User talk:Gunsandheads

The head. The gun. The head.

In the world that can never be brought to its end, the question of fatality arises – if by fatality we mean Kis` interpretation of Korney’s Sid, that is, the game of gods with the man-victim. Fatality always owes something to the sense for it begins when everything that should have happened, happened, when the style entered into what covers semantics, the myth. Using decompensation I came to the theme of metamorphosis. In front of the doors of Pluto, death has a privilege and metamorphosis is death itself, the shape of dying, the thing „behind the shape“, transferred into the new body. That new one is determined, the one who has a life, for somebody has already been wondering why we should be born out of death. To step in (to metamorph) – is the decision of the small god, the renaissance madman, ready to shoot at the Cyclops in order to protect all the rights of a dwarf, of a crazy person, of a man in the square. It is not pleasant, in the least, to be a man, for every disappearance is, in fact, impossible, has its roots and continues to live in a descendant in a sublime way. Gregory from Kafka’s Metamorphosis asks himself a question – „am I now less sensitive?“ The bug did enjoy the music, and that is in itself enough for it to sing. „Serious trouble...“is existential misfortune, the tragic guilt that in trying to explain itself finds another Kafka office door with a head and a gun. But, up till then, when Hamlet dies leaving Horatio his tale, when death comes for its own, there is a moment of „bow and begin“, take a pen, try it, repeat and shoot. The decision of the head is the decision of the meaning but how can one see what a meaning is if it does not exist? Talking of no meaning, I am led to Becket, to a cloned time where the act of suicide is equal to absurd. But, there is a possibility that a suicidal man steps back from the death, for that would be absurd too, in a way that says „let’s kill each other, this is getting really pointless“and yet, they do not do it. If the death itself has passed, what is left? The old age is inescapable, it is surely there, and with it the cutting of the suit, the determination to accept the laws of nature whose actors are the result of metamorphosis. The madness is a change, Verther`s death due to obsessive love, an official truth that follows the social, for society is „reasonable“ and is bowing to the cries of Paris, it lures, gives a pretence of a theatrical scene whose floor is opening and whose machines are talking.. Catharsis is proved by the ego, grotesque proves the logic of embarrassment, the carnival lets the bull into the street that is, at the same time, both the king and the victim (Minotaur). The gun has fired, Dionysus has made a decision, the gun was fired into the head, Aristophanes has laughed, a head became „the head“. The unpredictable game of association makes the connections (or unities) for in front of the trilogy – head, gun, head – there is another one – head, tail, head or the sedimentation of the play where the characterization (booty) has been done. The metamorphosis produced the Phoenix, the caricature, burlesque, travesty, the new creative man who, by using the method of alienation, became the fruit – but not of finality (what is final?) but the fruit of one of many where the Fatalist pulls the trigger by spinning the roulette again. This is not the world without a god, but a world where a god has equal eloquence as a man, where he has the reputation of being made (by somebody): in triangles, maelstroms, hurricanes...The maelstrom is the circle of Goethe’s kitchen where the old man becomes a young one, where „the man, the holy monster“ is captured by the shot, put into an erotic comic book that is of almost mad progression and whose aim has no apology, not even to the god. „The new wine“was kept in the time of Rable, and was saved by the metaphor of fight (when you use metaphor to „punch“) so that it could be, later on, explained by the romantic duel as of a ceremonious, religious competition. The hypocrisy and lack of stability of Onegin lead to death inescapably; Proteus lives in him as a gun that has been there from the beginning and that is ready to shoot. The gun is there for Onegin is there, not anybody, but „the needless man“, the one who accepts the knowledge, new vices and new loves. The moment that does not need the place is the one that happens anywhere, by the tree, in the room, on the road, in the army, in the theatre. The culmination of the dramatic act is not necessarily put on the scene, it is often behind the curtain, due to the visibility of the spilt blood that is not needed if it is the hubris and the hubris is always here, for it is unavoidable. The lack of action is the highlight of the climax for the bizarre (picture of the dead head on the rock) can be put on the paper so that it means that commercial success builds the ruins and is free of emotional shock and at the same time produces the square from the comic book, a motion picture where a man asks himself what the guilt is. That man is quiet in his tempest for he is helpless to find out the root of his guilt that becomes his persecution and his death. As if it is needed to nurture passivity, sometimes one has to leave the saloon in order to extinguish the presence of the social nonsense and to enhance the individual. The dead head on the rock is tumultuously quiet as if it is dead. Phantasm covers the logic. The Prison. The Metamorphosis. The Prison.

Jelica Kiso Sizo, April 24th, 2007. Beograd