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.

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.

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.