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@@ -708,812 +708,286 @@ At times the Cratylitic limits traverse into the oddest of conjunctions. \e{Gar}
 
 Not wanting to swerve too far from our subject, the CAR and all its permutations, the names of stars are also based in part on the mimicry of the word AMERICA.  America, besides containing CAR, also contains the crucial words ARM, MAR, RAM, etc. The proliferation of Norma, Mary, Roman, La Mar, Morgan, Mark, Norman, Marilyn mimic the first four letters of \e{Amer}ica. A psychoanalysis of Hollywood must begin with the letters of America within the letters of a star's name. After all, stars are only letters: what else are empty spaces filled up with? Letters/ letster/letstar. Picking a star's name is a precise ritual that follows from several sources: 1) mimicry of CAR; 2) mimicry of synonyms/metonyms of ROADS; 3) mimicry of AMERica; 4) mimicry of STAR; 5) mimcry of synonyms/ metonyms of EYES and EARS (the two drives involved in the perception of films): 6) mimicry of I or JE; In the 1937 version of \fr{A Star is Born}, Esther Blodgett becomes Vicki Le\e{ster}, a repetition of STAR.
 
-The common myth of stardom is that one attains ultimate recognition on all levels: artistic, emotional, sexual,
-financial, the entire prism of colors that shine from that as
-yet unobtainable carrot. Initially the "road" is a long one,
-but once the horizon is reached, the speeds one can drive at
-in that nether-nether land are incalculable. The movie star
-demagogue (the movie prefiguring an even vaster movli]ement), or anyone intent on being at the "top of the heap,"
-becomes the swiftest set of wheels ever to incise on any
-extant road. Any obstacles in their path are ruthlessly
-wrenched from their position so as to let the Great Car
-Course to Glory. But the great inscription and its formidable wake, those traces, ghosts, ventriloguies, only reach
-that tragic margin, the Sunset Boulevard cul-de-sac, the
-End-of-the-Road, the career that careens to a crashing death.
-
-124
-Calling All Cars
-
-What happened along that Road, that Career's Course
-where the Car began to corrupt? The commonest fatality
-that meets anyone whose ascending career swerves from its
-rightful course is, of course, drugs. How many news reports have we heard of stars caught for drunk driving, cocaine possession or the ultimate horror of an overdose?
-
-Drugs, whose rug refracts the CAR, resembles the
-gasoline that allows cars to drive. Any kind of drug is an
-interiorization of oil ("high octane" as a taxi driver friend
-expressed it) since they enable one to "'go" far, perhaps on
-a "trip," that may or may not end up driving you crazy.
-Drinking and driving don't mix, but then alcohol echoes
-oil as in the misspelling, alcohoil. "Alcohol" has also been
-suggested as an oil-substicute for turbine engine cars. A can
-of beer resembles an oil drum, besides what are all those
-"drums" emptied of, beer or oil, once thrown in trash cans
-so often former oil drums? Cocaine's similarity to oil occurs
-in the drug's tendency to induce vivacity, restless activity,
-mania, sleeplessness, properties that would not take place
-in a car deprived of fuel. John DeLorean, the tycoon of
-the DeLorean Automobile Company, was arrested for intent to smuggle $24 million worth of cocaine to save his
-enterprise from default. Here the equivalence is cocaine for
-cars since the drug would have "salvaged" his automobiles. Such a vast supply can corrupt someone's nose and
-collapse it into the powder that destroyed it; the tycoon
-could thus instruct his engineers to customize another fender of human flesh. Speed or dexadrine cannot help but associate with the high "speeds" cars attain or what large
-trucks do, their drivers often resorting to the substance in
-their marathons across the country. Any cigarette, tobacco
-on of a car's engine, their
-
-or marijuana, echoes the ignil
-
-125
-THE AGE OF OIL
+The common myth of stardom is that one attains ultimate recognition on all levels: artistic, emotional, sexual, financial, the entire prism of \e{col}ors that shine from that as yet unobtainable \e{car}rot. Initially the "road" is a long one, but once the horizon is reached, the speeds one can drive at in that nether-nether land are in\e{calcul}able. The movie star demagogue (the \e{movie} prefiguring an even vaster \e{mov[i]e}ment), or anyone intent on being at the "top of the heap," becomes the swiftest set of wheels ever to incise on any extant road. Any obstacles in their path are ruthlessly wrenched from their position so as to let the \e{Gre}at \e{Car} \e{Cour}se to \e{Glo}ry. But the \e{gre}at ins\e{cri}ption and its formidable wake, those t\e{rac}es, ghosts, ventri\e{loqu}ies, only \e{reac}h that t\e{rag}ic m\e{arg}in, the Sunset Boulevard \e{cul}-de-sac, the End-of-the-Road, the \e{car}eer that \e{car}eens to a \e{cra}shing death.
 
-smoke the transubstantiation of exhaust. Tranquilizers and
-opiates, although dissimilar to the manias induced by cocaine and speed, still allow one to "'go" somewhere else,
-their alteration of consciousness a detour down unfamiliar
-paths, something all drugs accomplish.
-
-A milder substance, coffee, is also what those truckers quaff when they stop for gas, the two liquids metaphors for each other. No wonder the star/tar Margaret
-Hamilton endorsed tar-evocative Maxwell House coffee,
-the "good to the last drop" substance. Another one of
-its commercials featured a carpool of executives (worried over the high prices of oil), cautiously drinking a rapidly diminishing cup of that coffee. Coffee, so similar to
-oil by virtue of its darkness and the "energy" of the caffeine, finds itself composed of wax after we invert the M in
-Maxwell House: Waxwell House/Oil well House. When I
-worked for an oil company, my boss, a Mr. Moore (intent
-on mining more and more oil), fetched all the fellow workers coffee in the morning. Throughout the country of
-Mexico, Pepsi signs are placed beside gasoline stations. The
-sugar and caffeine in that soft drink will propel the driver
-as will Mobil oil propel the drinker's car. Pepsi ads (it was
-once endorsed by that famous star, Joan Car[w]ford) announce themselves in the colors of the American flag just
-as Mobil oil ads do in similar tricolor heraldry. Junior eats
-Sugar Frosted Flakes in the morning (induced by its cute
-cartoon tiger) while Daddy loads up with Esso Oil (induced, like Junior, by another cute cartoon tiger who says,
-"Put a Tiger in Your Tank.")
-
-Even if the accelerating celebrity were to be actually
-driving, loaded with drugs as their cars are loaded with oil,
-the possibility for them to suffer another crash increases
-
-126
-Calling All Cars
-
-the density of the allegorical scheme onto another level.
-The star/car that acts/drives down films/roads now meets
-its rhetorical inversion: peripeteia, the reversal of fortune,
-the "sudden-unexpected reversal of the action in an opposite (unfortunate) direction." (Lausberg) Peripeteia's compliment, anagnorismos, is a "sudden process of recognition
-that proceeds from a change of direction of the course of
-action." The simplest example of peripeteia is from Aristotle's Poetics: *". . . as it is for instance in Oedipus: here
-the opposite state of things is produced by the Messenger,
-who, coming to gladden Oedipus and to remove his fears as
-to his mother, reveals the secret of his birth."" The light
-said ""go"" and when we drove on, another car came upon
-our left, smashed it, injured our flesh and hospitalized us.
-Our lives changed in different degrees of intensity from
-that point onward. Car accidents, as well as the "pitfalls"
-of success (peripeteia is etymologically related to fall, piptein), reverse the ascension into Glory into the descent into obscurity, the same peripeteia or Fall that met Adam
-and Eve when God expulsed them from Paradise.
-Tragedy's most powerful clements are its Peripeties
-and Discoveries, so says Aristotle. Epic poetry also "requires Peripeties, Discoveries, and scenes of suffering just
-like Tragedy." So the American Tragedy is the car that
-didn't go, it stopped too soon, it went off at the wrong
-time, it turncd up the wrong street (as did Joe Gillis's in
-Sunset Boulevard) and no doubt its other failures along
-life's journeys. Drinking and driving don't mix (carousing),
-otherwise the incompatible activities will perform what
-everyone knows is an ambiguity in the phrase "falling star."
-The Great Crash of 1929 was also a "'sudden or unexpected reversal of circumstances or situation" of the Roaring
-
-127
-THE AGE OF OIL
+What happened along that Road, that Career's Course where the Car began to corrupt? The commonest fatality that meets anyone whose ascending career swerves from its rightful course is, of course, drugs. How many news reports have we heard of stars caught for drunk driving, cocaine possession or the ultimate horror of an overdose?
 
-Twenties when another reversal of fortune took place, the
-emergence of the talkies after a decade of silent films. The
-next decade, the Depression, reversed the mythologies of
-quick success into the realities of nagging poverty, something that could take place at any time knowing the capriciousness of capital, which, like any text we read, gives us
-no idea as to what it's up to. Missing an exit sign (the
-"change in direction") and its Discovery by reversing one's
-tracks, as on our interstate freeways, resembles rereading
-an entire passage from a novel because we didn't discover
-X was married to Y. Going forward, and remaining there,
-however contradictory that sounds, is the dilemma that besets those success stories who have been '"'driving™ or
-"smooth sailing" all along and are now faced with the
-problems of maintaining their former speeds. The Allegorical Car encounters the Careening Peripeteia. Hopefully the
-victim will come to his senses and recognize or discover
-the means to change direction.
-
-The peripeteia is sudden, unexpected. Right away, in
-the dictionary, even with words whose initial three letters
-spell CAR, we find the series careen, career, carefree, careful and careless follow each other nearly one after the
-other. This purely lexigraphic coincidence, this succession
-of antonyms, can engender the following sentence: to careen from the career shows that one was carefree, not careful, in fact, careless. Their swift contiguity merely duplicates the suddenness of inattention and its tragic reversals,
-the brief moment when one isn't watching and careful
-swerves into careless, letting the career careen. There's also
-Webster's definition of carry on: "1) to behave in a foolish,
-excited, or improper manner; 2) to continue one's course
-or activity in spite of hindrance or discouragement." Two
-
-128
-Calling All Cars
-
-antithetical meanings exist in the same word, for the Car's
-uninterrupted course, its carrying on (continuance) will
-not, pardon the expression, be carried off (realized) because
-one carried on (acted foolishly). Further, the Oxford English Dictionary right after the noun "car" ("a wheeled vehicle or conveyance") lists an adjective, "car," meaning:
-"a. left, sinister; commonly in car-hand, car-handed. b.
-awkward; perverse; wrong; sinister." It mentions a proverb,
-"You'll go a car gate yet." If the car is to stay on course it
-musn't go in a car direction. Here the metaphor "left or
-right" coerces as intensely as "to kill or not to kill," for if
-the car direction is kept, you might get killed. Driving in a
-car- or left-handed lane can be as dangerous as driving in a
-right-handed lane depending on what country you're driving in. The right course for the car is met up with the
-wrong or car course. The "fiery carre" of the sun will
-always travel east to west and never in a car direction.
-
-The ca in car is an echo of go. (And an echo of go is in
-echo.) The ca(r) must go. Another ambiguity: the car must
-go, 1) either it goes forward, in its fated direction, 2) or it
-gets discarded, thrown away. Of course it can "go backward" in order to "go away." Forward or backward, on
-course or reversed, car or right, all are contingent upon
-"going" in whatever direction. Verbs that convey movement enact the same transitivity of their referents. A movement of the eyes, reading, requires a registration of the
-word "movement." When "movement" disappears, we
-move on. We don't read in a car direction but just to the
-right. Here the homonym with write is a mysterious rite in
-our culture's habits of right-oriented eye movement while
-reading and in its bearing to the right lane while driving.
-But then as intense as the metaphor is, we veer left while
-
-129
-THE AGE OF OIL
+D\e{rug}s, whose \e{rug} refracts the CAR, resembles the gasoline that allows cars to drive. Any kind of drug is an interiorization of oil ("high octane" as a taxi driver friend expressed it) since they enable one to "go" far, perhaps on a "trip," that may or may not end up driving you \e{cra}zy.  Drinking and driving don't mix, but then \e{alcohol} echoes \e{oil} as in the misspelling, \e{alcohoil}. "Alcohol" has also been suggested as an oil-substicute for turbine engine cars. A can of beer resembles an oil drum, besides what are all those "drums" emptied of, beer or oil, once thrown in trash cans so often former oil drums? Cocaine's similarity to oil occurs in the drug's tendency to induce vivacity, restless activity, mania, sleeplessness, properties that would not take place in a car deprived of fuel. John DeLorean, the tycoon of the DeLorean Automobile Company, was arrested for intent to smuggle \$24 million worth of cocaine to save his enterprise from default. Here the equivalence is cocaine for cars since the drug would have "salvaged" his automobiles. Such a vast supply can corrupt someone's nose and collapse it into the powder that destroyed it; the tycoon could thus instruct his engineers to customize another fender of human flesh. Speed or dexadrine cannot help but associate with the high "speeds" cars attain or what large trucks do, their drivers often resorting to the substance in their marathons across the country. Any cigarette, tobacco or marijuana, echoes the ignition of a car's engine, their smoke the transubstantiation of exhaust. Tranquilizers and opiates, although dissimilar to the manias induced by cocaine and speed, still allow one to "go" somewhere else, their alteration of consciousness a detour down unfamiliar paths, something all drugs accomplish.
 
-reading only to stay on course to the right. In a car we
-may sit to the left, but we hug the right. We may choose
-the Left (whose version of history is a peripeteia of capitalism by means of revolution) or the Right who oftentimes
-only distinguish themselves when they right social order as
-they write out or supress the Left. Maybe the reason why a
-communist revolution in America will fail is because everyone has to drive on the right. Bearing right is a cryptic
-anthem to conservative politics, while understanding the
-double entendre demands reading to the left a little.
-
-Write/right/rite/tire enter into another meaning, style,
-where the plural of tires most closely evokes that of style
-once certain transformations are accomplished: tires/stire/
-stile/style. Through anagrammatization and switching the r
-into.an [, tires becomes style, a relation not far from each
-other since the tire is a stylus of sorts, a pen that leaves its
-marks on roads, like styluses that incise record grooves,
-like draughtsmen who design clothes.
-
-The style of one's tiring or attire, the clothes designed
-by a famous name, incises the CAR throughout its discourse, the proper names, brand names, slogans and advertisements surrounding such articles.
-
-The names of designers, like the brand names of cars,
-closely evoke the CAR. We may simultancously think of
-the person who designed the piece or the product itself
-that has such a name attached to it. Among the many
-names that repeat the CAR within the designers' names are:
-Calvin Klein, Oscar de la Renta, Pierre Cardin, Nino Cerruti, Christian Dior, Claude Montana, Courreges, Diane von
-Furstenberg, Ungaro, Karl Lagerfeld, Trigere, Kay Unger,
-Thierry Mugler, Gloria Sachs, Anne Klein, Sonia Rykiel,
-Krizia, Reiko, Nina Ricci, Guy Laroche, and Gianni
-
-130
-Calling All Cars
-
-Versace. Calvin Klein, Karl Lagerfeld, Trigere, Sonia Rykiel
-all have multiple repetitions of CAR within their names.
-Gianni Versace possesses an anagram of cars within his
-while Thierry Mugler has tire.
-
-Fashion products also evoke the CAR. Dresses include:
-St. Gillian, Cricketeer, Chloe. Other clothing articles (hosiery, shoes, purses) comprise: Caress (purses), Garolini &
-Galo (shoes), Lycra, Flexatard, Gerbe and Le Gourget
-(hosiery), Calderon (belts), Blackglama (furs). Jewelry and
-watches go as such: Van Cleff & Arpels, Cartier (car and
-tire), Cellini Collection by Rolex (the word collection is
-often found in fashion periodicals), Krementz, Majorica,
-Concord Quartz. Perfumes, so often a mystification of oil,
-are the most highly refined product. One perfume, Nocturnes, is made by Caron. Even the stores where these products are sold have the CAR haunt their names: NeimanMarcus, Bergdorf-Goodman, McCurdy's, Collin's, Michelle's
-Boutique. Another area of bodily adornment, of tiring, is
-skincare: Clinique, Clarins, Prescriptives, Georgette Klinger.
-Throughout the language of the advertisements for these
-collections and products one finds a plenitude of CARhaunted words: mascara, clinical, cellular, facial, specialist,
-classic, clay, cleanse/cleanser/cleansing, collagen, cologne,
-color, creme, crystal, allergy, gel, glamor, glow,gold, grains,
-program, fragrance, great, silkier, milk, leg, liquid, look,
-complexion, luxury, regimen, recovery, enrich, indulge.
-Sometimes their congruity produces the following conjunctions: Milk Cleansing Grains, Specialist Cellular Recovery (whose rec sounds like wreck, the opposite of recovery), Maximum Care Eye Creme (max-beginning words
-always evoke wax), Allergy Tested/Fragrance Free (for
-Clinique), Supplegen Firming Moisture Creme, Skin Care/
-
-131
-THE AGE OF OIL
+A milder substance, coffee, is also what those truckers quaff when they stop for gas, the two liquids metaphors for each other. No wonder the star/tar Margaret Hamilton endorsed tar-evocative Maxwell House coffee, the "good to the last drop" substance. Another one of its commercials featured a carpool of executives (worried over the high prices of oil), cautiously drinking a rapidly diminishing cup of that coffee. Coffee, so similar to oil by virtue of its darkness and the "energy" of the caffeine, finds itself composed of \e{wax} after we invert the M in \e{M}axwell House: \e{W}axwell House/Oil well House. When I worked for an oil company, my boss, a Mr. Moore (intent on mining \e{more} and \e{more} oil), fetched all the fellow workers coffee in the morning. Throughout the country of Mexico, Pepsi signs are placed beside gasoline stations. The su\e{gar} and caffeine in that soft drink will propel the driver as will Mobil oil propel the drinker's car. Pepsi ads (it was once endorsed by that famous star, Joan Car[w]ford) announce themselves in the colors of the American f\e{lag} just as Mobil oil ads do in similar tricolor heraldry. Junior eats Sugar Frosted Flakes in the morning (induced by its cute \e{car}toon ti\e{ger}) while Daddy loads up with Esso Oil (induced, like Junior, by another cute cartoon tiger who says, "Put a Tiger in Your Tank.")
 
-Skin Repair. Indeed everytime the word "care" is used, its
-closeness to car only enforces the quasi-natural relation between bodily maintenance, the care or attention we give to
-our health, and automotive maintenance, the care or attention we give to our cars. Cosmetics like "Scarlet"" or "Jolen
-Creme Bleach" metaphorically glide into car-waxes, polishes, buffs, and the like. Revlon's "Back at the Ranch Collection" describes itself as a "rich & restless collection of
-colors" where the CAR redundancy confirms its status as a
-cryptic garland of our culture's most magical permutation,
-Merle Norman is an organization that calls itself "'the place
-for the custom face" where women undergo its "no-nonsense make-over" in order to become more beautiful and
-confident with their appearance and wardrobe. Such a
-drastic change resembles Detroit's yearly restyling of its
-cars, as is also proved by a Revlon slogan (Revlon embeds
-love): "New Year, New You, New Colors for Fall." Paco
-Rabanne, true to fashion's blending of the flesh-proximate
-(perfumes) with the not-so-flesh proximate (cars), markets
-a product called "Metal."" The pretentious diacritical
-marks mystify the consumer into thinking that it's not metal that their bodies are aspiring to (which they, in fact,
-are). The edge of the body begins with clothes and then
-moves on to the car. Cosmetics are the closest to the body,
-perfumes almost of the body's very essence. This veil or
-flimsy appurtenance at flesh's very edge simply gradiates
-towards its architectural enclosure: the car, the apartment,
-the office. The language of furs, the most luxurious and
-protective of the body, repeats the CAR: "Fur, Racier,
-Rugged, More Elemental" and "Crystal Fox & Cross Fox."
-
-From flesh to clothes to cars, so goes the metonym.
-Bill Blass has designed women's clothes just as he has
-
-132
-Calling All Cars
-
-designed an automobile, the Lincoln-Mercury Division's
-Mark VI, the "Bill Blass Edition." A multi-paged advertisement which appeared in the October 1982 Vogue (whose
-IV mimics the styler's pen or scissors) promoted both Ford
-cars and Bill Blass fashions. Three cars, the 1983 Mark VI,
-1983 Continental, 1983 Lincoln, were photographed next
-to three models (a word that also means car) posing in different Blass outfits. Right away the language is ambiguous:
-"The Lincoln Commitment---It's built into every Lincoln
-model for 1983." Substitute Blass for "Lincoln" and
-you'll have identical praise. The CAR seeps into such
-phrases as "only cars of the highest calibre. . .", *
-boards of bold, racy, potent color," "a car of singular quality and style," "a celcbration of American creativity and
-style." Bill Blass has eyes that are "far-reaching," the same
-kind of eyes needed when driving? He designed the Mark
-VI (wouldn't every car's tire make a mark?) that featured
-"custom appointments that show off the inimitable touch
-of Blass." The ad further claims it's "a marvelous expres
-checker
-sion of the Lincoln commitment to originality. And fashion. And image. Your image. Imagine the pleasure of owning a car as elegant as you are." The car's image is identic
-to "your image" for it's just "as elegant as you are.
-From car to "you," the one wealthy enough to buy his
-$1790-$2600 dresses, will undergo the transformation into
-the car-model or carideal our culture consistently proposes. Its last page featured cars under wraps, implicity asserting that the human wrapped in Bill Blass clothes equals
-the cars wrapped by sheets, whose "lines are deftly drawn."
-Designing clothes and designing cars are equivalent pastimes since the entities that will be contained in them will
-be human beings. Blass rhymes with class, and these cars
-
-133
-THE AGE OF OIL
+Even if the ac\e{cel}erating \e{cel}ebrity were to be actually driving, loaded with drugs as their cars are loaded with oil, the possibility for them to suffer another crash in\{cre}ases the density of the allegorical scheme onto another level.  The star/car that acts/drives down films/roads now meets its rhetorical inversion: \e{peripeteia}, the reversal of fortune, the "sudden-unexpected reversal of the action in an opposite (unfortunate) direction." (Lausberg) Peripeteia's compliment, \e{anagnorismos}, is a "sudden process of recognition that proceeds from a change of direction of the course of action." The simplest example of peripeteia is from Aristotle's \e{Poetics:} "\ld as it is for instance in Oedipus: here the opposite state of things is produced by the Messenger, who, coming to gladden Oedipus and to remove his fears as to his mother, reveals the secret of his birth." The light said "go" and when we drove on, another car came upon our left, smashed it, injured our flesh and hospitalized us.  Our lives changed in different degrees of intensity from that point onward. Car accidents, as well as the "pitfalls" of success (peripeteia is etymologically related to fall, \e{piptein}), reverse the ascension into Glory into the descent into obscurity, the same peripeteia or Fall that met Adam and Eve when God expulsed them from Paradise.
 
-exult in their tastefulness, "with the far-reaching prestige
-that emanates from owning a luxurious, spaciously comfortable car." Acquiring taste and "far-rcaching" prestige
-are accomplished by driving in Bill Blass designs, be they
-cars or clothes.
-
-Some other examples. An advertisement for Benhill
-clothes says: "Benhill Overhaul will have you running on
-all cylinders. $109." The poster shows a man standing beside a car wherein a girl is sitting at the driver's seat. He
-is presumably decked out in the "Benhill Overhaul." The
-ad goes on to say, "high-octane selection of suits, slacks,
-jackets. . ." and "You'll love the mileage your clothing dollar gets at Benhill." The fashion store Plymouth! shows
-that the clothes one puts on and the Plymouth that one
-drives in are identical even though a mere exclamation
-mark suggests some difference. A model who walks down a
-runway in a Plymouth! dress corresponds to a Plymouth
-that drives down a highway. Why do John Weitz fashion
-ads appear on the back of buses? Many of them feature a
-cartoon of a sports car, an oblique reference to his line of
-sports jackets or his sports car racing pastime?
-
-The diamond stylus that travels down a record groove
-is an allegory of a car traveling down a highway. The stylus
-(car) repeats its incision on a groove (road). Thus the
-sound created by the stylus associates with the sound cre
-ated by the car. Whether our radios are on or not, the sound
-happens all the time. Nearly everyone lives near a road
-from which issues the sound of tires grating down the
-pavement. Nearly everyone possesses a radio from which
-issues the sound of a stylus grating down those grooves.
-Notice in radio a repetition of road, radio, an anagram for
-I road. I rode down the road of the radio. Listening, too,
-
-134
-Calling All Cars
-
-simply metaphorizes into driving. (The phora in metaphora
-means "change with respect to location.") Dancing late
-into the night resurfaces into driving late into the night,
-the marathons of cross-country travel are met by the marathons of dancing until dawn on oil-evocative drugs. We're
-also probably wearing our jeans/sneakers, those clothes
-that repeat the car/tire idea since once out of our car,
-these clothes continue the metonym from flesh to clothes
-to metal, from body to jeans to car. The music-saturated
-air can happen inside the discotheque as well as inside the
-car. One stipulates dancing, the other driving. Dancing and
-driving don't mix, but the music essentially eulogizes the
-interior rumblings of the car. There's even a music to those
-studded winter tires that crepitate once they strike the surfaces of roads. That delicate, watery sound, like the aftermath of waves dripping from myriads of pebbles on rocky
-beaches, has often met my ear even through the dense cover of forests. The pervasive car and tire static accompanies
-nearly every other sound, filtering ubiquitously into every
-other aural event, crashing surf, creaking trees, groaning
-wind. Every car possesses a muffler to attenuate the loud
-bangings inside, and every car interior is protected from
-that engine's loudness by solid metal surfaces, another
-muffler of sorts for the occupant on the inside. Radios, on
-full blast, displace the less harmonious sounds occuring
-inside. So much burning of oil in the engine encounters so
-much tribute to sexual passion and romantic love, subjective states that popular music calls "hot," *'on fire,"
-"burning up," virtual states for the combustion of the car's
-fuel. Such lyrics on these vinyl records confirm that this
-sound is the voice of oil, its prosopopoeia. Nothing is in
-the stylus' way as nothing is in the way of the car's path.
-
-135
-THE AGE OF OIL
+Tragedy's most powerful clements are its Peripeties and Discoveries, so says Aristotle. Epic poetry also "requires Peripeties, Discoveries, and scenes of suffering just like Tragedy." So \e{the} American Tragedy is the car that didn't go, it stopped too soon, it went off at the wrong time, it turncd up the wrong street (as did Joe Gillis's in \ft{Sunset Boulevard}) and no doubt its other failures along life's journeys. Drinking and driving don't mix (carousing), otherwise the incompatible activities will perform what everyone knows is an ambiguity in the phrase "falling star." The Great Crash of 1929 was also a "sudden or unexpected reversal of circumstances or situation" of the Roaring Twenties when another reversal of fortune took place, the emergence of the talkies after a decade of silent films. The next decade, the Depression, reversed the mythologies of quick success into the realities of nagging poverty, something that could take place at any time knowing the capriciousness of capital, which, like any text we read, gives us no idea as to what it's up to. Missing an exit sign (the "change in direction") and its Discovery by reversing one's tracks, as on our interstate freeways, resembles rereading an entire passage from a novel because we didn't discover $X$ was married to $Y$. Going forward, and remaining \e{there}, however contradictory that sounds, is \e{the} dilemma that besets those success stories who have been "driving" or "smooth sailing" all along and are now faced with the problems of maintaining their former speeds. The Allegorical Car encounters the Careening Peripeteia. Hopefully the victim will come to his senses and recognize or discover the means to change direction.
 
-A skipping record evokes thresholds one never wants to
-encounter in a car, proving once again that "dancing is
-dangerous."
-
-Various New York discos I've visited, such as Studio
-54, the Saint, the Roxy, mimic this car/road stylus/groove
-idea. The DJ booth at Studio 54 (where they play 45s) resembles a pickup ncedle as it hovers above a partially
-curved dance floor. The Saint's entire dance floor is round
-and its dancers are again the stylus that ""dances" down
-the grooves. The Roxy is a roller-disco, but for those occasions when dancers don't have to wear rollerskates, their
-ordinary heels almost have wheels as they did on all the
-other evenings. The series could proceed as such: cars drive
-on roads as styluses course down record grooves as dancers
-dance on dance floors. A stylus is related to a stiletto and
-the pointed tips of cowboy boots (so often capped with
-silver, a precious substance like the diamond) evoke the
-stylus that writes out sound into the air. One track of a
-dancer's stiletto incises just as deeply as all the wheels of
-chariots that had worn down the stones of the Via Appia
-Antica. "Another disco allegory" bemoans the listener
-when he hears such lyrics as "Circles, circles," "It's my
-turn now," "Your love keeps me going round and round."
-What do songs of love mean over disco sound systems
-when the v in love mimics the diamond stylus as the rest of
-love's letters, loe, recombines into oel, a near-spelling of 0il?
-Or what about groove whose r can substitute with an [ and
-produce gloove, a reverberation of love? We never tire of
-hearing the word love in our ears since love always monumentalizes the stylus that writes down oil/vinyl records,
-those grooves of love.
-
-Much of these symptoms occur in the "fast lanes" of
-
-136
-Calling All Cars
-
-gay society. The "tight jeans" crowd, those addicted to impeccable surfaces, oil-derived music, stimulants, muscles,
-amyl nitrate (a snorted drug that smells like oil), smoking
-tarrife faggots (cigarettes), appear to have assimilated the
-car-ideal quite thoroughly. Gay, so close to car, is even
-closer when the CAR reverses its R; CAY the upside down
-R then embeds a Y: ¥/Y. Taking the reversals of C into G
-and the R into Y into effect, the CAR then becomes the
-GAY. Gay life always narrates its successes and failures to
-live up to its car-ideal or ego-ideal, the car being the
-standard from which its imaginary (narcissistic) captations
-take place.
-
-Undoubtedly there are mysteries such as gal or girl,
-two words that are perfect echoes of the CAR. Even the
-figure of incision, the v in love or Levi's or groove, resembles the genitalia of the female, another tire that incises
-the extensive trails of allegory. What then is a girl's best
-friend? Stylish attire? Crystalline drugs? Valentino?
-Cremes? Gels? Mascara? Diamonds? Diamond styluses?
-Might they all provide as faithful a service as do chauffeurs
-who never tire in their driving chores? Attired in such luxurious riches, the girl might feel like Schonfeld's "Triumph of Venus" where the painting depicted the goddess
-of love in a car pulled by all the other gods. Vulcan's labor
-assures the gentler sex that she'll be well-protected behind
-the armor of the car, now that she's also swathed in furs,
-diamonds, perfumes, a virtual inventory of car-related
-tropes. Diamonds are a girl's best friend just as cars can
-claim a similar status, both nearly indestructible substances that incise paths. "To incise paths" equivocates
-with id.as of coitus, further confirmation of the allegorical
-line's density and unconsciousness.
-
-137
-THE AGE OF OIL
+The peripeteia is sudden, unexpected. Right away, in the dictionary, even with words whose initial three letters spell CAR, we find the series \e{careen}, \e{career}, \e{carefree}, \e{careful} and \e{careless} follow each other nearly one after the other. This purely lexigraphic coincidence, this succession of antonyms, can engender the following sentence: to careen from the career shows that one was carefree, not careful, in fact, careless. Their swift contiguity merely duplicates the suddenness of inattention and its tragic reversals, the brief moment when one isn't watching and \e{careful} swerves into \e{careless}, letting the \e{career careen}. There's also \bt{Webster's} definition of \e{carry on}: "1) to behave in a foolish, excited, or improper manner; 2) to continue one's course or activity in spite of hindrance or discouragement." Two antithetical meanings exist in the same word, for the Car's uninterrupted course, its \e{carrying on} (continuance) will not, pardon the expression, be carried off (realized) because one \e{carried on} (acted foolishly). Further, the \booktitle{Oxford English Dictionary} right after the noun "car" ("a wheeled vehicle or conveyance") lists an adjective, "car," meaning: "a. left, sinister; commonly in car-hand, car-handed. b.  awkward; perverse; wrong; sinister." It mentions a proverb, "You'll go a car gate yet." If the \e{car} is to stay on course it musn't go in a \e{car} direction. Here the metaphor "left or right" coerces as intensely as "to kill or not to kill," for if the car direction is kept, you might get killed. Driving in a car- or left-handed lane can be as dangerous as driving in a right-handed lane depending on what country you're driving in. The right course for the car is met up with the wrong or car course. The "fiery carre" of the sun will always travel east to west and never in a car direction.
+
+The \e{ca} in \e{car} is an echo of \e{go}. (And an echo of \e{go} is in e\e{cho.}) The \e{ca}(r) must \e{go}. Another ambiguity: the car \e{must go}, 1) either it goes forward, in its fated direction, 2) or it gets discarded, thrown away. Of course it can "go backward" in order to "go away." Forward or backward, on course or reversed, car or right, all are contingent upon "going" in whatever direction. Verbs that convey movement enact the same transitivity of their referents. A movement of the eyes, reading, requires a registration of the word "movement." When "movement" disappears, we move on. We don't read in a car direction but just to the \e{right}. Here the homonym with \e{write} is a mysterious \e{rite} in our culture's habits of \e{right}-oriented eye movement while reading and in its bearing to the \e{right} lane while driving.  But then as intense as the metaphor is, we veer left while reading only to stay on course to the right. In a car we may sit to the left, but we hug the right. We may choose the Left (whose version of history is a peripeteia of capitalism by means of revolution) or the Right who oftentimes only distinguish themselves when they \e{right} social order as they \e{write} out or supress the Left. Maybe the reason why a communist revolution in America will fail is because everyone has to drive on the right. Bearing right is a cryptic anthem to conservative politics, while understanding the \e{double entendre} demands reading to the left a little.
+
+Write/right/rite/tire enter into another meaning, style, where the plural of \e{tires} most closely evokes that of \e{style} once certain transformations are accomplished: tires/stire/stile/style. Through anagrammatization and switching the \e{r} into an \e{l}, \e{tires} becomes \e{style}, a relation not far from each other since the tire is a stylus of sorts, a pen that leaves its marks on roads, like styluses that incise record grooves, like draughtsmen who design clothes.
+
+The style of one's tiring or attire, the clothes designed by a famous name, incises the CAR throughout its discourse, the proper names, brand names, slogans and advertisements surrounding such articles.
+
+The names of designers, like the brand names of cars, closely evoke the CAR. We may simultancously think of the person who designed the piece or the product itself that has such a name attached to it. Among the many names that repeat the CAR within the designers' names are: \e{Cal}vin \e{Kle}in, Os\e{car} de la Renta, Pierre \e{Car}din, Nino \e{Cer}ruti, \e{Chri}stian Dior, \e{Cla}ude Montana, \e{Cour}ri\`eges, Diane von Furstenb\e{erg}, Un\e{gar}o, \e{Kar}l \e{Lager}feld, Tri\e{gere}, Kay Un\e{ger}, Thierry Mu\e{gle}r, \e{Glo}ria Sachs, Anne \e{Kle}in, Sonia \e{Rykiel}, \e{Kri}zia, \e{Reik}o, Nina \e{Ric}ci, Guy La\e{roc}he, and Gianni Ve\e{rsac}e. \e{Cal}vin \e{Kle}in, \e{Karl} \e{Lager}feld, T\e{riger}e, Sonia \e{Rykiel} all have multiple repetitions of CAR within their names.  Gianni Ve\e{rsac}e possesses an anagram of \e{cars} within his while \e{T}h\e{ier}ry Mugler has \e{tire}.
+
+Fashion products also evoke the CAR. Dresses include: St. \e{Gil}lian, \e{Cri}cketeer, \e{Chlo}e. Other \e{clo}thing articles (hosiery, shoes, purses) comprise: \e{Car}ess (purses), \e{Gar}olini \& \e{Gal}o (shoes), Ly\e{cra}, F\e{lex}atard, \e{Ger}be and Le \e{Gour}get (hosiery), \e{Cal}deron (belts), B\e{lac}k\e{gla}ma (furs). Jewelry and watches go as such: Van \e{Cle}ff \& Arpels, \e{Car}tier (car and tire), \e{Cel}lini \e{Col}lection by Ro\e{lex} (the word \e{col}lection is often found in fashion periodicals), \e{Kre}mentz, Ma\e{joric}a, Con\e{cor}d \e{Quar}tz. Perfumes, so often a mystification of oil, are the most highly refined product. One perfume, Nocturnes, is made by \e{Car}on. Even the stores where these products are sold have the CAR haunt their names: Neiman-M\e{arc}us, B\e{erg}dorf-Goodman, Mc\e{Cur}dy's, \e{Col}lin's, Mi\e{chel}le's Boutique. Another area of bodily adornment, of tiring, is skin\e{car}e: \e{Cli}nique, \e{Cla}rins, Pres\e{cri}ptives, \e{Geor}gette \e{Kli}n\e{ger}.  Throughout the language of the advertisements for these collections and products one finds a plenitude of CAR-haunted words: mas\e{car}a, \e{cli}ni\e{cal}, \e{cel}lular, fa\e{cial}, spe\e{cial}ist, \e{cla}ssic, \e{cla}y, \e{cle}anse/\e{cle}anser/\e{cle}ansing, \e{col}lagen, \e{colog}ne, \e{col}or, \e{cre}me, \e{cry}stal, all\e{erg}y, \e{gel}, \e{gla}mor, \e{glo}w, \e{gol}d, \e{gra}ins, pro\e{gra}m, f\e{ragra}nce, \e{gre}at, s\e{ilkier}, m\e{ilk}, \e{leg}, \e{liqu}id, \e{look}, comp\e{lex}ion, \e{lux}ury, \e{reg}imen, \e{rec}overy, en\e{ric}h, ind\e{ulg}e.  Sometimes their congruity produces the following conjunctions: M\e{ilk} \e{Cle}ansing \e{Gra}ins, Spe\e{cial}ist \e{Cell}ular \e{Rec}overy (whose \e{rec} sounds like \e{wreck}, the opposite of \e{rec}overy), \e{Max}imum \e{Car}e Eye \e{Cre}me (\e{max}-beginning words always evoke \e{wax}), All\e{erg}y Tested/F\e{ragra}nce Free (for \e{Cli}nique), Supp\e{leg}en Firming Moisture \e{Cre}me, Skin \e{Car}e/Skin Repair. Indeed everytime the word "care" is used, its closeness to car only enforces the quasi-natural relation between bodily maintenance, the care or attention we give to our health, and automotive maintenance, the care or attention we give to our cars. Cosmetics like "S\e{car}let" or "Jolen \e{Cre}me B\e{leac}h" metaphorically glide into car-waxes, polishes, buffs, and the like. Revlon's "Back at the Ranch Collection" describes itself as a "\e{ric}h \& restless \e{collec}tion of \e{col}ors" where the CAR redundancy confirms its status as a \e{cry}ptic \e{gar}land of our \e{cul}ture's most magi\e{cal} permutation, Merle Norman is an organization that calls itself "the place for the custom face" where women undergo its "no-nonsense make-over" in order to become more beautiful and confident with their appearance and wardrobe. Such a drastic change resembles Detroit's yearly restyling of its cars, as is also proved by a Revlon slogan (R\e{evlo}n embeds love): "New Year, New You, New Colors for Fall." Paco Rabanne, true to fashion's blending of the flesh-proximate (perfumes) with the not-so-flesh proximate (cars), markets a product called "M\=et\=al." The pretentious diacritical marks mystify the consumer into thinking that it's not metal that their bodies are aspiring to (which they, in fact, are). The edge of the body begins with clothes and then moves on to the car. Cosmetics are the closest to the body, perfumes almost of the body's very essence. This veil or flimsy appurtenance at flesh's very edge simply gradiates towards its architectural enclosure: the car, the apartment, the office. The language of furs, the most luxurious and protective of the body, repeats the CAR: "Fur, \e{Racier}, \e{Rug}ged, More Elemental" and "\e{Cry}stal Fox \& \e{Cro}ss Fox."
+
+From flesh to clothes to cars, so goes the metonym.  Bill Blass has designed women's clothes just as he has designed an automobile, the Lincoln-Mercury Division's Mark VI, the "Bill Blass Edition." A multi-paged advertisement which appeared in the October 1982 \journaltitle{Vogue} (whose \e{V} mimics the styler's pen or scissors) promoted both Ford cars and Bill Blass fashions. Three cars, the 1983 Mark VI, 1983 Continental, 1983 Lincoln, were photographed next to three models (a word that also means car) posing in different Blass outfits. Right away the language is ambiguous: "The Lincoln Commitment---It's built into every Lincoln \e{model} for 1983." Substitute Blass for "Lincoln" and you'll have identical praise. The CAR seeps into such phrases as "only \e{cars} of the highest \e{cal}ibre\le", "chec\e{ker}boards of bold, \e{rac}y, potent \e{col}or," "a \e{car} of sin\e{gul}ar \e{qual}ity and \e{style}," "a \e{cel}ebration of Ame\e{ric}an \e{cre}ativity and \e{style}." Bill Blass has eyes that are "far-\e{reac}hing," the same kind of eyes needed when driving? He designed the M\e{ark} VI (wouldn't every car's tire make a mark?) that featured "custom appointments that show off the inimitable touch of Blass." The ad further claims it's "a marvelous expres checker sion of the Lincoln commitment to originality. And fashion. And image. Your image. Imagine the pleasure of owning a car as elegant as you are." The car's image is identic to "your image" for it's just "as e\e{leg}ant as you are.  From car to "you," the one wealthy enough to buy his \$1790--\$2600 dresses, will undergo the transformation into the car-model or carideal our culture consistently proposes. Its last page featured cars under wraps, implicity asserting that the human wrapped in Bill Blass clothes equals the cars wrapped by sheets, whose "lines are deftly drawn." Designing clothes and designing cars are equivalent pastimes since the entities that will be contained in them will be human beings. Blass rhymes with class, and these cars exult in their tastefulness, "with the far-reaching prestige that emanates from owning a luxurious, spaciously comfortable car." Acquiring taste and "far-rcaching" prestige are accomplished by driving in Bill Blass designs, be they \e{cars} or \e{clo}thes.
+
+Some other examples. An advertisement for Benhill clothes says: "Benhill Overhaul will have you running on all cylinders. \$109." The poster shows a man standing beside a car wherein a girl is sitting at the driver's seat. He is presumably decked out in the "Benhill Overhaul." The ad goes on to say, "high-octane selection of suits, slacks, jackets\ld" and "You'll love the mileage your clothing dollar gets at Benhill." The fashion store Plymouth! shows that the clothes one puts on and the Plymouth that one drives in are identical even though a mere exclamation mark suggests some difference. A model who walks down a runway in a Plymouth! dress corresponds to a Plymouth that drives down a highway. Why do John Weitz fashion ads appear on the back of buses? Many of them feature a cartoon of a sports car, an oblique reference to his line of sports jackets or his sports car racing pastime?
+
+The diamond stylus that travels down a record groove is an allegory of a car traveling down a highway. The stylus (car) repeats its incision on a groove (road). Thus the sound \e{cre}ated by the stylus associates with the sound cre ated by the car. Whether our radios are on or not, the sound happens all the time. Nearly everyone lives near a road from which issues the sound of tires grating down the pavement. Nearly everyone possesses a radio from which issues the sound of a stylus grating down those grooves.  Notice in \e{radio} a repetition of \e{road}, \e{radio}, an anagram for \e{I road}. I rode down the road of the radio. Listening, too, simply metaphorizes into driving. (The \e{phora} in \e{metaphora} means "change with respect to location.") Dancing late into the night resurfaces into driving late into the night, the marathons of cross-country travel are met by the marathons of dancing until dawn on oil-evocative drugs. We're also probably wearing our jeans/sneakers, those clothes that repeat the car/tire idea since once out of our car, these clothes continue the metonym from flesh to clothes to metal, from body to jeans to car. The music-saturated air can happen inside the discotheque as well as inside the car. One stipulates dancing, the other driving. Dancing and driving don't mix, but the music essentially eulogizes the interior rumblings of the car. There's even a music to those studded winter tires that \e{cre}pitate once they strike the surfaces of roads. That de\e{lic}ate, watery sound, \e{lik}e the aftermath of waves dripping from myriads of pebbles on \e{roc}ky beaches, has often met my ear even through the dense cover of forests. The pervasive car and tire static accompanies nearly every other sound, filtering ubiquitously into every other aural event, \e{cra}shing surf, \e{cre}aking trees, \e{gro}aning wind. Every car possesses a muffler to attenuate the loud bangings inside, and every car interior is protected from that engine's loudness by solid metal surfaces, another muffler of sorts for the occupant on the inside. Radios, on full blast, displace the less harmonious sounds occuring inside. So much burning of oil in the engine encounters so much tribute to se\e{xual} passion and romantic love, subjective states that popular music calls "hot," "on fire," "burning up," virtual states for the combustion of the car's fuel. Such lyrics on these vinyl records confirm that this sound is the voice of oil, its prosopopoeia. Nothing is in the stylus' way as nothing is in the way of the car's path.  A skipping record evokes thresholds one never wants to encounter in a car, proving once again that "dancing is dangerous."
+
+Various New York discos I've visited, such as Studio 54, the Saint, the Roxy, mimic this car/road stylus/groove idea. The DJ booth at Studio 54 (where they play 45s) resembles a pickup ncedle as it hovers above a partially curved dance floor. The Saint's entire dance floor is round and its dan\e{cer}s are again the stylus that "dances" down the grooves. The Roxy is a roller-disco, but for those occasions when dancers don't have to wear rollerskates, their ordinary \e{heels} almost have w\e{heels} as they did on all the other evenings. The series could proceed as such: cars drive on roads as styluses course down record grooves as dancers dance on dance floors. A stylus is related to a stiletto and the pointed tips of cowboy boots (so often capped with silver, a precious substance like the diamond) evoke the stylus that writes out sound into the air. One track of a dancer's stiletto incises just as deeply as all the wheels of chariots that had worn down the stones of the \e{Via Appia Antica}. "Another disco allegory" bemoans the listener when he hears such lyrics as "Circles, circles," "It's my turn now," "Your love keeps me going round and round." What do songs of \e{love} mean over disco sound systems when the \e{v} in lo\e{v}e mimics the diamond stylus as the rest of love's letters, \e{loe}, recombines into \e{oel}, a near-spelling of \e{oil}?  Or what about \e{groove} whose \e{r} can substitute with an \e{l} and produce g\e{loove}, a reverberation of \e{love}? We never tire of hearing the word love in our ears since \e{love} always monumentalizes the stylus that writes down oil/vinyl records, those g\e{roove}s of \e{love}.
 
-One of the car's greatest blessings is its relative immunity to the outside. Once outside, out-of-the-house, the car
-offers us the possibility of entering into another interior,
-another inside. While driving one can close the windows so
-as to shield oneself from the inclemencies of weather,
-noise and other distractions. But is one still "outside"
-even though one is "inside"" the car?
-
-Already a great deal of this discussion has asserted the
-car's cryptic character when the car essentially reproduces
-the attributes of the crypt or vaulted enclosure.
-
-A crypt always complicates the opposition between inside and outside. The vault that is buile to protect the dead
-from the outside also protects the dead who might be living from ever coming back inside, inside our homes, inside
-our bodies. When a loved-one dies we also build an intramental crypt that shields us from the dangerously thrilling
-fantasics of bodily contact with the corpse. Incorporation,
-fantasmatic, hallucinatory and magical, becomes supplemented by introjection, a slow, laborious and ultimately
-effective process. Introjection assimilates the absent object
-along the lines of identification or idealization and not
-along incorporation's more violent strategies. The vault
-that incorporation requires can only speak in ruses, disguises and lexical contiguities that hide the fantasies of
-contact with the loved one. This vaulted enclosure is then
-outside to the rest of our inside. Once inside it separates
-from the surroundings much like the real vault buried in
-the ground but hermetically protected from the surrounding earth. The crypt or vault in a cemetery mimics the
-crypt or vault in our Self. (See Jacques Derrida's preface
-'Fors' to Nicholas Abraham and Maria Torok's Cryptonymie: Le verbier de "PHomme aux loups.)
-
-138
-Calling All Cars
+Much of these symptoms occur in the "fast lanes" of gay society. The "tight jeans" crowd, those addicted to impeccable surfaces, oil-derived music, stimulants, mus\e{cle}s, amyl nitrate (a snorted drug that smells like oil), smoking tarrife faggots (cigarettes), appear to have assimilated the car-ideal quite thoroughly. \e{Gay}, so close to \e{car}, is even closer when the CAR reverses its R; CA\turn{R} the upside down R then embeds a Y: \turn{R}/Y. Taking the reversals of C into G and the R into Y into effect, the CAR then becomes the GAY. Gay life always narrates its successes and failures to live up to its car-ideal or ego-ideal, the car being the standard from which its imaginary (n\e{arc}issistic) captations take p\e{lac}e.
+
+Undoubtedly there are mysteries such as \e{gal} or \e{girl}, two words that are perfect echoes of the CAR. Even the figure of incision, the \e{v} in lo\e{v}e or Le\e{v}i's or groo\e{v}e, resembles the genitalia of the female, another tire that incises the extensive trails of allegory. What then is a girl's best friend? Stylish attire? Crystalline drugs? Valentino?  Cremes? Gels? Mascara? Diamonds? Diamond styluses?  Might they all provide as faithful a service as do chauffeurs who never tire in their driving chores? Attired in such luxurious riches, the girl might feel like Sch\"onfeld's "Triumph of Venus" where the painting depicted the goddess of love in a car pulled by all the other gods. Vulcan's labor assures the gentler sex that she'll be well-protected behind the armor of the car, now that she's also swathed in furs, diamonds, perfumes, a virtual inventory of car-related tropes. Diamonds are a girl's best friend just as cars can claim a similar status, both nearly indestructible substances that incise paths. "To incise paths" equivocates with id.as of coitus, further confirmation of the allegorical line's density and unconsciousness.
+
+One of the car's greatest blessings is its relative immunity to the outside. Once outside, out-of-the-house, the car offers us the possibility of entering into another interior, another inside. While driving one can close the windows so as to shield oneself from the inclemencies of weather, noise and other distractions. But is one still "outside" even though one is "inside" the car?
+
+Already a great deal of this discussion has asserted the car's \e{cry}ptic character when the car essentially reproduces the attributes of the crypt or vaulted en\e{clo}sure.
+
+A crypt always comp\e{lic}ates the opposition between inside and outside. The vault that is buile to protect the dead from the outside also protects the dead who \e{might} be living from ever coming back inside, inside our homes, inside our bodies. When a loved-one dies we also build an intramental crypt that shields us from the dangerously thrilling fantasics of bodily contact with the \e{cor}pse. In\e{cor}poration, fantasmatic, hallucinatory and magical, becomes supplemented by introjection, a slow, laborious and ultimately effective process. Int\e{roj}ection assimilates the absent object along the lines of identification or idealization and not along incorporation's more violent strategies. The vault that incorporation requires can only speak in ruses, disguises and lexical contiguities that hide the fantasies of contact with the loved one. This vaulted enclosure is then outside to the rest of our inside. Once inside it separates from the surroundings much like the real vault buried in the ground but hermetically protected from the surrounding earth. The crypt or vault in a cemetery mimics the crypt or vault in our Self. (See Jacques Derrida's preface `\e{Fors}' to Nicholas Abraham and Maria Torok's \booktitle{Cryptonymie: Le verbier de l'Homme aux loups.})
 
 So what does this have to do with the car?
 
-If Americans want to attain the attributes of the car,
-they must interiorize its characteristics in differing degrees
-of intensity. The movie star who changes his/her name
-with the CAR shows us a moment of such encrypting, a
-moment when the outside, the car, enters the inside, the
-person's proper name, the seal and stamp of subjectivity.
-When this happens we can safely say that the movie star
-has incorporated the CAR, both at the level of the letter
-and in the steps of introjection when the star proposes the
-car as its ideal. But the rescrawling of the proper name also
-becomes a rescrawling of the body, another example of the
-inorganic triumphing over the organic, the mechanical
-over the biological and thus fashions something asindeterminate as the crypt's status as "inside" or "outside."
-
-The following might be an appropriate parable of our
-Industrial Age, the time when flesh becomes equatable
-with metal or the bounties of Nature must mingle with the
-technological achievements of Man. When our bodies
-decay through disease or age, medical science can augment
-or replace the delapidated organs, much like a car mechanic who can substitute an ailing engine with another better
-running one. This area of medicine is called "spare-part
-surgery" where man-made objects take over nature's fabrications. However there are those who will assert that man
-is a product of nature and thus such devices are "natural"
-in a sense. My argument only points out that human tools
-can change what invented it: man. That independence
-from "nature" demonstrates that man's products are not
-determined by the substratum of their creation. For now
-we'll simply assume an incompatibility between nature
-and man even though nature could account for everything
-
-139
-THE AGE OF OIL
+If Americans want to attain the attributes of the car, they must interiorize its characteristics in differing degrees of intensity. The movie star who changes his/her name with the CAR shows us a moment of such encrypting, a moment when the outside, the car, enters the inside, the person's proper name, the seal and stamp of subjectivity.  When this happens we can safely say that the movie star has incorporated the CAR, both at the level of the letter and in the steps of introjection when the star proposes the car as its ideal. But the rescrawling of the proper name also becomes a rescrawling of the body, another example of the inorganic triumphing over the organic, the mechanical over the biological and thus fashions something as indeterminate as the crypt's status as "inside" or "outside."
+
+The following might be an appropriate parable of our Industrial Age, the time when flesh becomes equatable with metal or the bounties of Nature must mingle with the technological achievements of Man. When our bodies decay through disease or age, medical science can augment or replace the delapidated organs, much like a car mechanic who can substitute an ailing engine with another better running one. This area of medicine is called "spare-part surgery" where man-made objects take over nature's fabrications. However there are those who will assert that man is a product of nature and thus such devices are "natural" in a sense. My argument only points out that human tools can change what invented it: man. That independence from "nature" demonstrates that man's products are not determined by the substratum of their creation. For now we'll simply assume an incompatibility between nature and man even though nature could account for everything that is "man."
+
+No one would be so naive to believe that the body \e{is} a machine, for Donald Longmore, the author of \booktitle{Spare-Part Surgery: The Surgical Practice of the Future}, says that the body is "of infintiely greater subtlety." Already medical technicians have invented "extracorporality machines" that take over the functions of the heart, lungs and kidneys, but not the liver and intestines for they're ""far beyond our skills." The heart-lung machine, an aid for the surgeon performing open-heart surgery, perfects the identity between man and machine, but such surgery is not without its dangers: "Some years ago I compared the surgeon's task in attempting to repair a defective heart with the job of repairing a defective engine in a singleengined aircraft halfway over the Atlantic on a stormy night." Along the lines of this aircraft analogy Longmore also states that the "ricky parts of operating a heart-lung machine are while going into and coming off bypass." For those whose limbs have failed them, prosthetic limbs are also short of perfection: "The chief barrier to progress is our inadequate materials technology: strength-to-weight ratios are far too low; power packs, whether of bottled gas or electrical cells, are short-lived and too heavy; gas- and electric-powered motors respond crudely compared with the line responses we can achieve with our muscles; mechanical joints are clumsy and unadaptable; and so on." The machine's ultimate giveaway is that "there is no prosthetic substitute for touch, temperature, pain, position, pressure, or slip." When accidents of birth or circumstance force people to be bound entirely to a wheelchair, "the `hand' will be part of the `chair' (which may, in fact, be a walking bed)\ld" Sometimes amputees divide the prosthetic limbs into a "cosmetic" hand for social occasions and a "split hook" for work or at home.  The "split hook" oftentimes is more "efficient" than a regular hand. It is better equipped to operate a "linotype composing machine, drive a suitably engineered vehicle, run the signal box of a mainline terminus, use approachradar facilities, or fly a Gemini spacecraft---and in each case to move the controls much quicker than a man using using his hands."
+
+Various materials, such as artificial heart suture threads, glues and metal parts have found themselves inside the body of many a human being. As Longmore states, "Their use has taught us a good deal about the interaction between living tissue and manufactured materials." The threads that surgeons used were silk and gut, but both were proteins and "liable to attack by the body's defenses." Nowadays "high-tensile man-made fibers" constitute the surgical thread. Stapling machines or barbed rivets ("miniature arrows with double arrowheads at each end of the shaft") facilitate sealing blood vessels. Plastics, such as epoxy and polyurethane resins, have also done the job of scaling vessels. However the "most effective glue so far is the monomer made by Eastman Kodak." Metals are also within the field of spare-part medicine, provided they don't "corrode" or "fatigue." "They can be formed into complex shapes. They can be plated or polished to give a smooth surface finish. They conduct electricity. And they do not provoke the immune response." The metals that have been used are Vitallium ("an alloy of 65 percent cobalt, 30 percent chromium, 3 percent molybdenum, and traces of manganese, silicone, and carbon), 18/12 stainless steel ("steel with 18 percent chromium and 12 percent nickel"), and "commercially pure (99 percent) titanium."
+
+The dream of a perfectly running artificial heart (after all "the heart is a pump") would fulfill the identity between an automotive engineer and a surgical pioneer. "The earliest experimental hearts were powered by electricity---a clean fuel, with no exhaust problems." Electricity is still the power for the "best foreseeable artificial heart," even though Longmore suggests a "minute nuclear reactor\ld\ implanted in some convenient body cavity." The material for the prosthetic valves have been fashioned out of "Dacron, Teflon, Mylar, Ivalon, sponge, Stafoam, and polyurethane without liberating clots into the bloodstream."
+
+Everything mentioned so far obeys the rubric of "heterografts" (grafts from sources outside the body) while "homografts™ (grafts from sources of the body, donations and the like) comprise: "corneas, cartilages, bone chips, arteries, veins, heart valves, and blood." The part-machine, part-human in the \tvtitle{Six Million Dollar Man} TV series possessed a heterografted eye while the spinoff that featured a woman presented a heterografted ear.
+
+Somewhat removed from our vital functions is the area of reconstructive or plastic surgery. Indeed ''plastic" evokes the malleability or customizability of the human body as well as the substances that are injected to enhance proportions. Such substances "must be inert, noncarcinogenic, and have physical properties which simulate the tissue it is replacing." (J. Stallings, \booktitle{A New You: How Plastic Surgery Can Change Your Life}) Stallings, a professional cosmetic surgeon, no longer uses the usual "silicone rubber devices" for breast augmentation, but the "Klein inflatable implant\ld\ filled with physiologic saline or salt water." Here the \e{Kle}in implant will "simulate the tissue it is replacing," proving how far medical technology has complicated the distinction between flesh and nonflesh (apropos the saline solution, 70 percent of the body consists of salt water anyway), between our insides and outsides.
+
+The car-ideal and its cryptic infestations are no longer merely fantasies that modify our behavior or propel us to utter words with the C, A and R, they also inform one of the most important of human activities, medical science.  There the car-metaphor, the gliding of the human-physiological into the automotive-mechanical, shows us how impoverished our supposed distance from the machine is. Not only does the car-ideal repeat itself endlessly (in our names, makeup, clothes, intoxicants) but when faced with adversity, it accounts for a variety of \e{rec}uperations (spare-part surgery and plastic surgery) that further sustain and enrich life. The car is responsible for much that needs to be altered in our lives, and at the same time it is responsible, \e{via} the same redundancies and saturations, for what every human being needs (as expressed in a car wash advertisement), "Tender Lovin' Care." We may tire of the car's tire that perpetually incises, while we never tire of human \e{cha}rity or brotherly \e{car}e, especially when we find ourselves conveyed by an ambulance's tires. Straightaway, the back seat driver's irony has to yield to hopes for a safe drive.
+
+\chap PERMUTATIONS
+
+\begmulti 6
+ACHL\nl
+ACL \nl
+ACR\nl
+AGR\nl
+AKL\nl
+ALC\nl
+ALK\nl
+ARC\nl
+ARCH\nl
+ARG\nl
+ARK\nl
+ARQU\nl
+ARX\nl
+CAL\nl
+CAR\nl
+CEL\nl
+CER\nl
+CHAL\nl
+CHAEL\nl
+CHAR\nl
+CHEL\nl
+CHER\nl
+CHIL\nl
+CHLA\nl
+CHLE\nl
+CHOL\nl
+CHRA\nl
+CHRE\nl
+CHRI\nl
+CHRY\nl
+CHUL\nl
+CIAL\nl
+CIER\nl
+CIL\nl
+CLA\nl
+CLE\nl
+CLI\nl
+CLO\nl
+CLU\nl
+CLY\nl
+COL\nl
+COR\nl
+COUR\nl
+CRA\nl
+CRE\nl
+CRI\nl
+CRO\nl
+CRU\nl
+CRY\nl
+CUL\nl
+CUR\nl
+CYR\nl
+EGL\nl
+ELC\nl
+ELG\nl
+ELK\nl
+ERC\nl
+ERG\nl
+ERK\nl
+EXL\nl
+GAL\nl
+GAR\nl
+GEL\nl
+GER\nl
+GEAR\nl
+GEOR\nl
+GIL\nl
+GIR\nl
+GLA\nl
+GLE\nl
+GLI\nl
+GLO\nl
+GLU\nl
+GLY\nl
+GOL\nl
+GOR\nl
+GOUR\nl
+GRA\nl
+GRE\nl
+GRI\nl
+GRO\nl
+GRU\nl
+GUAR\nl
+GUER\nl
+GUIL\nl
+GUIR\nl
+GUL\nl
+GYL\nl
+ILC\nl
+ILK\nl
+IRC\nl
+IRG\nl
+IRK\nl
+JER\nl
+JOL\nl
+JOR\nl
+KAL\nl
+KAR\nl
+KEL\nl
+KER\nl
+KHAR\nl
+KIEL\nl
+KIL\nl
+KLA\nl
+KLE\nl
+KLI\nl
+KLO\nl
+KLU\nl
+KLY\nl
+KOL\nl
+KOR\nl
+KRA\nl
+KRE\nl
+KRI\nl
+KRO\nl
+KRU\nl
+KUL\nl
+KUR\nl
+KYL\nl
+LAC\nl
+LAG\nl
+LAK\nl
+LCO\nl
+LEAC\nl
+LEC\nl
+LEG\nl
+LEX\nl
+LIC\nl
+LIG\nl
+LIK\nl
+LIQU\nl
+LIX\nl
+LKA\nl
+LOC\nl
+LOG\nl
+LOK\nl
+LUC\nl
+LUG\nl
+LUK\nl
+LUX\nl
+OGL\nl
+OLC\nl
+OLG\nl
+OLK\nl
+ORC\nl
+ORG\nl
+ORK\nl
+QUAL\nl
+QUAR\nl
+QUEL\nl
+QUIL\nl
+RAC\nl
+RAG\nl
+RAK\nl
+REAG\nl
+REC\nl
+REG\nl
+REIK\nl
+REK\nl
+REX\nl
+RGE\nl
+RIC\nl
+RIG\nl
+RIK\nl
+RKE\nl
+RKI\nl
+ROC\nl
+ROK\nl
+ROYC\nl
+RUC\nl
+RUG\nl
+RYK\nl
+ULC\nl
+ULG\nl
+ULK\nl
+URC\nl
+URG\nl
+URK\nl
+URQU\nl
+XUAL\nl
+\endmulti
+
+\chap The Homonym Hymn
+
+What happens here or hear? "To be here" sounds exactly like "to be hear." \e{Being here}, connoting existence, immediacy and presence, equally reflects \e{being hear}, a presence of sorts, despite the ungrammaticality. If trembling, lingering, standing are occurring, synonyms for being here, then there is also a hearing of that trembling, lingering and standing, for it's the \e{ear} that is \e{here}, the \e{ear} that \e{hears}.
+
+Being here, right now, can only mean reading. Hear!  Here! There's an \e{ear} in \e{rea}d. Here! Hear! \e{Reading} anagrammatizes into \e{ear ding}. Reading here, we hear in our ear, in an inner ear, this "ding, ding" of here or hear. Reading is both immediate (\e{here}) and vocalized (unspoken, but \e{hear}[d]) and made accessible to a hearing, an car ding!  ding! that always rings. Reading or ear ding relates to the interior speech hear(d) here by the inner ear. The read text has a voice that is \e{heard}, its \e{r(h)ead} voice always dinging in the ear right here. (Red, too, is heard here.)
+
+The ding! in reading echoes another language. \e{Das Ding} is the German word for thing or matter. Then \e{reading} is an \e{ear thing}, a thing in the ear. Since it is usually a word silently vocalized, reading summons up "flowers absent of all bouquets" (Mallarmé), the hallucinated mental image for the word's status as signifier. The thing is the hallucination, image, object, or phantasy that hovers from the lattice of a text. \bt{In A Faun's Afternoon}, Mallarmé wrote, "These nymphs I would perpetuate"; the nymphs were simply the faun's or the reader's hallucination, they were the thing hallucinated, "perpetuated," while reading.  Moreover, the Thing buried and hidden in reading, is the \e{ear}, the \e{ding} and the \e{thing}. While reading, we never hear that Thing which is the "ding!", here the typewriter's "ding!" when the line is close to the right margin. All those muffled ""dings!" when we read manuscripts.
+
+Freud distinguished between Word-presentations and Thing-presentations, the latter alone constituted unconscious ideas, the former conscious ones, along with Thingpresentations. The Thing-presentation dominated Unconscious always treats words as things, thereby justifying the use of anagrams and homonyms. Wit, for example, uses the letters in words as things and discovers an unexpected connection. The name of a comedian, David \e{Letter}man, gives encouragement to what must happen for the sake of wit: recombine \e{letters} to create a joke. Thus the word reading has the things which are its letters, allowing us to say it'san Ear-Ding or Thing-in-the-Ear, \e{read-ding}! a \e{read-thing} in the ear. Hopefully texts will "rap tap tap on (our) chamber doors," and those doors, the barriers between the \e{Ucs.} and \e{Cs.} systems, will no longer hide the Thing we dare to read.
+
+Dare we read the letter that begins "Dear\ld"? These "things in the ear," \e{dare}, \e{read} and \e{dear}, pass before our eyes when we see "Dear\ld". "Dear\ld" also commands, "Read\ld," even for the one who writes the letter. No letter, my dear, is sent just to you. And no letter remains merely intact in the letters to friends or in whatever we read.
+
+There are more things to read. Such as the word \e{heart}.  A meaningless anagram for \e{read}, \e{eard}, evokes \e{heart} whose \e{h} is simply a harder breathing of the subsequent \e{e}. \e{Heart}'s \e{t}, too, corresponds to \e{eard}'s \e{d}, for both are dentals, consonants pronounced at the front of the mouth. \e{Heard} from \e{eard}/\e{read} rings not far from \e{heart}, for both have \e{ear} dinging in their hearts: h\e{ear}d and h\e{ear}t.
+
+Are we getting to the h\e{ear}t of \e{rea}ding? If reading is an "ear ding," we notice a complication between the "ding, ding" of the ear and the moment that it presents the hallucinated Thing. "Ding, ding" goes the Thing, the signified, the Mystic Rose. Ding! \e{Ding!} The veil of truth rises and naked it stands where? here? hear? \e{Hear! Here!} When truth is \e{here}, it happens at the moment the Thing is \e{hear}(d). The presentation of the heard Thing comes \e{here} just as it comes \e{hear}(d), here in the ear. Ding! \e{Ding!} Ding! Thing!
+
+It's still hard to find the heart here. When the EarThing rings in our ears, at that moment or instant the literary hallucination stands before the reader's monuments of catastrophes, his cemetery plots of envaulted loves. And these vaults, these burial plots of exquisite, dangerously thrilling Things have erected the thickest walls, the walls of the "heart," the figurative home for such permanently inaccessible Things. The Word-Thing heard while reading must find entrance, must pierce these fortifications. The beauty of the \e{read}-Thing is then measured by the pumping \e{red} heart that has al\e{read}y buried the very Thing now being \e{read}. Al\e{read}y in the \e{red} heart, the \e{read}-Thing simply returns to the place it was separated from. To read is'to place the Thing back in the place, the heart, where the Thing, the Word-Thing-Ding!, was always al\e{read}y within.  The ''ding, ding" rings and raps and taps in euphonious rapport to the Thing always ringing in the chamber\`ed vault of the heart. A heart rings and beats all the time.  Reading should ring that dinging we rarely let ourselves hear, this ringing heart's Thing and this dinging Thing in the car. The read write here should pump the red right hear.
 
-that is "man."
-
-No one would be so naive to believe that the body is a
-machine, for Donald Longmore, the author of Spare-Part
-Surgery: The Surgical Practice of the Future, says that the
-body is "of infintiely greater subtlety." Already medical
-technicians have invented "extracorporality machines"
-that take over the functions of the heart, lungs and kidneys, but not the liver and intestines for they're ""far beyond our skills."" The heart-lung machine, an aid for the
-surgeon performing open-heart surgery, perfects the identity between man and machine, but such surgery is not without its dangers: "Some years ago I compared the surgeon's
-task in attempting to repair a defective heart with the job
-of repairing a defective engine in a singleengined aircraft
-halfway over the Atlantic on a stormy night." Along the
-lines of this aircraft analogy Longmore also states that the
-"ricky parts of operating a heart-lung machine are while
-going into and coming off bypass." For those whose limbs
-have failed them, prosthetic limbs are also short of perfection: "The chief barrier to progress is our inadequate materials technology: strength-to-weight ratios are far too low;
-power packs, whether of bottled gas or electrical cells, are
-short-lived and too heavy; gas- and electric-powered motors
-respond crudely compared with the line responses we can
-achieve with our muscles; mechanical joints are clumsy and
-unadaptable; and so on." The machine's ultimate giveaway
-is that "there is no prosthetic substitute for touch, temperature, pain, position, pressure, or slip." When accidents of
-birth or circumstance force people to be bound entirely to
-a wheelchair, "the 'hand' will be part of the 'chair' (which
-may, in fact, be a walking bed). . .." Sometimes amputees
-divide the prosthetic limbs into a "cosmetic" hand for
-
-140
-Calling All Cars
-
-social occasions and a "split hook" for work or at home.
-The "split hook" oftentimes is more "efficient" than a
-regular hand. It is better equipped to operate a "linotype
-composing machine, drive a suitably engineered vehicle,
-run the signal box of a mainline terminus, use approachradar facilities, or fly a Gemini spacecraft---and in each
-case to move the controls much quicker than a man using
-using his hands."
-
-Various materials, such as artificial heart suture threads,
-glues and metal parts have found themselves inside the
-body of many a human being. As Longmore states, "Their
-use has taught us a good deal about the interaction between living tissue and manufactured materials." The
-threads that surgeons used were silk and gut, but both
-were proteins and "liable to attack by the body's defenses." Nowadays "high-tensile man-made fibers" constitute the surgical thread. Stapling machines or barbed rivets
-("miniature arrows with double arrowheads at each end of
-the shaft") facilitate sealing blood vessels. Plastics, such as
-epoxy and polyurethane resins, have also done the job of
-scaling vessels. However the "most effective glue so far is
-the monomer made by Eastman Kodak." Metals are also
-within the field of spare-part medicine, provided they
-don't "corrode" or "fatigue." "They can be formed into
-complex shapes. They can be plated or polished to give a
-smooth surface finish. They conduct electricity. And they
-do not provoke the immune response." The metals that
-have been used are Vitallium ("an alloy of 65 percent cobalt, 30 percent chromium, 3 percent molybdenum, and
-traces of manganese, silicone, and carbon), 18/12 stainless
-steel ("steel with 18 percent chromium and 12 percent
-nickel"), and "commercially pure (99 percent) titanium."
-
-141
-THE AGE OF OIL
+\dinkus
 
-The dream of a perfectly running artificial heart (after
-all "the heart is a pump") would fulfill the identity between an automotive engineer and a surgical pioneer. "The
-earliest experimental hearts were powered by electricity ---
-a clean fuel, with no exhaust problems."" Electricity is still
-the power for the "best foreseeable artificial heart," even
-though Longmore suggests a "minute nuclear reactor. . .
-implanted in some convenient body cavity." The material
-for the prosthetic valves have been fashioned out of *"Dacron, Teflon, Mylar, Ivalon, sponge, Stafoam, and polyurethane without liberating clots into the bloodstream."
-
-Everything mentioned so far obeys the rubric of "heterografts" (grafts from sources outside the body) while
-"homografts™ (grafts from sources of the body, donations
-and the like) comprise: *'corneas, cartilages, bone chips, arteries, veins, heart valves, and blood." The part-machine,
-part-human in the Six Million Dollar Man TV series possessed a heterografted eye while the spinoff that featured a
-woman presented a heterografted ear.
-
-Somewhat removed from our vital functions is the area
-of reconstructive or plastic surgery. Indeed ''plastic"
-evokes the malleability or customizability of the human
-body as well as the substances that are injected to enhance
-proportions. Such substances "must be inert, noncarcinogenic, and have physical properties which simulate the tissue it is replacing." (J. Stallings, A New You: How Plastic
-Surgery Can Change Your Life) Stallings, a professional
-cosmetic surgeon, no longer uses the usual "silicone rubber devices" for breast augmentation, but the "Klein inflatable implant. . . filled with physiologic saline or salt
-water." Here the Klein implant will "simulate the tissue it
-is replacing," proving how far medical technology has
-
-142
-Calling All Cars
-
-complicated the distinction between flesh and nonflesh
-(apropos the saline solution, 70 percent of the body consists of salt water anyway), between our insides and outsides.
-
-The car-ideal and its cryptic infestations are no longer
-merely fantasies that modify our behavior or propel us to
-utter words with the C, A and R, they also inform one of
-the most important of human activities, medical science.
-There the car-metaphor, the gliding of the human-physiological into the automotive-mechanical, shows us how impoverished our supposed distance from the machine is. Not
-only does the car-ideal repeat itself endlessly (in our names,
-makeup, clothes, intoxicants) but when faced with adversity, it accounts for a variety of recuperations (spare-part
-surgery and plastic surgery) that further sustain and enrich
-life. The car is responsible for much that needs to be altered in our lives, and at the same time it is responsible, via
-the same redundancies and saturations, for what every human being needs (as expressed in a car wash advertisement),
-"Tender Lovin' Care." We may tire of the car's tire that
-perpetually incises, while we never tire of human charity
-or brotherly care, especially when we find ourselves conveyed by an ambulance's tires. Straightaway, the back seat
-driver's irony has to yield to hopes for a safe drive.
-
-143
-PERMUTATIONS
-
-ACHL CHUL GAL IRC LAG QuUIL
-ACL CIAL GAR IRG LAK RAC
-ACR CIER GEL IRK LCO RAG
-AGR CIL GER JER LEAC RAK
-AKL CLA GEAR JOL LEC REAG
-ALC CLE GEOR JOR LEG REC
-ALK CLI GIL KAL LEX REG
-ARC CLO GIR KAR LIC REIK
-ARCH CLU GLA KEL LIG REK
-ARG CLY GLE KER LIK REX
-ARK COL GLI KHAR LIQU RGE
-
-ARQU COR GLO KIEL LIX RIC
-ARX COUR GLU KIL LKA RIG
-
-CAL CRA GLY KLA LOC RIK
-CAR CRE GoL KLE LOG RKE
-CEL CRI GOR KLI LOK RKI
-CER CRO GOUR KLO LuUC ROC
-
-CHAL CRU GRA KLU LUG ROK
-CHAEL CRY GRE KLY LUK ROYC
-CHAR CUL GRI KOL LUX RUC
-CHEL CUR GRO KOR OGL RUG
-CHER CYR GRU KRA OLC RYK
-CHIL EGL GUAR KRE OLG uLC
-CHLA ELC GUER KRI OLK ULG
-CHLE ELG GUIL KRO ORC ULK
-CHOL ELK GUIR KRU ORG URC
-CHRA ERC GUL KUL ORK URG
-CHRE ERG GYL KUR QUAL URK
-CHRI ERK ILC KYL QUAR URQU
-CHRY EXL ILK LAC QUEL XUAL
-
-144
-The Homonym Hymn
-
-What happens here or hear? "To be here" sounds exactly
-like "to be hear." Being here, connoting existence, immediacy and presence, equally reflects being hear, a presence
-of sorts, despite the ungrammaticality. If trembling, lingering, standing are occurring, synonyms for being here, then
-there is also a hearing of that trembling, lingering and
-standing, for it's the ear that is here, the ear that hears.
-
-Being here, right now, can only mean reading. Hear!
-Here! There's an ear in read. Here! Hear! Reading anagrammatizes into ear ding. Reading here, we hear in our
-ear, in an inner ear, this "ding, ding" of here or hear. Reading is both immediate (here) and vocalized (unspoken, but
-hear[d]) and made accessible to a hearing, an car ding!
-ding! that always rings. Reading or ear ding relates to the
-interior speech hear(d) here by the inner ear. The read text
-has a voice that is heard, its r(h)ead voice always dinging in
-the ear right here. (Red, too, is heard here.)
-
-The ding! in reading echoes another language. Das Ding
-is the German word for thing or matter. Then reading is an
-ear thing, a thing in the ear. Since it is usually a word silently vocalized, reading summons up "flowers absent of
-all bouquets" (Mallarmé), the hallucinated mental image
-
-145
-THE AGE OF OIL
+Anyone familiar with older forms of address, such as "Thou art," will be struck by the identity between the archaic verb form for "to be" and the noun for beautiful objects, "art."
 
-for the word's status as signifier. The thing is the hallucination, image, object, or phantasy that hovers from the lattice of a text. In A Faun's Afternoon, Mallarmé wrote,
-"These nymphs I would perpetuate"; the nymphs were
-simply the faun's or the reader's hallucination, they were
-the thing hallucinated, "perpetuated," while reading.
-Moreover, the Thing buried and hidden in reading, is the
-ear, the ding and the thing. While reading, we never hear
-that Thing which is the ""ding!", here the typewriter's
-"ding!" when the line is close to the right margin. All
-those muffled ""dings!" when we read manuscripts.
-
-Freud distinguished between Word-presentations and
-Thing-presentations, the latter alone constituted unconscious ideas, the former conscious ones, along with Thingpresentations. The Thing-presentation dominated Unconscious always treats words as things, thereby justifying the
-use of anagrams and homonyms. Wit, for example, uses the
-letters in words as things and discovers an unexpected connection. The name of a comedian, David Letterman, gives
-encouragement to what must happen for the sake of wit:
-recombine letters to create a joke. Thus the word reading
-has the things which are its letters, allowing us to say it'san
-Ear-Ding or Thing-in-the-Ear, read-ding! a read-thing in the
-ear. Hopefully texts will "rap tap tap on (our) chamber
-doors," and those doors, the barriers between the Ucs. and
-Cs. systems, will no longer hide the Thing we dare to read.
-
-Dare we read the letter that begins "Dear. . ."? These
-"things in the ear," dare, read and dear, pass before our
-eyes when we see "Dear. . .". "Dear. . ." also commands,
-"Read. . .,"" even for the one who writes the letter. No letter, my dear, is sent just to you. And no letter remains
-merely intact in the letters to friends or in whatever we read.
-
-146
-The Homonym Hymn
-
-There are more things to read. Such as the word heart.
-A meaningless anagram for read, eard, evokes heart whose
-h is simply a harder breathing of the subsequent e. Heart's
-t, too, corresponds to eard's d, for both are dentals, consonants pronounced at the front of the mouth. Heard from
-eard/read rings not far from heart, for both have ear dinging in their hearts: heard and heart.
-
-Are we getting to the heart of reading? If reading is an
-"ear ding," we notice a complication between the "ding,
-ding" of the ear and the moment that it presents the hallucinated Thing. "Ding, ding" goes the Thing, the signified,
-the Mystic Rose. Ding! Ding! The veil of truth rises and
-naked it stands where? here? hear? Hear! Here! When truth
-is here, it happens at the moment the Thing is hear(d). The
-presentation of the heard Thing comes here just as it
-comes hear(d), here in the ear. Ding! Ding! Ding! Thing!
-
-It's still hard to find the heart here. When the EarThing rings in our ears, at that moment or instant the literary hallucination stands before the reader's monuments
-of catastrophes, his cemetery plots of envaulted loves. And
-these vaults, these burial plots of exquisite, dangerously
-thrilling Things have erected the thickest walls, the walls of
-the "heart," the figurative home for such permanently inaccessible Things. The Word-Thing heard while reading
-must find entrance, must pierce these fortifications. The
-beauty of the read-Thing is then measured by the pumping
-red heart that has already buried the very Thing now being
-read. Already in the red heart, the read-Thing simply returns to the place it was separated from. To read is'to
-place the Thing back in the place, the heart, where the
-Thing, the Word-Thing-Ding!, was always already within.
-The ''ding, ding" rings and raps and taps in euphonious
-
-147
-THE AGE OF OIL
+"Thou art" is not forgotten everytime we speak of "art," for the expression, "Is that art?" cryptically possesses the archaic mode of address, "Art that art?" At once there is the possibility that "art," as noun, can transform itself into the older echo of the verb "to be." People who resort to purely existential or ontological claims over the validity of "art" will be pleased to know that there "art" a copula happening within "art." The resources of this slip render the claim that "art is" now mean, in the light of the older verb form, "art art." The reversal of the noun "art" into the verb "art" changes or rather confirms what "art" has been doing all along: predicating identities between disparate entities, here "'art" art "art." The "artist" is then one who predicates anything with anything else.  "Art, thou art, henceforth, a conjugation of the verb `to be.'" Art that what art art?
 
-rapport to the Thing always ringing in the chambered
-vault of the heart. A heart rings and beats all the time.
-Reading should ring that dinging we rarely let ourselves
-hear, this ringing heart's Thing and this dinging Thingin the
-car. The read write here should pump the red right hear.
-
-R
-
-Anyone familiar with older forms of address, such as
-"Thou art," will be struck by the identity between the archaic verb form for "to be" and the noun for beautiful objects, "art."
-
-"Thou art" is not forgotten everytime we speak of
-"art," for the expression, ""Is that art?" cryptically possesses the archaic mode of address, ""Art that art?"" At once
-there is the possibility that "art,"" as noun, can transform
-itself into the older echo of the verb ""to be." People who
-resort to purely existential or ontological claims over the
-validity of "art" will be pleased to know that there "art™ a
-copula happening within "art." The resources of this slip
-render the claim that "art is" now mean, in the light of
-the older verb form, "art art." The reversal of the noun
-"art" into the verb "art" changes or rather confirms what
-"art" has been doing all along: predicating identities between disparate entities, here "'art" art "art." The "artist"
-is then one who predicates anything with anything else.
-"Art, thou art, henceforth, a conjugation of the verb 'to
-be." " Art that what art art?
-
-R
-
-Do I know? No, I do not know. Know and no are identical in sound, but radically divergent in meaning. This semantic divergence eventually points to an identity.
-
-148
-The Homonym Hymn
-
-Every ego that states "I know' also dreams of its negation, its assertion of non-knowledge, its failure to know, its
-self-denial of full comprehension before the known. A no
-with a know refuses the certitude of a subject, the subject
-who "knows." The ego knows just as it no's. A Lacanian
-insight (I don't know where he said it) propounds that
-recognizing an ego is a recognition of a nose. He knows
-so-and-so becomes he nose his nose.
-
-Knowledge or no-ledge is then cryptically implicated in
-negation or denial (Verneinung), the "trademark' of an
-unconscious idea. Fetishism simultaneously asserts and
-denies the desired object, the fetish is the monument to such
-a confusion. Like those who get a nose-job, they hope
-another nose knows not of his nose. Or with haircuts, the
-knot is made into naught by the cutter; another knot then
-replaces what was made naught or not. The fetishism in
-both instances is an undecidability between two events:
-the nose-jobber's desire for others not to know(s) of the
-transformation and the knot that was made naught or not
-made into another knot. As with knowledge, no homonymically present in know contradicts the certititude of
-knowledge.
-
-Apropos of Freud's discussion of the Unconscious, he
-stated that it had "no negation." If he felt that the Unconscious always already admitted itself into a vertiginous space of assertion and negation and their complete
-relativity, then he was also, with the "no" before the
-"negation,"" unconsciously admitting that there was
-"negation," that is, a lack of the simultaneity and interchangeability of assertions and negations. Thus, in the
-Unconscious there is negation as well as no negation, since
-the author of the essay "Negation™ says that the "no"
-
-149
-THE AGE OF OIL
+\dinkus
 
-indicates an unconscious idea. Freud contradicts himself
-when he says, "There is in this system no negation." This
-means, unconsciously, "There is in this system negation."
-But this does not refute the truth of his assertion because
-the idea's truth is determined by something that would
-radically ambiguate it, the Unconscious. Ultimately, Freud
-is saying that in the Unconscious everything is permissible
-(Joyce's "Here Comes Everybody™), permitting us in turn
-to say, "There is in the Unconscious negation." At the
-moment Freud asserts a condition of the Unconscious,
-there is the possibility that the Unconscious will refute
-whatever condition has been ascribed to it, that is, its
-status of "no negation." This, then, renders the Unconscious even more of a non-concept, since it escapes the
-borders between a "yes" and a "no," an assertion and
-a negation, a contradiction and a non-contradiction. And
-by saying, "non-concept" I repeat Freud's error.
-
-150
-Everybody Wants Exposure
+Do I \e{know}? \e{No}, I do not know. Know and no are identical in sound, but radically divergent in meaning. This semantic divergence eventually points to an identity.
+
+Every ego that states "I know" also dreams of its negation, its assertion of non-knowledge, its failure to know, its self-denial of full comprehension before the known. A \e{no} with a \e{know} refuses the certitude of a subject, the subject who "knows." The ego \e{knows} just as it \e{no's}. A Lacanian insight (I don't know where he said it) propounds that recognizing an ego is a recognition of a nose. \e{He knows} so-and-so becomes \e{he nose} his nose.
+
+Knowledge or no-ledge is then cryptically implicated in negation or denial (\e{Verneinung}), the "trademark' of an unconscious idea. Fetishism simultaneously asserts and denies the desired object, the fetish is the monument to such a confusion. Like those who get a nose-job, they hope another \e{nose knows} not of his nose. Or with haircuts, the \e{knot} is made into \e{naught} by the cutter; another \e{knot} then replaces what was made \e{naught} or \e{not}. The fetishism in both instances is an undecidability between two events: the \e{nose}-jobber's desire for others not to \e{know(s)} of the transformation and the \e{knot} that was made \e{naught} or \e{not} made into another \e{knot}. As with knowledge, \e{no} homonymically present in \e{know} contradicts the certititude of \e{know}ledge.
+
+Apropos of Freud's discussion of the Unconscious, he stated that it had "no negation." If he felt that the Unconscious always already admitted itself into a vertiginous space of assertion and negation and their complete relativity, then he was also, with the "no" before the "negation," unconsciously admitting that there was "negation," that is, a lack of the simultaneity and interchangeability of assertions and negations. Thus, in the Unconscious there is negation as well as no negation, since the author of the essay "Negation" says that the "no" indicates an unconscious idea. Freud contradicts himself when he says, "There is in this system no negation." This means, unconsciously, "There is in this system negation." But this does not refute the truth of his assertion because the idea's truth is determined by something that would radically ambiguate it, the Unconscious. Ultimately, Freud is saying that in the Unconscious everything is permissible (Joyce's "Here Comes Everybody™), permitting us in turn to say, "There is in the Unconscious negation." At the moment Freud asserts a condition of the Unconscious, there is the possibility that the Unconscious will refute whatever condition has been ascribed to it, that is, its status of "no negation." This, then, renders the Unconscious even more of a non-concept, since it escapes the borders between a "yes" and a "no," an assertion and a negation, a contradiction and a non-contradiction. And by saying, "non-concept" I repeat Freud's error.
+
+\chap Everybody Wants Exposure
 
 When photographs are developed the originally white printing paper becomes impressed with the cffects of light upon
 it. The smooth, pure, undefiled surface of such paper thus