November 7, 2008

The rhyme is after the innocent simplicity governing the play of young girls. Phobia literally stages the instability of the object relation. And what one wants is the presence of the foreigner, the mere fact of having his eyes open. It is precisely at such a point that writing takes over. All this going must be violence appearing only at the moment opened to forced entry. The linguistic metaphor coincides with the theme of the devourer. I never felt guilty after giving one another away. Play the role of a miscarried introjection. So immense she was trying to tell me her enemy’s name. My empty and incorporating mouth, which watches me, threatening from the outside. The old friend who assumes responsibility for the violation that has satisfied him. It happens because language has then become the counterphobic object. As if the sun had been wrong to return we write nothing other than confessions. I meet with anguish again: I am afraid.

A girl who is afraid of being eaten up by a dog has an extensive vocabulary. I rage the originary violence which has severed the proper from its property. I am devoured by him; a third person therefore is devouring me. I rage and identify as the abstract moment of the concept. Startled by over-mastery, an exchange of messages when death brushes us by. I rage the ultimate denunciation hand in hand with the foreigner. I refer to the modeling: untouchable, unchangeable, immortal. The fool dances between the pre-linguistic and linguistic, between cry and speech. To speak of want alone is to repudiate aggressivity. Fluttering as falling leaves it offers us an image of death. Such is the void and the arbitrariness of play. A speech before words. Does this not also imply a fetishist screen? A man is a familiar thing.