Subject: Re:  El momento [D]e-lu(cid)-zas! - "On Nietzsche -- "...
Date: Mon, 05 Jan 1998 13:10:10 EST


...and getting [of/f(x)] or dipped back, (double dipping in fact [Raggo,
Sun 4 Jan 98, 14:12:30 _and_ Sun 4 Jan 98, 17:58]
un-tilling-Ur-told-to-word-worn-writhe-wormed, "pas..s ag es:"  appear  -
[Curtis Clark, Sun 4 Jan 98 13:12] -  a water fall to this plane-thought 
_At play in the Fields of the Lord__, there punctuating, 'es  es  es  es 
[and again] es to the "s tream s"  of the "petrified stone[ ] white like
ash" of a breath caught/let go in "radical alterity", is  cock-pit(ted)
in- t(w)o the r/each of  one's own Zas!Zarathustra!  W/here is our Peter
[a]Gast  giving us the down beat in which "the phoenix music hovered over
us, in lighter and brighter plumage that it had ever worn before." !?
(Nietzsche, _Ecce homo_, "Thus spoke Zarathustra"). 

	So, Ariosto, there is "little [you] trying to find a word or two,
anything really,...", why, you little #%&#+!,  "induc[ing] more useless
commentary." Try for a water-birth of t/Hen as you slip, getting
[of/f(x)]-on the Procrustean bed to come - all a thousand and one more
weaves in virtuosidad verbal de jeroglifico, and "atengo al que calzare
mas justo" (abide by the one whose boots fit the best) as Gongora has it
in _Piramo y Tisbi_, 124. 

	"['a']  carpet takes flight" - "sich Tiefsinn und Muthwillen
Zartlich an der Hand" (where profoundity and playfulness go gently hand
in hand), [Nietzsche, _Ecce homo_, "Die Frohliche  Wissenschaft"], as a
fall from the Procrustean bed of body-script 'incarnated/effectuated' -
([D]e-lu(cid)-zas'd!) - wail-wording to "Oyolos, y aquellos dias / tan
bien la audiencia le supo, / que anos despues se hizo / rajas en servicio
suyo" (The wall [that] heard them, and in those days so well pleased by
what it heard that years later it splintered itself in their service).
(Gongora, _idem_, 10).  We, in a turn with the body that spins 'a'-bout
of us "press[ ], in the cold, the naked heart against the wall, awaiting
an ear pressed against the other side" (Bataille, _The Impossible_, 25) -
yet that h/ear is t/here (fight-Forting-Da-dog-goner of a subject!)
"writing on a wall / in black flames" (Bataille, _ON_, 82).  There,
Ariosto, is a turn of the quill to your changing of subject and heading,
full speed ahead(less),  to "how readily I have given up everything I
expected, in exchange for what is real, even when that is awful" upon
"the heavy heart of everything indistinguishable", and no less heady than
"sa patience de supporter une ame"! (Rilke, _The Notebooks of Malte
Laurids Brigge_.(733,74,258). Ecce an "antennae [extend[ed] in both
directions" (Nietzsche in Bataille, _ON, 37), or the  ur-raised-sun of
making "_efforts_" in produndity and playfulness.  But what sextants and
octants must be performed as body-become-instrument for the "see!" of
such seas? Didn't  the invention of a "scorned carpenter" also find a
method of determining longitude at sea? (see, _NYT_, Sun, Jan, 4, 98,
sec. 2, 37). Them damn/blessed  "scorned" carpenters! [laughter].  

	How's that for a _faille_; a narrative _glissement_ within, mind
you,  the _figura_ of "an anarchic law without precedence" as _status
archetypus_ in a 
_bele desjointure_? (Say that four times fast, and if you play it
backwards, or scratch it,  not only do you "read[ ] away from [me], but
you perform a _passe_ into the "streams of chance", w/here awaiting, a
tangent gone [of/f(x)],  is where I was giving you 'a'-more time for your
wits, since, inserting Lacan  "my discourse doesn't allow the question of
what one is able to know" (_Television_, VI).) [laughter abouding around
an "ecoute flottante"].

	As far as your "clarity", Ariosto, and the bugs you quest/ion of
it buzz-begging all about me, awl-law that it  meek-merely-might when it
reveals the bought/bout/ought of the 'sentimento del bizzarro'  of  your
retreating courtship of el barroco.  What to a hors is a "bug" even if 
its after its 'as'...[s]'? [laughter].  To your Bruno, Ficino, Erasmo,
Tasso, Rabelais, and Andrea Alciato then. 

	And then this  "summit morality" and "sacrifice [of] the
immanence of the moment" thing. What's-z'up with that? No, its ain't a
problem if one fates (alla Nietzsche) eternity. "dennich liebe dich, oh
Ewigkeit!", read _Dionysos-Dithyrambic_ "Ruhn und Ewigkeit", and [write]
me in the morning. [laughter].  As you've passed upon, in the _ON_
references of yours, Bataille ( weaved within your post) adds: "_The fact
of "speaking" of a summit morality itself belongs to a decline of
morality_", yet,  as Bataille stated on _ON, 46), "[t]he smallest thought
should be worked out infinitely", and that would be our working out of
'that' _"speaking"_. Va bene?
But no, the carpet frays from the fall and twists of these
body-instruments-of desire so(wn) that the walls may taste the climbs and
falls of nails that scratch what good for the goosing allows the lacking
which the other en-_ganders_. There's "another reading of (k)night,...(a
bit less clear than yours, but neverthemore cl/'a'vier/ear'd) to the
"naked heart [pressed up] against the wall, awaiting an ear pressed
against the other side" (Bataille, _The Impossible_, 25), and laughing in
 the serious art of the heart that contains  a glow. (see Nietzsche, 
"Finale"  in "Epigrams", p. 172, _Ecce homo_). 

	Are we fuckin talk'n  [trash] now or what....!? [laughter] Che
bello!  But then there's "writing", and your _hors_-ing around it
(sometimes). So allow this throw-back to your '" Job :-) "  for Daniel'
jab. Writing as seen  in _Job_ , XIX, 23, 24, or _Jermias_ XVII, 1, - or
un libro stylo ferreo et plumbi lamina, or adamantino, (Gongora-like)  or
the "graniten staze" at the end of book three of Zarathustra.  Isn't the
l'adamantino most nostalgic of 'una luz', a regular [D]e-luz-zas! 
[laughter now gone out of control].  There is a  whirlwind scratch
writhing upon writing as the surface of a pearl tossed between what
cleavaged, white on white, drinks its  movements as vines do to the
spaces let go of the time of an active forgetting in its drunk "beyond"
"a simple stupor taken to the limit." (Bataille, _ON_, 98). How's that
"this" "..sweet, shared slime..." of the "swampy  existence of the flesh"
wrought? 

	Do you doubt my intoxication? Apollo's is an(O)ther thing -
closer to "going through a text" than the Dionysian, where we are
"awaken[ed]...to an awareness of physical touch (touch of bodies, hands,
moist lips), it's gentle, animal, and _sacred_..." (and just 'per'-chance
when one's life reeds one, we might writhe the read as music where
'instrumentality'  is pi-'err'-poised not in a debt-act counted on, but
upon the shores of the [$]lit(o)r-awl. Soma'ed and world-worn). (see
Bataille, _ON, 98). 

	As a quick instance on your use of the term "occasional" (when
referred to clarity) [Sat, 3 Jan 98, 16:19] take this until next time:

		"Le medit installe dans son ocre repute: "Il
		  n'es pas de degre du medi-ocre au pire",..."

				(Lacan, _Television_, VII).

and recall the Boileau, La Fontaine, Racine team up against, (and
winning) the flotilla of Kant, Agostino de Dacie and Luther, where, as in
the game of  "goose" rule # 12 states "lay no wagers".  (And somehow even
Quevedo and Gongora return here  as the swan and the 'geese' - so in
_toto_ we're not in Kansas anymore Ariosto,, but we sure just might be in
Cordoba. "Take a gander".) Oh! Ca! Basta!,...and...

become your metaphor nel cantar, entonar una la mentacion funebre,
LAUGHING, while "je vous emmene, tels les chien d'Acteon, apres moi"....
entre chien et loup dans
lalangue trespasses,
Lucio