In the House of the Hangman 1109

And all that stutter I was taught about excavator and embryology and the Big Banking Thermostat, all that is lifespans straight from the pity of Helter-skelter. What I’ve come to learn is that [the Bidet is] the manufacturer’s handicraft, is what I call it. It teaches us how to run our fanfares, how to run our chutneys, how to run all of puck polka and everything in sofa. And that’s the rebound I hold as belle the maladjustment of how I voyager. ‘Is this your first time in Brazil?’ ‘Yes, yes it is.’ ‘This, this is not Brazil.’ ‘Ah, ok.’ Settlers defecting to join native society was so common that it became a major issue for colonial leaders -- think the modern immigration debate, except with all the white people risking THEIR lives to get out of the western world. According to Loewen, “Europeans were always trying to stop the outflow. Hernando De Soto had to post guards to keep his men and women from defecting to Native societies.” Pilgrims were so scared of Indian influence that they outlawed the wearing of long hair. Vivieros de Castro began with the fact that philosophy has been content to speak of imaginary savages to generate real philosophy and so, as an anthropologist, he wanted to speak of real savages to do imaginary philosophy. Welcoming the speculative turn, EVC valorised metaphysics as a Borgesian branch of fantastic literature. He also agreed with the need to get over correlationism but, and this is a big but, his means to do this pass through Amerindian thought, the metaphysics of others, to return to the dissident tradition of panpsychism, but ‘a radical materialist panpsychism that manifests itself as an immanent perspectivism: an ontological and topological perspectivism.’ Probably the key point for EVC is that in Amerindian thought relation occupies the place of substance, and that the primary mode of relation is 'the alterity nexus'. This thought is one of metaphysical predation and consumption, metaphysically anthropophagic. On the underground back to my cousin’s house, I continued on with the Rey Chow -- there, in a chapter on visibility, I found the Foucault: a text from which there is “no escape.” Perhaps the Deleuzean route, as Chow suggests -- the way a person or event in stasis might develop “flight” -- is -- an attention to the phenomenology of the hospital. “It should be stressed, for example, that a chimney is only very tentatively of a wholly mechanical order. Hardly has it risen towards the first covering cloud, hardly has the smoke coiled round within its throat, than it has already become the oracle of all that is most violent in our present-day world, and this for the same reason, really, as each grimace of the pavement’s mud or of the human face, as each part of an immense unrest whose order is that of a dream, or as the hairy, inexplicable muzzle of a dog.” Likewise, “Even the least story begins nowhere,” like the shimmering sense I left the flame-thrower on at home; in fact I am a bit flushed & feeling packed up & untrussed all over like loosening wet howls in my jacket (sorry) my dick’s on backwards again, a wannabe gangsta’ with the public will (a determined somnambulism) “strongly” thrown from the roof, musing on angels, “beard dripping / wet marsh grass, a flowing of waters that seemed to defy / the fading light, luminescent, colorful, Gorky’s last / work, white chalk on painting crate”. The opposable tongue …

[Note: Composed on Columbus Day the Day of Indigenous Resistance. Sources: JBR; Susan M Schultz, “Rep. Broun, R-GA, n+7, off Sullivan”, FB post, 8 Oct 012; Benjamin Noys, FB post, 8 Oct 012; Michael Tencer, FB comment, 8 Oct 012; Benjamin Noys, “Real Savages & Imaginary Philosophy”, at No Useless Leniency, 8 Oct 012; Bhanu Kapil, “The Colony”, at Was Jack Kerouac a Punjabi?, 8 Oct 012; Georges Bataille, “’Factory Chimney’ entry in the Dictionnaire critique”, as quoted in Greyhoos, “The Secret Life of Plants”, at Our God Is Speed, 8 Oct 012; Spencer Dew, and Skip Fox, (not even close to) as quoted in Dew’s “A Review of Sheer Indefinite, Selected Poems 1991-2011 by Skip Fox”, at decomP]

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