Originally entitled “69 Tears,” and decency standards only foreground the dislocating effects of paternalism and love (of the sculpted social): even when lovers face each other, their backs are against the wall and against each other simultaneously. Dumpee-turns-dumper storyline ends with singer crying, highly aware that gendered social emplacements always end in the requisite tears. Implied race politics: can the naming (“?”) ever avoid complicity in a world of counting?

 

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