Vicissitudes of the "aliquid", pt. 1
[kharabuli] you will not grasp the whole but in the cleem
[taghir shekl] of the underblanket's slithering staircase mobeel
[zniekształcenie] lea baum meal boem kilim of the click mob's
[ubumuga] lobe limbed meek and leaking... let's say a
[fa'aletonu] deformed agent with principles realizes its own
[vikrutih] complicity with a section of the larger freak
[ḍikso̠n] show or that bit about how do you tell the
[go golofala ga mmele] wind from the chaff except by heavily deformed
[ho holofala] realities of deformed principle holders every
[loṅ⹎hāṅ⹎pʰāṅǎm⸒temtʰūn⹎] thing is deformed or they deform everything is
[kuremara] it poetry politics or pure deformity is it tech
[virūpaṇaya] nique function or deformity which preserved and
[qallafsanaan] informed the world if sobriety and infirmity
[ulemavu] were in a war against deformity realizing that
[kukhubateka] section of the freakshow used conformity to
[te ino] relay variety through the use of deshabille
[Taɛebbuḍt] except by the heavily determined exempt bits
[aɛebbuḍ] about deformity for all (redacted) deformity
[Urukkulaivu] for the few the proud, the slithering masses
[Vaikalyaṁ] of deformed and forming principles or anti-
[Khwām p̄hid pkti] deformity principles which began to deform
[skyon cha] the freakshow's war against deformity using
[mǝgudāl qǝrǝṣi] conformity, function, technique, hyderabadine,
[mlu u lun a mshi iyol] trilichtpherase, try a lighter phrasing, what
[bagarap] is the function of wholesome form when the
[kovi] entirety consists and propagates by deformity
[bulema] (critischism) how can we use what we've earned
[ku onhaka ka miri] or learned not to notice the mark which
[bogole] shifted the group realizing that certain
[Virūpa] sections of the general calamity of form
[kupendera] ations were determined to exempt bits of
[dɛmdi a ɛyɛ mmerɛw] John Donne's Devotions upon emergent occ
[akhtarti] asions of Transformed oft, and chaunged
[shekli 'uzɡirishi] diuerslie: Shapeshifting and bodily change
[vhuholefhali] in Spenser, Milton, Donne, and seventeenth-
[sự biến dạng] century drama where Donne wrote before his
[pagkadepekto] ordination, he asks God to 'burne off' his
[anffurfiad] 'rusts' and his 'deformity' whereas God wrote
[chamffurfiadau] back: There'd be nothing left, so just fake
[ukukhubazeka] it til you make it, it's all deformed (by
[idibajẹ] design, if you must know) ‘The use of the
[cacat] beast fable is in itself a clue to Donne’s
[goro] intentions since in 1601, the date of the
[boola] poem, allegorical beast satires were almost
[misvorming] all political satires, and at least two works
[ye’ākali gudileti] of the period throw some light on Donne's
[tashawih] poem, namely Spenser's Mother Hubberd's
[bikriti] Tale (1591) and Richard Niccols’s Beggar's
[vikrti] Ape (? 1607). Both are beast satires,
[nádráhi] heavily camouflaged in order to protect
[(dɔgɔyali)] their authors from the "wrath of the
[ukulemana] universal and unconscious deformity"
[depekto] (Donne) What, though, would it mean to
[direizhder] study the self as an "epitaph"? What
[gažuudal] is it to read the self as a text? And how
[畸形] is this task complicated if one, in reading,
[difekto] confronts not a perceivable or transparent
[difoamitee eve] text but a stony page, the blank opacity
[nrụrụ] of the flesh, the text whose abformity as
[apwangapwang] text subjects the subject's subjectivity
[badshekli] to a universal deformity as will? Donne's
[rɛ̈ɛ̈c de guɔ̈p] trump is that he is willing to concede, that
[vakaleqai ni yago] death's triumph indeed leads on into deformity.
"Hey, where are those graphic jeans I wore last night?"
"I think they may be underneath that pile of graphic tease..."
"Is it near and dear to Madame Tussaud's Lincoln-Lenin Diorama?"
"I think they may be underneath that pile of graphic tease..."
"You can see Lenin is dead, but is naked inside a glass spacesuit."
"I think they may be underneath that pile of graphic tease..."
"You can see Lincoln is dead, but with green skin, he becomes a political Osiris."
"I think they may be underneath that pile of graphic tease..."
"Is Lincoln handing Lenin the caduceus, or vice versa?"
"I think they may be underneath that pile of graphic tease..."
"Who's that little woman, wait, women, like ten of them, miniature,
and crawling up the loops?" "Cleopatras with fangs, and bound
to bite the snakes."
"Cleopatra wears a tophat."
"Abraham Lincoln has fangs, but wears a caduceus pin."
"Tom Green notices Osiris."
"Osiris notices that Cleopatra wears a tophat."
Henry James said that Conrad in his fiction did things in the way that took the most doing. I think the writer of grotesque fiction does them in the way that takes the least, because in his
work distances are so great. He's looking for one image that will connect or combine or embody two points; one is a point in the concrete, and the other is a point not visible to the naked eye,
but believed in by him firmly, just as real to him, really, as the one that everybody sees. It's not necessary to point out that the look of this fiction is going to be wild, that it is almost of necessity going to be violent and comic, because of the discrepancies that it seeks to combine. You could almost say that reading such a work is like a trip through Madame Tussaud's Lincoln-Lenin diorama wherein, Lincoln is actually played by Cleopatra in a Tophat, and John Wilkes Booth is played by the herpetoid hengeyokai Vladimir Lenin.
In the United States, Uncle Tom's Cabin was the best-selling novel and the second best-selling book of the 19th century, following the Bible. It is credited with helping fuel the abolitionist cause in the 1850s. The influence attributed to the book was so great that a likely apocryphal story arose of Abraham Lincoln meeting Stowe at the start of the Civil War and declaring, "So this is the little lady who started this great war."
To prepare for the Orion scenes, Oliver took a week's worth of choreography instruction, later stating in an interview with Starlog magazine that she was not a skilled dancer. The shoot with Oliver in green paint took place on December 4, 1965, with the actress stating in a later interview that "Even before the dance began and I was standing demurely to the side, this feeling was in the air. Gene had touched on something dark in man's unconscious; one could imagine doing something with a green mate that he would never dare someone of his own color."
As a result of the Napoleonic Wars, Tussaud was unable to return to France so she travelled with her collection throughout the British Isles. In 1822, she reunited with her son François, who joined her in the family business. Her husband remained in France and the two never saw each other again. In November 1825, her touring exhibition was in the Wisbech Georgian theatre (now the Angles Theatre), having already been at Yarmouth, Norwich, King's Lynn and Bury St Edmunds. Entrance was 1 sous. In 1835, after 33 years touring Britain, she established her first permanent exhibition in Baker Street, on the upper floor of the "Baker Street Bazaar". In 1838, she wrote her memoirs. In 1842, she made a self-portrait which is now on display at the entrance of her museum. Some of the sculptures done by Tussaud herself still exist.
She died in her sleep in London on 16 April 1850 at the age of 88. There is a memorial tablet to Madame Marie Tussaud on the right side of the nave of St. Mary's Roman Catholic Church, Cadogan Street, London.
There is a geyser of wolves where no one watches, and there is a little empty tin there, like a can of sardines emptied from a devouring, and that is where the Bach comes out. That empty fish tin is a speaker that only plays Bach. "I will only play Bach," thinks the empty fish tin.
Desire is not intrinsically linked to an individuation of the libido. A machine of desire encounters forms of individuation, that is, of alienation. Neither desire nor its repression is an ideal formation; there is no desire-in-itself, no repression-in-itself. The abstract objective of a "successful castration" partakes of the worst reactionary mystifications. Desire and repression function in a real society, and are marked by the imprint of each of its historical stages. It is therefore not a matter of general categories which could be transposed from one situation to another.
-Tom Green, Osiris, Abraham Lincoln, Vladimir Lenin, Madame Marie Tussaud.
Oliver is a masculine given name of Old French and Medieval British origin. The name has been generally associated with the Latin term olivarius, meaning "olive tree planter", or "olive branch bearer". Other proposed origins include the Germanic names *wulfa- "wolf" and *harja- "army"; the Old Norse Óleifr (Ólaf); a genuinely West Germanic name, perhaps from ala- "all" and wēra "true" (possibly cognate with Álvaro); the Anglo-Saxon Alfhere; and the Greek name Eleutherios.
