For the better (102)


The drifter and the Alpine driver (11)

“But what about our talking now?”
“Our voices are set in the context of the theory of the West as to what speech is, namely as a primary symbol over other symbols. This is an error that has precipitated the tyranny of the voice all through western literature. The tyranny of this voice is the voice of the master, the dead white man.”
“So you try not to begin in this state of inferiority. You stay at the deconstructive, textual level, even when you’re buying toilet paper.”
“It is a necessary violence to the spoken word.”
“Well, then, you’re going to have to put script on that paper as you’re buying it and tidy up with your own cuneiform.”
“Hmm.”

For the better (102)

The drifter and the Alpine driver (10)

“You have other contingents, too; just about anyone who wants to take a crack at the dead white man.”
“The movement toward the written, free from voice, is broad and will broaden further.”
“So speech must be exteriorized in a way alien to the order of the voice.”
“Yes, to deny its primacy which is at the heart of the white, Aristotelian error.”
“So why are we talking, if you aim to exteriorize everything we say?”
“It is the inherent inferiority of the spoken word that forces its exteriorization.”
“Well, I got to hand it to you, JD. When you get through, you’ll have even silenced all your contingents through this exteriorization; the poor, text-trodden white man will finally get some peace.”

For the better (102)

The drifter and the Alpine driver (9)

“Is everything you do a piece of text, JD?”
“Text distributes in space what is alien to the order of the voice.”
“Look, JD, what about my random swatting of a deer fly?”
“You have a signifying face as you swat; you have a manner of swatting; you may be a Sultan of Swat, as you say here of one of your sports heroes. You have SWAT teams; although their origin is different, the signifying of each ‘swat’ runs together as text, once each is exteriorized from its origin.”
“We don’t check the face of the fly?”
“There are those in our PETA contingent that do.”

For the better (102)

The drifter and the Alpine driver (8)

“It’s getting dark. It’ll be pitch soon. ”
“One will come to shine, in the science of writing, like the sun.”
“Whoa, let’s get these rolls out and string the camp.”
“Black thread as signifier?”
“Always string the camp with it, in case someone prowls my way. Keep a .357 under my headrest, and the thread tied to my neck button.”
“A piece of text, tied to a dying culture, that sings of heroes, homes on ranges, and such. The new logic of writing takes your thread of Hobbesian distrust and subsumes its desire for glory in a new written word, that is not the Logos of the Book of Nature and the struggling Rousseau.”
“S’ long as there’re fast horses when it’s over.”
“Pardon?”
“I tell you what, JD, you’re a piece of work, yourself.”
“What?”
“Don’t trip over that thread if you have to find a pissoir in the middle of the night unless you holler an undeconstructed ‘Sacre Bleu’ at the top of your lungs. ‘Cause this reader of the Longarm series will blow your well-attired ass off.”

http://en.wikipedia.org/wiki/Longarm

For the better (102)

The drifter and the Alpine driver (7)

“Well, I don’t care for high priests of anything; care for a pinch?”
“Curious little tin of well wishes, a kind of Scandinavian oasis for a man of spittled word. That dribble on the lip and in the dust, a kind of falling in alterity.”
“You know, you’re not all that bad of a guy, JD; can I call you ‘JD’?
“Yes, as a vocal symbol of familiarity, ‘JD’ has its function, which diminishes as the deconstruction of male familiarity removes the force of your speech from its role as archon to subordinate.”
“Can I offer you some of this fresh brewed coffee and a biscuit?”
“The niceties of speech being what they are, exteriorized into a falling away of meaning, the coffee and biscuit as inscriptives, part of the failing ideality that attempts to reappropriate epistemological presence.”
“How ‘bout some lard for that ideality, JD?”
“Are there any other eyes with voices in these textual environs?”
“No. Just us and those horses. This Mr. Ed’s not a witness.”
“Another nicety, Merci.”

http://en.wikipedia.org/wiki/Skoal_tobacco

For the better (102)

The drifter and the Alpine driver (6)

“What’s this got to do with dead, old, white boys?”
“They wrote our literature, up until recently. So it is their flaws that we have entertained and must deconstruct.”
“But is there anything about these old boys which flaws them more than anybody else?”
“That is an abstract point; these men have the flaw which arose from reading an undeconstructed Aristotle. It all starts with the voice of white male identity, identified with true meaning; had it started in the same way with others, I suppose we would be doing the same thing to bring writing into text. It would be other voices that we would have to exteriorize. As it is, it is the white man’s meaning that we have to exteriorize.”
“I’m relieved to hear you think that there are abstractions.”
“But the concrete point, if you will, is that, as a matter of history, the writing of the West is an unfolding of white male identity and power. It is of a priestly class whose voice is shielded from analysis in forms such as the dramatic in which Shakespeare, as writer, and Bradley, as critic, fall.”

For the better (102)

The drifter and the Alpine driver (5)

“Oh. You mean you cannot talk about what Hamlet says in soliloquy without talking about this essential disunity to which you refer, and yet when you’re through, you won’t have a totality.”
“Ah, yes, because you cannot show a flaw beyond the flaws that someone like a Bradley( a dead white man) would unwittingly conceal and which Shakespeare (another dead white man) would have also concealed because of his own incomplete and flawed identity.”
“So you intend to “kind of, sort of” complete this identity for us without giving us a whole picture of this literary puzzle. How do we come to know the identity, if it is incomplete?”
“Well this brings up a further question of identity. It is a deconstructed identity, which means it is subject to a dialectic itself that can reveal further ruptures in the assumed unity of Hamlet’s voice and meaning in a given soliloquy, and in the form of the soliloquy itself and in drama as a whole, as it were.”
“Yes, but, for critical purposes, he has not given the soliloquy yet. You have yet to read it in the context of the play which will be what Bradley does.”
“Well, that brings us back to your origin, but you now see why it is a wrong beginning.”
“So far, I see a circle that avoids reading a lesson. I’ll read Shakespeare again along with Bradley and take my chances.”
“Sorry, but we do not generally give credit hours for that.”
“Ah, you do, in a transitive way, give somebody something. That is reassuring.”
“Well, the giving here is of an institutional text, a transcript, if you will, of a course history and its accordant results, fashioned in its way as text, with names as secondary in signification.”
“That is some real shit you’re giving me.”
“Pardon?”