A glance leads to a smile, a smile to a rendezvous@乌龙派出所国语版@: every love story begins the same way. These narratives are @康熙王朝高清全集下载@stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between @本溪红尖@two men encounters a polyamorous chorus of lovers, and this oft-told tale is m@魔戒前传@ultiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each @不良少年之年少轻狂@other about threesomes, Grindr contacts and past dates. Pop clichés are t@铁拳6连招@wisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through w@师奶兵团国语@ords,” we hear at one point, “no lover would ever have to walk away wounded.”
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