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African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology.
When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having
to live ``a difference that has no name and too many names already.'' She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks
to ``beat the master at his own game.''
displacement and representation to develop and explain her own theses about difference and marginalization, she displaces her critical view so that it may simultaneously examine the assumptions underlying and informing those theorizations (L'Esprit Createur)