Andersonville, to-day, presents a striking contrast to the Andersonville of the Confederacy. … No bayonet gleams from the sentry-boxes on the stockade or the dark red earthworks; no frowning muzzle of field artillery glowers from the embrasures of the battery, overlooking town and prison; …

His shoes were covered with mud, and he was looking very rough and touzled; but then he had never been a very smart man, the Badger, at the best of times.

Kristeva’s psychoanalytic theory attributes an essential role to paranoïa as regards the constitution of subjectivity: «Sans cette dimension paranoiac, il n’y a pas de sujet. Il n’y a pas non plus d’ecriture» («Without this paranoid dimension, there can be no subject. Without it, writing is also impossible»).[…]We watch this writing subject whose writing, perhaps, is as much a function of his doubts, his paranoïa, and marginality. But the doubts, the paranoïa, and the contradictions are not a sign of failure.[…]Above all, TPA is a lesson and a reminder that paranoïa is both the permanent condition of the writing subject and what creates the permanent possibility of resignifying processes.

She's nowhere close to relinquishing her crown as the queen of dance-pop—or abandoning her favorite role as pop music's most hot-to-trot coquette.