Is It a Choice?: Answers to the Most Frequently Asked by Eric Marcus

By Eric Marcus

The solutions to the entire questions you've ever had approximately homosexuality yet have been afraid to invite are ultimately in a single e-book, Is It a Choice?

In this newly revised and up to date version, Eric Marcus offers insightful, no-nonsense solutions to 1000's of the main frequently asked questions about homosexuality. delivering frank perception on every thing you've consistently wanted-and needed-to find out about same-gender relationships, popping out, relatives roles, politics, and masses extra, including:

How are you aware if you're homosexual or lesbian?

What if you do in case your baby is homosexual or lesbian?

Do homosexual mom and dad increase homosexual children?

If you're thinking that a pal is homosexual or lesbian, what for those who say?

Why do homosexual women and men are looking to get married?

What does the Bible say approximately homosexuality?

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Extra info for Is It a Choice?: Answers to the Most Frequently Asked Questions About Gay & Lesbian People

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Empire’: Skyscrapers, Surveillance, and Spectacle The ‘grim coincidence’ that supposedly marred Staehle’s exhibition linked Empire 24/7 and subsequent works not only to Warhol’s Empire of 1964 but also, if inadvertently, to Warhol’s disaster series, screen prints such as White Burning Car (1963) and Ambulance Disaster (1963). What this aberration makes evident is that Warhol’s silent films are the formal compliment of the disasters: the freeze-frame punctuality of the disaster-the tragic instant rendered over and over-becomes the absent, yet anticipated moment in the monotonous silent films.

When in the days after September 11 our gaze was transfixed by the images of the plane hitting one of the WTC towers, we were all forced to experience what the ‘compulsion to repeat’ and jouissance beyond the pleasure principle are: we wanted to see it again and again; the same shots were repeated ad nauseam, and the uncanny satisfaction we got from it was jouissance at its purest. It was when we watched the two WTC towers collapsing on the TV screen that it became possible to experience the falsity of ‘reality TV’ shows.

The roaming eye in Sleep becomes a watchful eye in Empire, providing a kind of surveillance image long before live video became the standard of the surveillance industry. Though, unlike contemporary surveillance images, Warhol’s Empire seems to occupy a kind of dream world, shrouded in its 16mm haziness. Empire 24/7, Wolfgang Staehle’s more recent ‘live’ version of the original film, situates the building in a kind of eternal present, in contrast with Warhol’s earlier version. Real time has an inextricable relationship with the present, rendering it as a kind of threshold.

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