The Conspiracy of Narrative and Argument

Act I-Passion III

HERA’S CLIT

The thunder twixt my thighs knows up-down-in-out cun’t cum the same wave twice.

PERMED PLOTTER

Remember remember beauty never alters

Never forget what changes falls from form—

The form of beauty, the beauty of form—
Formidable, immemorial.

SUCKER TEASE

Booty is truth, tooth bitey, that is all you need to know folks, said the cunicular oracle.

Act II-Passion II

G.W.F. Higgle D’Piggle

History proves my cunning story—the present is a prescient gift of the unstationary past to the freewhirling future.

Angel Mercs

Round and round revolution spins round the ever-turning point at the whorling center of history—work, work, work... (Working to work makes fired Angles rich.)

Nutcheese

Spurred by the purrs of power, the monstrous mundus shudders from upside-down to topsy-turvy and vice versa fāternally.

Act III-Passion I

Daré Dada

The rationalist’s white-dark fantasea: logic ties me up and rapes me.

The metaphysician’s groundless antinomy: meaning’s meaningless and all that's true.

Nagger Tuna

Neither empty nor full, emptiness is empty of emptiness (empty-full of being-meaning-end) ’cause/thus/since/hence impermanence is permanent, the thing is nothing, and unknowing flows into knowing unfurls into unknowing knows flowing as flowering winging ringing …

loo-tze goo-tze

Doing undoes doing—only not-doing does what needs to be done.

The Conspiracy of Narrative and Argument
Narrative the story whose hero is always desire. Argument the syllogism whose premise is always the primacy of thought.	Just as narrative organizes desire, argument organizes thought, narrative condensing the body's fluxes in objects of desire, argument dividing the mind's fluctuations into objects of thought.	Narrative, like argument, produces the self and the world through the imaginary opposition of subject and object. The goal of this production—control. To control the self-in-the-world, it is necessary to construct a delimited self—one bound by desire and thinking—in an objectified world—one divided into objects of desire and thought.
Underlying every argument (regardless of the particular ps and qs) is the assumption that the self is the master of thinking, and thus the center of the world as thought-projected universe.	The argument of narrative: desire defines the self, the self, desire. The story of argument: thought drives the self, the self, thought. The fantasy of narrative: the self controls the body through desire. The fantasy of argument: the self controls the mind through thought.	Narrative and argument conspire to make a control-ling—and controllable—self. In narrative as in argument, the self, flattered into delusion, is depicted as the master of desire and thinking, which, in actuality, are its masters.
	Both contingent, narrative and argument represent themselves as necessary.	In narrative, the frustration of desire only affirms its primacy. In argument, the contradiction of thought only confirms its incontrovertibility.

drop the story