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Here, in Lorrain's poisoned little jewel of a tale (“The Man Who Made Wax Heads”) the consummate achievement of decadent art is caught in miniature. The genius of the artist entangles perpetrators and victims in a sticky web of perverse delights, in which exploitation becomes collusion, the ripples of guilt spread outward, and the real criminal slips away. In the end, responsibility is lodged firmly with the consumer, forced – he must confess – by his own perverse desires, to buy into the values of this particularly black market. ↗
America, I don't think you can change history." All the same, his expression looked hopeful. "Sure we can. Besides, who'd ever know about it but you and me? ↗
At issue for Peladan is the potency of the visual image: art's ability to construct images for viewing that can mobilize, concentrate and redirect instinctive responses. He brings out into the open the recognition underlying all decadent art; that is, the political function of the fascinated gaze. ↗
If we are always pushing away from feelings that we condemn as wrong, painful, or ugly, we are also pushing away from the very energy that can bring us incredible joy and ecstasy. ↗
I like to be aware of a book as a piece of writing, and aware of its structure as a product of mind, and yet I want to be able to see the represented world through it. I admire artists who succeed in dividing my attention more or less evenly between the world of their books and the art of their books . . . so that a reader may study the work with pleasure as well as the world that it describes. ↗
