In the circle this sponsoring is portrayed as

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the hippest, but also eco-friendly, clothes and uses the coolest products. In The Circle, this sponsoring is portrayed as something very enviable. The name dropping of the brands Mae associates herself with is also spread out through the novel. Comparing this to the long list mentioned above, its similarities and significant differences become apparent. Both sections are about sponsored life, and the idea that the characters are associated to and used to promote certain brands and products. In The Circle this is presented as enviable, and the superiority and exclusivity of the products are foregrounded. In Eggers’s novel, the reader is, just like Mae’s followers, sold to the mentioned products. In Look at Me, the brands are merely mentioned in a long list, and with that the products are not only not sold, but more importantly presented as redundant. Because there are so many brands mentioned, their specificity becomes obsolete, which effectively kills any selling power of the brands. But the large list of brands is not the most important part of the quotation. At first glance, we are set to think that Charlotte with saying 'she isn't me' is referring to the new image of virtual Charlotte, one that is staged and fabricated by PR masterminds and corporate enterprises. But the 'breach' (LaM 511) Charlotte refers to is not merely the feeling that she cannot relate to her online representation anymore; she experiences a literal break between her physicality and the virtual version of herself: The more notorious I became for my transformation, the more gapingly fraudulent this transformation began to feel. I hadn’t transformed; I had undergone a kind of fission, and the two resulting parts of me reviled each other. I was a ghost sealed within the body of a fame-obsessed former model from whom I had to strenuously guard my moods and thoughts, lest she find some way to cannibalize and sell them (Charlotte’s Anti -Suicide Techniques, Charlotte’s Poems for Depression). I crept through my life, hoarding my occasional dreams and what few mem ories she hadn’t already plundered, camouflaging my hopes and future aspirations in a palette of utter blandness lest they be caught in the restless beam of her overhead camera and broadcast to the world. Once or twice I swore
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30 her to secrecy, but Charlotte always betrayed me (“Public Star Weds Private Dick,” New York Post , July 199 ), and her disclosures left me enraged, despondent, and bent on escape. (LaM 514) In this crucial part of the novel, physical Charlotte describes feeling 'a ghost sealed within the body of a fame obsessed former model', and earlier on she refers to herself as 'Charlotte Swanson, in whose skin I had lived for so long' (LaM 510). Charlotte experiences a complete cognitive dissonance towards her own body, even though she has the most trouble with the representation of her virtual self. Charlotte’s presence and physicality are completely overridden by the virtual version of herself. On top of the cognitive dissonance towards her own body, Charlotte has no
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