We is about interpretation. It is about two distinct ways of reading the concept of force by juxtaposing seemingly different sets of imagery with text derived from Thomas Bernhard’s Correction. By resisting the impulse to reduce the speaking character of the text to a singular voice, Silver points to the possibility of maintaining several simultaneous yet different voices.
“Even as the text instructs us otherwise, it is impossible not to read We’s two images – that is, to respond to their symbolic quality, their suggestiveness. In a stream of associations, the rhythmic flow of people on the left becomes an ejaculation while the rhythmic hand on the right marks detachment, self-centeredness. Simultaneously, we may say to ourselves, “Yes, it is only a crowd of anonymous people. It is only a penis.”
But even as we attempt to discipline our interpretative urges, the hermeneutic created by this simple juxtaposition is driving us crazy with questions: Who is he? Why is he alone? Does he have a lover…? Does everyone in this crowd masturbate? Do they seek isolation from the mass? Are they aware of one another? Are they relational in less-populated situations? Why was this private image made public? Why is this image private…? Chris Straayer, Deviant Eyes, Deviant Bodies, Sexual Orientation in Film and Video, Columbia University Press, 1996
