Later on, Prince would do the same with gender, designing a female voice named Camille to pry open ideas about aggression, seduction, and power; and, with faith, shelving the risqué and risky “Black Album” and instead releasing the uplifting pop-gospel record “Lovesexy.” And even later than that, at a time when he was chafing against his Warner Bros. contract, Prince changed his name, opting to go by a squiggle that combined the astrological symbols for male and female—his years as a glyph extended his inquiry of gender, incorporating issues of identity, race, slavery, corporate control, money, and more.
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What is left out is what the book or article is about -- the underlying concepts, assumptions, arguments, or point of view that the book or article expresses. A narrative report leaves aside a discussion that puts the events of the text into the context of what the text is about. Is the text about love? Life in the fast lane? Society? Wealth and power? Poverty? In other words, narrative reports often overlook the authors purpose or point of view expressed through the book or article.
As I went through the process of writing the book, of publishing it, of engaging with people who cared about Prince as much as I did, of feeling my own discomfort with those engagements, I found myself returning repeatedly to Prince’s own behavior and admiring his courage. And yet, even as I cite these examples, even as I recognize his method, I want to withdraw those citations and that recognition—to bring them, and everything else, back inside a safe private space. I want to roll up this essay, and the book that it’s about, and the entire past year, all the way back to last April, when there was such thing, fortunately, as facts, and one of those facts was that Prince was still alive. I know that it’s the wrong impulse. But it’s done from love.