The Invisible Man - How Parrhesia Works through Art: The Elusive Role of the Imagination in Truth-Telling Foucault Studies, 2019 Marrigje Paijmans

How Parrhesia Works through Art: The Elusive Role of the Imagination in Truth-Telling

Foucault Studies, 2019

Marrigje Paijmans

It is no measure of health to be well adjusted to a profoundly sick society. ..Krishnamurti

Creation takes place in choked passages" (G. Deleuze) which means for me there's no passage which is unchoked - hence, any creation for which "passage" is taken for granted (especially the one from 'noise to voice' (The Logic of Sense) cannot be creative at all.

I would say prison is a “choked passage.”

Laboratory of Nano-Fascism:  Although this relationship to death was once thought to belong originally to punk, expressed specifically in the funeral sculptures of Joy Division covers such as Closer and Love Will Tear Us Apart, and PIL’s Death Disco, it has been repurposed by Neanderthal capital in order to zombify the world.

Non Conceptual Negativity  Zafer Aracagök

Can we come back to Krishnamurti on this please. " It is no measure of health to be well adjusted to a profoundly sick society." My personal feeling is that if you are not depressed, melancholy or bi polar or schizophrenic you are not paying attention.

This is interesting: “Owen Andree Um, no. The hysterics' *desire* is to continually and question/harangue the Master/authority's position.”

To see the Invisible Man may be to instantly recoil in fear, disgust, horror, side step, turn away from an image covered face to toes with dark prison tattoos. Not a human one wishes to link with.

A live human image that has disintegrated the boundaries, the limits of class, sex, age and race.

AND NON DECORATIVE

An image that is irreplaceable, non-reproducible, non-commodified, non exchangeable or accumulated. You cannot buy it, sell it, hoard it, own it, keep it, display it. A living image that can be destroyed physically, but alive forever in the imaginations of subjects who have allowed themselves to experience the Invisible Man. A digital image existing in Simulated Reality will be as useless as J. Hillis Miller tells you the reading of Heart of Darkness will be if you do not already know it from experience, and if you do you will not need to read it. The image recorded is not to experience the REAL. Only the experience of the real Invisible Man will challenge you with parrhesia, the truth of parrhesia that confronts you in your experience of him. Did it?

Without experiencing the confrontation of parrhesia inherent in his image your imagination cannot transform the work of art that he is, which precludes any change in your mode of being, your lived life, by your experience of him. An image of the human body aligned and defined in great classical beauty resonating with classical Greek sculpture inscribed, desecrated with ugly prison tattoos - some ironically funny and some cliches, but never aesthetic. And so the different levels of episteme through time from ancient Greece to the post modern NOW hit you between the eyes.

 Richard Hambleton- Jumping Shadow       Fight Club?

Foucault’s genealogical method reveals The Invisible Man’s fusion with other works of art signaling parrhesia and challenging us with confrontation and a demand for change, for transformation of ourselves to a different way of seeing, perceiving and being. Only OTHERNESS can accomplish this. Not different. OTHERNESS.

Velasquez: Las Meninas

Manet: Le Dejeuner sur l’herbe / Luncheon on the Grass

Picasso:Les Demoiselles d'Avignon; Guernica

Warhol:Campbell Soup Cans

Jasper Johns:Flags and Destruction of Abstract Expressionism
Kathy Acker: everything
Herman Melville:Moby Dick:Ishmael and Queequeg
Leslie Fiedler:essays (football et al)
Leo Steinberg: art history and essays
Shakespeare: everything

Banksy: Performance Piece Dismaland;wall murals of political parrhesia

Ai WeiWei: Sculptures
Mark Tansey: everything

Marina Abramovic: Performance Art; The Artist Is Present

Luce Irigaray: Speculum of the Other Woman

Roberto Bolano: 2666

Eugene:The Invisible Man 

Herman Melville: Moby Dick: Ishmael and Queequeg (p. 535)

With a wild whimsiness, he now used his coffin for a seachest: and emptying into his canvas bag of clothes, set them in order there. Many spare hours he spent, in carving the lid  with all manner of grotesque figures and drawings; and it seemed that hereby he was striving, in his rude way, to copy  parts of the twisted tattooing on his body. And this tattooing, had been the work of a departed prophet and seer of his island, who, by those hieroglyphic marks, had written out on his body a complete theory of the heavens and the earth, and a mystical treatise on the art of attaining truth; so that Queequeg in his own proper person was a riddle to unfold; a wondrous work in one volume; but whose mysteries not even himself could read though his own live heart beat against them;and these mysteries were therefore destined in the end to moulder away with the living parchment whereon they were inscribed, and so be unsolved to the last. And this thought it must have been which suggested to Ahab that wild exclamation of his, when one morning turning away from surveying poor Queequeg - "Oh, devilish tantalization of the gods!"

IF YOU CANT BE A WORK OF ART, WEAR A WORK OF ART. - OSCAR WILDE

Genealogy of Body Tattoos - Tamati Waka Nene by Gottfried Lindauer (1839-1926), 1890, oil on canvas, 40”x33”, Auckland Art Gallery, New Zealand. 

Beautiful Face.

“The past is never dead. It's not even past.” - William Faulkner

In Robert Wilson's Opera
The Life and Times
Of Sigmund Freud,
I watched you run
Before you were born.
A Mercury of Time,
Now a running Apollo
Scribbled all over
By drunken Dionysians
With intentions of Parrhesia
You know nothing about.
Seeing you now confuses
The past which was
The future and this present
Mirroring the past.
Is there a tense somewhere
That they call
Future past or past future
Like the Intentional of the Hopi?
Because her car was laden
With Destiny that came
Crashing across my lifeline
Forcing me to live
In Alterity; waving at her
Drifting farther away,
Until I almost can't hear her sigh.

It is not the present which influences the future, thou fool, but the future which forms the present. You have it all backward.  Since the future is set, an unfolding of events which will assure that future is fixed and inevitable. CHILDREN OF DUNE  Leto II p. 278 *
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They aren’t all prison tattoos 

She screamed at me
On Facebook! 

This one and this one

Were done on the outside.

My brother did the cross

He tattooed over!

There are more prisons 

In this world, Horatio

Than are dreamt of in your philosophy
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The Aral Sea is the future. Since it exists in the present we fail to recognize that it is only
wearing the mask of the present. It is a Debordian spectacle concealing the REAL forming
the present from the future.A radical piece of the future detached and both visible and invisible.

Neil Burger's Divergent

opens with Lake Michigan mirroring the Aral Sea and surrounding areas, the future in the
fantasy movie image of a present Chicago

666 is the Mark of the BEAST

2666?

666 the MARK of The BEAST.

 And what rough beast, its hour come round at last, 
Slouches towards Bethlehem to be born?  
William Butler Yeats

Bethlehem is in Palestine. The BEAST is there. 
Is Israel the BEAST being born?

CTHULHU?

666 x 4 = 2664 WHICH IS ALMOST 2666 eh so let's round it off

Bolano has doubled 666 and redoubled  giving us the TITLE so much in controversy as to its meaning right now. The Critics and Reviewers are stressed out over this date.

When 666 is tripled then 1998 is the result when Bolano is working against death to finish 2666.
They cannot kill him for this expose because he will be/is dead.

  

Doubled and redoubled is a term Irigaray often uses. Did Bolano read her? I am guessing no but it's just a guess. It could go either way.

THE BOOK FOR WOMEN TO KNOW WELL

Without it you are half asleep. Maybe even more.

2666 is divided into 5 sections.

1. The Part About The Critics.

2. The Part About Amalfitano

3. The Part About Fate

4. The Part About The Crimes

5. The Part About Archimboldi

5 is a Prime Number

PRIME 

PRIMO FIRST PREMIER MOST IMPORTANT .......

Klaus Haas- "No one pays attention to these killings, but the secret of the world is hidden in them." (p. 348)

IN ONE OF HIS MANY NOTES FOR 2666, BOLANO INDICATES THE EXISTENCE IN THE

 WORK OF A "HIDDEN CENTER," CONCEALED BENEATH WHAT MIGHT BE

 CONSIDERED THE NOVEL'S "PHYSICAL CENTER." THERE IS REASON TO THINK THAT

 THIS PHYSICAL CENTER IS THE CITY OF SANTA TERESA, FAITHFUL REFLECTION OF

 CUIDAD JUAREZ, ON THE MEXICAN-US BORDER. THERE THE FIVE PARTS OF THE

 NOVEL ULTIMATELY CONVERGE; THERE THE CRIMES ARE COMMITTED THAT

 COMPRISE ITS SPECTACULAR BACKDROP (AND THAT ARE SAID BY ONE OF THE

 NOVEL'S CHARACTERS TO CONTAIN "THE SECRET OF THE WORLD"

T.S. Eliot in Sweeney Agonistes:

Any man has to, needs to, wants to
Once in a lifetime, do a girl in.

The "Gravitational Law" of 1666 (Newton) is pulling inexorably toward the center of the world.
The Secret of the World The Crimes are telling us?

What is that SECRET?

The SECRET is the PRIME SECRET of Our World.
Forget about the rest of the baggage.

That is what Irigaray is telling us and Bolano is graphically illustrating for us in fiction.

The mirroring? Is the mirror convex? Maybe it is concave? Maybe two mirrors facing each other where you are not in either one of them when you stand between them?
Plato's Cave is coming UNDONE!

The SECRET of 2666 is revealed by Irigaray

Irigaray's convoluted deconstruction of Freud and Plato is told in fiction by Bolano. Now we can't complain that we don't understand because Irigaray is too difficult for us to read.
Bolano makes her crystal clear.

Bolano indicates the existence in the work of a "hidden center," concealed beneath what might be considered the novel's "physical center." There is reason to think that this physical center is the city of Santa Teresa, faithful reflection of Ciudad Juarez, on the Mexican-U.S. border. 

There the five parts of the novel ultimately converge; there the crimes are committed that comprise its spectacular backdrop (and that are said by one of the novel's characters to contain "the secret of the world"). As for the "hidden center"...might it not represent 2666 itself, the date upon which the whole novel rests? (p.896)

No the hidden center is not the number 2666 in my reading of 2666.

Reading Irigaray's SPECULUM and THIS SEX WHICH IS NOT ONE through LeCarre's LOOKING GLASS WAR

This is the most readable and accessible one.

WORDS WRITTEN IN BLOOD ARE NOT TO BE READ BUT LEARNT BY HEART. -NIETZSCHE

This is difficult and deconstructs Freud's Oedipus Complex for little girls.

Some Examples of What Irigaray Says

All page numbers are from the Octopus Edition of 5 novels.

They never talked about Sarah. It was as if they shared a single relationship to Avery's wife, like children who are able to share a toy they no longer care for. Leclerc said, "Well, she's got that son of yours to keep her company......Leclerc was proud of knowing it was a son and not a a daughter. 

(p. 398)

She left the room, Woodford watching her. He took his pipe from his mouth and grinned. Avery knew he was going to say something about sleeping with Carol and suddenly he'd had enough.

Did your wife make that cup, Bruce? he asked quickly. I hear she's quite a potter.

Made the saucer as well, he said. He began talking about the classes she went to, the amusing way it had caught on in Wimbledon, how his wife was tickled to death. (p. 411)

It is a place of old faces and young bodies; of young faces and old bodies; where voices are raised to drown the silence, and glasses to drown the loneliness; it is the place where the searchers meet, finding no one but each other and the comfort of a shared pain; where the tired watchful eyes have no horizon to observe. It is their battlefield still; if there is love, they find it here in one another, shyly like adolescents, thinking all the time of other people. (p.445)

Avery was already familiar, during his short association with the department, with the phenomenon of organic motivation; with operations which had no discernible genesis and no conclusion, which formed part of an unending pattern of activity until they ceased to have any further identity; with that progress of fruitless courtships which, in the aggregate, passed for an active love life. (479)

He liked to talk to Avery. He talked about his women or the war. He assumed - it was irritating for Avery, but nothing more - -that a man in his middle thirties, whether married or not, led an intense and varied love life. Later in the evening when the two of them had put on their coats and hurried to the pub at the end of the road, he would lean his elbows on the small table, thrust his bright face forward and relate the smallest detail of his exploits, his hand beside his chin, his slim fingertips rapidly parting and closing in unconscious imitation of his mouth. It was not vanity which made him thus but friendship. These betrayals and confessions, whether truth or fantasy, were the simple coinage of their intimacy....

Avery came to know Leiser's face with an accuracy no longer related to memory. (Here we have the MALE GAZE Lacan discusses)He noticed how its features seemed structurally to alter shape according to his mood, how when he was tired or depressed at the end of a long day the skin on his cheekbones was drawn upwards rather than down, and the corners of his eyes and mouth rose tautly so that his expression was at once more Slav and less familiar. (p. 493)

I wouldn't mind a bit of what Fred's having, Johnson said with a snigger. He played a shot; a white ball dropped dutifully into its hold. Poles are dead randy. Go up anything, a Pole will. Specially Fred, he's a real terror. He's got the walk.

Are you that way, Jack?

When I'm in the mood. I wouldn't mind a little bit now, as a matter of fact.

They played a couple of shots, each lost in an alcoholic euphoria of erotic fancy. 

...Here's to Fred, Avery said.

To Fred. On the nest. And bloody good luck to him....

I dont know how he'll manage the B2, Johnson murmured. He's got a long way to go....

Fred. He's a lovely boy. Here: do you know this bloke Woodford, the one who picked me up?

Of course. He'll be coming down next week.

Met his wife at all, Babs? She was a girl, she was; give it to anyone.....

They drank ; that joke went astray. 

She used to go with the amin bloke, Jimmy Gorton..... (p. 499)

Is he getting frisky? Sometimes they want a girl about now. (p. 506)

A certain hilarity infected the briefing that morning. Johnson made a joke about not photographing the Oxford Constabulary by mistake; Leiser laughed richly and even Haldane allowed himself a wan smile. It was the end of of term; the boys were going home.
The exercise was a success. Johnson was pleased; Avery enthusiastic; Leiser manifestly delighted. They had made two faultless transmissions, ....at eight o'clock they assembled for dinner wearing their best suits. a special menu had been arranged. Haldane had presented the rest of his burgundy; toasts were made; there was talk of an annual reunion in years to come.  Leiser looked very smart in a dark blue suit and a pale tie of watered silk. (p. 507)

Too many sweets on the plane, that's your trouble, that's your trouble. Johnson winked at Avery. I saw you giving that air hostess a look. You shouldn't do it, Fred, you know, you'll break her heart.  He frowned round the table in mock disapproval. He really looked her over, you know. a proper tip-to-toe job. (p. 518)

Leiser smiled. It was the best ever, that week, John. It's funny, isn't it: we spend all our time chasing girls, and it's the men that matter; just the men.

You're one of us, Fred. You always were; all the time your card was there, you were one of us. We dont forget. (p. 530) 

When we met him he was a man without love. Do you know what love is? I'll tel you; it is whatever you can still betray. We ourselves live without it in our profession. We dont force people to do things for us. We let them discover love. And, of course leiser did, didn't he? He married us for money, so to speak, and left us for love.
Avery said quickly, What do you mean for money? 
I mean whatever we gave to him, Love is what he gave to us.

When he saw those letters, drawn out in Jack's neat, post-office hand, tears of gratitude started to his eyes. He never told me, he thought, he never told me he'd done it. Jack was all right, after all. Jack, the captain and young John; what a team to work for, he thought; a man could go through life and never meet a set of blokes like that. (p.546)

That Budapest thing, Leclerc continued, raising his voice, partly in enthusiasm and partly to dispel the atmosphere of intimacy which suddenly threatened them... (p. 558)

Avery spoke for the first time. You cant leave him out there all alone.His voice was flat. (p. 562)

Love. Yes, love! Not yours, Haldane, mine. Smiley's right! You made me do it for you, made me love him! It wasn't in you anymore! I brought him to you, I kept him in your house, made him dance to the music of your bloody war! i piped for him, but there's no breath in me now. He's Peter Pan's last victim, Haldane, the last one, the last love; the last music gone.

Avery had buried his face in his hands.(p. 563)

Avery was sobbing like a child. No one heeded him. (p.564)


_______________________________________________________________________________
ZIZEK tells us that the future is already here. It comes in fragments and we can embrace that which we want to preserve or ignore at our peril what we do not wish to come about. The LGW was published in 1963 soon after LeCarre wrote The Spy Who Came In From the Cold gave Carre the financial success he needed to quit M15 or whatever it was called then. He himself was vulnerable at this time, an alcoholic and a marriage tottering. He was writing in words of blood. 

Irigaray tells this to us. That male homosexual erotic power rules the world. Why the fact that gay men cannot be tolerated to upset this applecart of world rule. And heterosexual sex is the MASK that conceals it. Gay men are hated because they have broken the rule and have become commodities up for sexual exchange. Just like women. Men unconscious of their homosexuality are masking it with macho behavior and heterosexual sexual preferences. In this case they denigrate women when they are together talking about women. This is misogyny that we recognize without understanding it. Women are excluded but now have been invited in on the periphery of the limit, but they will never really be part of the good ol' boys clubs. It is clear that Carre knows very well what is going on among them erotically, but tells us very subtly. He is implying. When I get to Bolano the subtle telling disappears.

Irigaray also is writing in BLOOD. With the 1974 publication of SPECULUM the Lacanians kicked her out of psychoanalytic practice, expelled her from The Freud School and banished her from her teaching at the University of Vincennes which she helped to found. Three Lacanians were on the board evaluating her proposal for classes the following semester. This is how you get MURDERED in the academic profession. Clearly she was seen as VERY DANGEROUS. They were correct by the way. She is.

Poems on Reading Le Carre's Looking Glass War and Kenner on Eliot

They sent off their lamb

Leaving it to 

Survive in wilderness.

Prey of the machine, the State

This Boy Club playing Hide and Seek for REAL.

Spies like women

Are commodities. 

Interchangeable in an unchanging exchange.

Wearing down, wearing out.

Because they breathe.

Here, have some more he said 

passing the plate.

How many years 

Did they wait for me to die?

Sharing a bedroom

With her growing larger

To take my place

And was that how come I came to grow and live?

When did they know

She also was a mistake?

That they were a mistake?

Soon we all will be mostly gone.

The last generation of Depression Babies.

A small demographic

With a childhood in war years

No lust for things

That hadn't been dreamed of yet

To turn into cheap coins

That were no longer

Beautifully engraved silver flowing images

That we carefully exchanged

Not wanting to part

With cherished loveliness

To obtain what we thought was less.

_________________________________________________________________________________

Eliot: The Cocktail Party:

..........

Two people who know that they do not understand each other

Breeding children whom they do not understand

And who will never understand them.