We can sum­ma­rize, I esti­mate, 90 percent of the contem­po­ra­ry cri­ti­cal scene by the fol­lo­wing series of dia­grams that fixate the object at only two posi­tions, what I have cal­led the fact posi­tion and the fai­ry posi­tion—fact and fai­ry are ety­mo­lo­gi­cal­ly rela­ted but I won’t deve­lop this point here. The fai­ry posi­tion is very well known and is used over and over again by many social scien­tists who asso­ciate cri­ti­cism with anti­fe­ti­shism. The role of the cri­tic is then to show that what the naı¨ve belie­vers are doing with objects is sim­ply a pro­jec­tion of their wishes onto a material…