It suggests that the masculine (or exaggeratedly masculine) style of Death in the Afternoon [by Ernest Hemingway] is not a formal or immanent attribute of the text but must be engendered through acts of interpretation. And it suggests that what was at stake in this engendering was nothing less than the preservation of powerful forms of authentic masculinity in the face of a work that, puzzlingly, seemed to trope the very notions of masculinity and modernism.

King John granted to the prior and convent, in all their manors and lands, sac, soc, tol, and theam, infangenthef, and outfangenthef, with the ordeals or judgment by fire, water, and iron, and a common gallows in each manor; with a view of frankenpledge, and assize of bread and ale, of all their tenants […]

Many people who engage in netsex say that they are constantly surprised by how emotionally and physically powerful it can be.

This time it is the worst kind of call a murder police can get.