Naughty Nihilism's Cinematic Dreadnoughtscapegoat tea (Candor's Effigy, or Mallarme' as Aïda)

In the navel of the dream,

we find covered by a thin romance

a larval, or grub-like oppossum, whose

small tuning fork-like-horns

curve forward, or back,

they rotate, their affinity

resounds with line

as sound whose image

is thought

graced by 

invisible

substance.

The oppossum plays dead,

but the grub

is an all devouring youth,

a ghosting of death

by life.

Irma is a prostitute addicted to the syringe

filled with a variey of surfaces:

metadream

symbolism

therapy

logic

vicissitudes

criticism

commentary

hysteric

closure

Blum willing analyzes Zelig,

but Irma needs to make

an "extraction"

an "abstraction"

a "ridicule"

and to that end she compresses herself into the syringe

and has Blum

inject herself

into Zelig's self

becoming the canon

of Psychoanalysis

in Art

as camera lucida.

An Irrational prison for lines

is a prototype for the later

cyber-prisons

of disembodied minds

as seen in film,

television,

and The Bible

as written by

Erma (Roland Barthes)

aka Vomitusque Maximuy

or Knotty Nihilly.