Robert Reid-Pharr in the afterward to Samuel R. Delany’s Phallos (2013)
One of the clearest markers of genius, one of the signs that a creative intellectual has unveiled some mode of thought or action that is at once elegant, productive, disruptive, and dangerous is the presence of an abundance of generosity.
Refusing to maintain the fictions of the so-called commonsense, his practice is both deconstructive and pedagogical. Like a magician who reveals the card tucked up his sleeve or the rabbit hidden inside an old-fashioned hat’s secret compartments, the genius is first and foremost an iconoclast. His work is to force us to recognize that even our most cherished structures might be (must be?) dismantled. This is why when we encounter such individuals we are often so quick to either dismiss or ridicule them. In their efforts to disclose profound insights and novel techniques they strip away the “invisibility” of established forms and practices.
The masculine gendering makes it clear we are talking about him, you know — him.
And so for day 2281