There has occurred however the telescoping of the flute-player into a stereotyped foreshortened faun piping right to left on the rectangle of days with weeks and even years in an implicit depth, days that do not see themselves or the four lies reflected in the retrovisor, looking at nothing on or in the brow that Scheherezade thinks too low beneath the mat of khaki crinkly hair perhaps Etruscan or hiding behind a discourse from which the subjects vanish piecemeal, the one giving no references and other too many thus having a mouth removed and other organs when all that is signifiable in her is struck with latency as soon as raised to the function of signifier which initiates this raising by its original disappearance, the show within the show.
For the idyll reopens out into the other idyll of Armel who is not like that at all and Veronica true icon iconoclasted before the introduction of the pistol, raising antinomies by reaction that overtakes the subjective idea, rendering it objective, here on the ocean edge, and irresistible, Aphrodite emerging from memory and beckoning, naked, sprayed with flowery foam.
For you are not qualcosa as narrated by either yourself or some other who talks like a book and wants to be read like an algebraic grammar of narrative, the punishment in final position never falling on the euphoric term, only on the dyseptic, the moving finger piercing through the the pregnant plenitude from idyll to castratrophy thus bringing about the end of discourse. Nor have you acted out the dialogue spun by the silent narrator who is yourself perhaps making yourself articulate and wise, quick on the uptake gentle cruelonlytobekind with brief mean brushstrokes for objectivity and her semelic wild moon detached and gazing at the earth, tide-driven and helpless so that you can save her and if that is what you want that is how it will be for you always get your way in the end by transforming the passive silence of undecidability into the undecidable. Whoever invented it is the absent narrator or you in love with the unrelaible narrator who is in love with the implied author who is in love with himself and therefore absent in the nature of things through doors opening on doors, mirrors on mirrors in an eternal game of vinciperdi with the presence and absence of signifiers that characterises the practice of language. A head in a pool on a platter in a textured cloth, the head detached to re-present the word, a disembodied voice.
[Thru, Brooke-Rose, C.]