compulsion to apply their research and writing to contemporary issues that ought to demand all of our attention. Perhaps it’s that American campuses are so leafy and idyllic, allowing us to pretend that this utopic vision is but the world on a micro-scale.