[...]modes of lss="trms">communication/expression (of which the roving lss="trms">storyteller is the ultimate instantiation)
(poignancy of the) lss="trms">poet's lss="trms">anthropolss="trms">morphic profile of the new lss="trms">technologically oriented media
lss="prgrph">-Akhavan's relss="trms">presentation lss="trms">symbolizes the lss="trms">storyteller himself, lamenting his own erasure from the moment of the now (or it is his prophecy for the imminent destruction of the new media in the coming islamic regimelss='qstn'>?)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">aesthetic testament to the possibility for a third lss="trms">world revolutionary lss="trms">imagination to emerge from the ruins of the colonial era <lgc clss='lgc'>[lgc>, ls clss='strcls'>*ls>from the ruins of the empirels clss='strcls'>*ls><lgc clss='lgc'>]lgc>
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> relss="trms">presenting the third lss="trms">world as in a state of complete existential-cultural atrophy (tahlil تحليل رفتن) lss='at'>@lss="frds scrmbld">Hoda

ls clss='strcls'>**ls>anticolonial lss="trms">literature reaffirms the all-encompassing grasp of lss="trms">modernity over peripheral subjectivity <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> marginal leader (Mamitua Saber's Marginal lss='trgt hghlght 1'href='?q=L'>Leadership in a Culture Contact lss="trms">Situation)<lgc clss='lgc'>]lgc>

(l clss="ppl">Mohagheghl> > Huyssen on l clss="ppl">Baudrillardl><lgc clss='lgc'>:lgc>)
l clss="ppl">Baudrillardl>'s notion of the ls clss='strcls'>*ls>silent massls clss='strcls'>*ls> of the lss="trms">spectators disables any analysis of ls clss='strcls'>*ls>heterogeneous subject lss="trms">position in the act of receptionls clss='strcls'>*ls> lss='at'>@lss="frds scrmbld">lss='trgt hghlght 1'href='?q=L'>Laura
any economic or institutional analysis of lss="trms">apparatuses of image production is rendered obsolete by l clss="ppl">Baudrillardl>'s notion of an almost self-generating and monolithic machinary of image production <lgc clss='lgc'>[lgc>...<lgc clss='lgc'>]lgc> (<lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> lss="frds scrmbld">lss='trgt hghlght 1'href='?q=L'>Laura should be very aware of this)
l clss="ppl">Baudrillardl>'s lss="trms">society of simulation does not allow for such distinctions ... simulation, after all, may simply be the latest version of the ideology of the end of ideology
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> part of the theoretical lss="trms">apparatus of ls clss='strcls'>*ls>anticolonial ideologyls clss='strcls'>*ls>
one immediate dlss="trms"nttrm="danger,stranger">anger of this approach is that it recklessly dismisses anything aslss="trms">sociated with the other side of the binary (of West/East, self/other, first-lss="trms">world/third-lss="trms">world, lss="trms">modern/prelss="trms">modern, etc.) <lgc clss='lgc'>==>lgc> overlook the subversive utility and democratic accessibility of certain lss="trms">technological innovation <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> evident in Shariati's ultra-atavistic endorsement for an lss="trms">aesthetic tradition<lgc clss='lgc'>:lgc> “intrusion of the machine into the humna-half may go so far as to paralyze man; it destroys creativity. lss="trms">imagine a type-lss="trms">written page that can be imposed upon millions of people, while before the advent of the typelss="trms">writer everyone was free to use his creativity to the utmost in calligraphy” <lgc clss='lgc'>--lgc>l clss="ppl">Mohagheghl><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> it is not reflecting on the lss="trms">historical reality that the exercise of calligraphy was always linked to a feudalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list class structure, and often exlss="trms">lss="trms"nttrm="cluster,club">clusively to the confines of the palace court, whereas the printed word open to a more widesplss="trms"nttrm="already,spread">read audience independent of lss="trms">material status
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> anticolonial ideology <lgc clss='lgc'>==>lgc>
<lsts clss="lsts lst1">•carries out the prelss="trms">supposed will of lss="trms">modernity by homogenizing its very own constituency, diminishing any possibility for individual initiative or insubordination
lsts> <lsts clss="lsts lst1">•prelss="trms"nttrm="cluster,club">cludes the advent of outsider radicalism independent of some lss="trms">religio-civilizational confrontation with lss="trms">modernity
lsts> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “there can be only one diagnosis <lgc clss='lgc'>==>lgc> only one elixir” <lgc clss='lgc'>==>lgc> produce an antidote that is equally colossal in scope, shape, and execution

<lgc clss='lgc'>}lgc><lgc clss='lgc'>==>lgc> ls clss='strcls'>***ls>the local is no longer accepted by anticolonial ideology as a worthwhile site of contestationls clss='strcls'>***ls>

<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (Sa'edi <lgc clss='lgc'>+lgc> Akhavan <lgc clss='lgc'>+lgc> ...) <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>>lgc> ls clss='strcls'>*ls>messianic defenderls clss='strcls'>*ls> of the national lss="trms">history <lgc clss='lgc'>:lgc> the sole harbinger جلودار of a ls clss='strcls'>*ls>return to the realls clss='strcls'>*ls> ☠ <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> cheerleader<lgc clss='lgc'>]lgc>

<lrg clss="large lg2" stl="font-size:112%">             _,-<lgc clss='lgc'>+lgc>-._
         .-’       ‘’-._
        /               \
       ‘        <lgc clss='lgc'>~lgc>.       \
      /    <lgc clss='lgc'>~lgc>`’    ) .=” , )
     |           I (   <lgc clss='lgc'>~lgc> (
     \        ‘"”   `='  <lgc clss='lgc'>+lgc>
      `.,_   `”;:lss='trgt hghlght 1'href='?q=L'>L0Ve’   ls clss='strcls'>*ls>’
          `<lgc clss='lgc'>~lgc>'<lgc clss='lgc'>~lgc>.’  )_Y_0_U!\

lrg>
ls clss='strcls'>*ls>disease becomes temporary curels clss='strcls'>*ls> (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> practiced by Al Ahmad, Shariati, artists <lgc clss='lgc'>[lgc>as irony and with the always problematic conception of the “masses” توده مردم mardom<lgc clss='lgc'>]lgc><lgc clss='lgc'>:lgc>)
“<lgc clss='lgc'>[lgc>let's<lgc clss='lgc'>]lgc> re-employ the same reactionary elements in order to stir the masses, to restore awareness, and to fight superstition”
<lgc clss='lgc'>[lgc>still very common within critically-minded humanist lss="trms">social lss="trms">science schollar artists is the tendency to use critical theory (as diverse as it is) ls clss='strcls'>*ls>to lss="trms">interrogate realityls clss='strcls'>*ls>
for us (<lgc clss='lgc'>[lgc>left inlss="trms">heritance<lgc clss='lgc'>]lgc> as postcolonialss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, feminist, or biopolitician) the modus operandi of critical theory is to derealize, is to say<lgc clss='lgc'>:lgc> “this is an expression of paar.” “this is discursive formation.” “this is lss="trms">material assembly of objects.” <lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> (an attempt to say) “this isn't real.” <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> this has been essentially a really powerful force and set of political strategies of the left lss='at'>@lss="nms">apass; this modus operandi is a killer blow for climate change from a leftist perspective (because the climate change is very real) (<lgc clss='lgc'>=/=lgc> speculative realism)<lgc clss='lgc'>]lgc>

Khomeini's cassette-tape revolution (radio medium infused with anticolonial propaganda) delss="trms">monstrates the insufficiency of l clss="ppl">Benjaminl>'s stance that “mechanical reproduction of art changes the reaction of the masses toward art...”
the lss="trms">symbolic fury of Khomeini's voice is only magnified in its cult-value through its translss="trms">mission over the air waves, testifying more to Maclss='trgt hghlght 1'href='?q=L'>Luhan's lss="trms">interpretation of the persuasive impact of radio
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">technological media in lss="nms">iranian anticolonialism does not elicit the democratizing effect anticipated by l clss="ppl">Benjaminl>


from<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical awe <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> banalized lss="trms">horror

each year the islamic republic itself reenacts the arrival of the Khomeini in lss="nms">tehran airport through a procession of myriad cardboard lss="trms">interact and converse with these mock-images of the imam in a kind of makeshift, state-run passion play

<lrg clss="large lg10" stl="font-size:122%">

post 1979 lss="nms">iranian cinematic renaissance
<lsts clss="lsts lst1">•medium of film achieved in the decolonized space
lsts> <lsts clss="lsts lst1">•hooked into the contemporaneity of the localized apocalyptic (inlss="trms">finitesimal becomings)
lsts> <lsts clss="lsts lst1">•lss="trms">present as close an lss="trms">interpretation of the unthinkable strangeness of reality as possible
lsts> <lsts clss="lsts lst1">•on an ongoing desertion of the real
lsts>
<lrg clss="large lg6" stl="font-size:117%"> l clss="ppl">Adornol><lgc clss='lgc'>:lgc> “works that make lss="trms">socially univocal discursive judgments thereby negate art as well as themselves” lss='at'>@lss="frds scrmbld">lss='trgt hghlght 1'href='?q=L'>Laura's judgment on the fascist body (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> can lss="trms">consumption be resistancelss='qstn'>? lss='at'>@lss="frds scrmbld">lss='trgt hghlght 1'href='?q=L'>Laura<lgc clss='lgc'>:lgc> becoming fascist body <lgc clss='lgc'>==>lgc> lss='qstn'>? )

the medium of film-making in lss="trms">present-day lss="nms">iran attempts solely to bring the crypto-vantage of the everyday into obscurity-ridden view (to leave less clear <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> my pre-2012 videos ‘Vagabond,’ ‘Constant Prince,’ and ‘city of domes’), allowing for a critical distance on the part of the lss="trms">spectator to examine one's own being-in-the-lss="trms">world in raw, blss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurred form (the truth is haze itself <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="frds scrmbld">Hoda)

exoticization of the local <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> reduce it to a nativist enterprise

(l clss="ppl">Mohagheghl> > Tomlinson<lgc clss='lgc'>:lgc>) the everyday culture has inlss="trms">gested foreign elements from exogenous sources, with the various elementss gradually brcoming “lss="trms">naturalized” within it <lgc clss='lgc'>=/=lgc> image of pure, lss="trms">internally homogenous, authentic, indigenous culture


Sharjah art foundation of the Emirate's ls clss='strcls'>*ls>postcultural lss="trms">imaginationls clss='strcls'>*ls>


<lrg clss="large lg18" stl="font-size:131%"> lss="trms">literary front
Hedayat, Yushij, l clss="ppl">Shamlul>, Forough

Hedayat's The Blind Owl variants of a “will to chaos”

middle eastern avant-garde's vision of the lss="trms">writing-act <lgc clss='lgc'>--lgc>sketching<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a fugitive postlss="trms">modern map of escape from its grasp

<lgc clss='lgc'>[lgc>in<lgc clss='lgc'>]lgc> moments of great lss="trms">social disorder
<lgc clss='lgc'>==>lgc> secret lss="trms">societies, iconoclastic lss="trms">trajectories, a type of consciousness that perceives the catastrophic-apocalyptic hint at each turn

(how an eastern or third lss="trms">world vanguard characterize itself in the heart of major lss="trms">historical tremors<lgc clss='lgc'>:lgc>) <lgc clss='lgc'>[lgc>lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to their ls clss='strcls'>*ls>tone of aggressionls clss='strcls'>*ls>:<lgc clss='lgc'>]lgc>
Nima<lgc clss='lgc'>:lgc> “with my lss="trms">poetry i have driven people into a great conflict; good or bad, they have fallen in confusion; i myself am sitting in a corner, watching them<lgc clss='lgc'>:lgc> i have flooded the nest of ants”
Forough<lgc clss='lgc'>:lgc> “all those who are involved in creative work have as their motive ... a lss="trms">sort of need to confront and struggle with annihilation”
l clss="ppl">Shamlul><lgc clss='lgc'>:lgc> “the lss="trms">children of the depths,” “the lss="trms">children of the storm,” “the horsemen,” “the bold ones,”

<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> delss="trms">finition of the lss="trms">poetic lss="trms">world as a protosectarian space
رابطه مریدی مرادی
دار و دسته
قبيله

(lss="frds scrmbld"nttrm="Alice,Shariati">Ali, to a subculture of) persecuted and endlss="trms"nttrm="danger,stranger">angered
lrg>
<lgc clss='lgc'>==>lgc> peripheral narative (marginal leadership) become a force of intlss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigue and seduction (among lss="nms">iranian youth)

lss="prgrph">-how did lss="trms">poetry lss="trms">respond to lss="trms">historical events of atrocity and lss="trms">transition
lss="prgrph">-did the lss="trms">poets understand themselves as resembling a mystical, criminal, mercenary, or revolutionary edificelss='qstn'>?

alss="trms">morphous, obscure, versatile (thinkers and lss="trms">writers launching an intellectual-existential offensive against the disenchantment of the lss="trms">modern age)
along lss="trms"nttrm="search">archetypes<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•power
lsts> <lsts clss="lsts lst1">•hostility
lsts> <lsts clss="lsts lst1">•banishment
lsts> <lsts clss="lsts lst1">•solitude
lsts> <lsts clss="lsts lst1">•desire
lsts> <lsts clss="lsts lst1">•sacrifice
lsts>
<lrg clss="large lg1" stl="font-size:144%"> lrg>
contradictory experiences of the lss="trms">modern cityscape of the middle east <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> at once a site of<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•autocracy and insurgency
lsts> <lsts clss="lsts lst1">•concealment and detection
lsts> <lsts clss="lsts lst1">•connectivity and alienation
lsts> <lsts clss="lsts lst1">•lss="trms">integration and crumbling
lsts> <lsts clss="lsts lst1">•lss="trms">gesticulation and idleness
lsts>

lss="frds scrmbld">Setareh's topics<lgc clss='lgc'>:lgc>
experiences of upheaval, hysteria, sabotage, collective suffering
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="frds scrmbld">Sana's topics<lgc clss='lgc'>:lgc>
existential-spatial understanding of lss="trms">questions of cruelty, betrayal, torment, annihilation


(lss="trms">poets finding themselves lss="trms">consumed with) the distinctive emergence of “the martyr”<lgc clss='lgc'>:lgc>

<lgc clss='lgc'>[lgc>-<lgc clss='lgc'>]lgc>Akhavan lss="trms">writing/witnessing at the time of reterritorialization of lss="trms"nttrm="disturban">urban space during Mossadegh era<lgc clss='lgc'>:lgc> the subdivision of streets, districts, and neighborhoods into dueling sectors of power and resistance.
Akhavan's lament in “Wlss="trms">inter”
disenchantment, bitterness, lss="trms">semiotic disorientation
touch<lgc clss='lgc'> = lgc>final sensory prism
Akhavan's task<lgc clss='lgc'>:lgc> to protect the domain of radical individuality (<lgc clss='lgc'>==>lgc> lss="frds scrmbld"nttrm="Alice,Shariati">Ali's subjectivity)
(l clss="ppl">Mohagheghl> asking<lgc clss='lgc'>:lgc>) ls clss='strcls'>*ls>is the artist charge a mere diguise of influence and supermacylss='qstn'>?ls clss='strcls'>*ls> or ls clss='strcls'>**ls>is the firmness of its lss="trms">articulation sanctioned by some dominant elsewhere or otherlss="trms">worldlinesslss='qstn'>?ls clss='strcls'>**ls>
ls clss='strcls'>*ls>does the lss="trms">poetic consciousness believe itself of an elite unknown rank (against the monolith)lss='qstn'>?
lss="trms">sociopolitical discourses either bore or aggravate Akhavan <lgc clss='lgc'>--lgc>only<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (transient lss="trms">historical lss="trms">specificity of) ls clss='strcls'>*ls>turmoil lss="trms">demands lss="trms">poet's greater urgencyls clss='strcls'>*ls>
(the lss="trms">poet has earned the station to say) “no more of this” (“it's enough”) <lgc clss='lgc'>~lgc> an ls clss='strcls'>*ls>orderls clss='strcls'>*ls>  <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> wisdom, sage, diplomatic lss="trms">response of an lss="trms">interlocutor, truth-telling, equal dialogue, negotiation<lgc clss='lgc'>]lgc>
lss="trms">poet's expertise and sensitivity<lgc clss='lgc'>:lgc> the lss="trms">storyteller's intimate lss="trms">relation to impermanence and destruction (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="frds scrmbld"nttrm="Alice,Shariati">Ali, lss="frds scrmbld">Sana, lss="frds scrmbld">Hoda, lss="frds scrmbld">Setareh)

<lgc clss='lgc'>[lgc>-<lgc clss='lgc'>]lgc>Baraheni's depiction of the spatial domination of the city by Pahlavi regime from 1952 to 1979 <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> SAVAK lss="trms">responded to and fueled a striking development in the political consciousness of the lss="trms"nttrm="disturban">urban centers <lgc clss='lgc'>==>lgc> labyrinthine evolution of the rebel form
hie lss="trms">poem “An Epic in Reverse” (Akhavanian reversal) neighborhoods of stigma, filth, and backwardness <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> hybrid of lss="trms">animality and criminality
(l clss="ppl">Mohagheghl> asking<lgc clss='lgc'>:lgc>) what is the lss="trms">author's recourse once stranded behind those iron bars, and now acquainted with the gleaming tools and lss="trms">instruments of the guards and royal executionerslss='qstn'>? for Baraheni, the answer seems to rest within a lss="trms">literary turn toward the arsenal of vulgarity, where lss="trms">language is forced to howl and curse again, to match the shock treatment and flagellation (شلاق shalagh) <lgc clss='lgc'>==>lgc>
<lstsrd clss="lstsrd">1. to unlss="trms">veil the degradation and depravity of power, to show it as unbeautiful and disgusting in its most bude form
lstsrd> <lstsrd clss="lstsrd">2. to wage some reciprocal hate against power, to maximize the rawness of what is happening
lstsrd>lrg>
<lgc clss='lgc'>[lgc>-<lgc clss='lgc'>]lgc>l clss="ppl">Shamlul>'s (dead-end) sightings of public execution and secret police night-raids of 1979-81
(l clss="ppl">Mohagheghl> describing islamic state of lss="nms">iran through l clss="ppl">Shamlul><lgc clss='lgc'>:lgc>) a new iteration of revolutionary terror, millenarian clerical establishment that foresees self-congrave a feverish certainty across every corridor of lss="trms"nttrm="disturban">urban reality (<lgc clss='lgc'>=/=lgc> conservative dislss="trms">position of an ordained Shah seeking to keep his domination,) the vengefull return of a long-suppressed counterabsolutism that has been waiting lss="trms">anxiously for its chance to unleash and envelop a national identity in its now-seething ideology
lss="prgrph">-bringing the celestial abstractions of a faith crashing down into tangible existence <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> they must ls clss='strcls'>***ls>sew, lash, and brand their lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">righteous-ecstatic modalities into awesome lss="trms">materialityls clss='strcls'>***ls>
the lss="trms">vocabulary of<lgc clss='lgc'>:lgc> the prophetic, the messianic, the inspired, the sacred
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>l clss="ppl">Shamlul>'s avant-gardism had always led him to experiment with rotating styles of folkloric ballads, rebel anthems, existential meditations, doomsday rants, elegiac oration, lss="trms">children's lullabies <lgc clss='lgc'>--lgc>into<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (a singular blast of an) account of a devastated lss="trms"nttrm="disturban">urban space that moves somewhere between legend, omen, song, myth, fairy tale, and war cry <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> l clss="ppl">Shamlul> lss="trms">responding to an islamic revolutionary ideology that had enlss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listed its own alchemy of proclamation, lethal conlss="trms">sortiums of drives that fuse the most savage, the most medieval, the most lss="trms">modern, and the most postlss="trms">modern<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•being coming completely seized beneath the lss="trms">density of revelatory vision
lsts> <lsts clss="lsts lst1">•the ultra-alertness and inlss="trms">somnia of pure anticipation <lgc clss='lgc'>:lgc> a calculus of assurance that ‘they are coming’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> omen
lsts>

Pasdaran<lgc clss='lgc'>:lgc> the unprelss="trms">dictable and insatiate arc of extremity of a paramilitart coalition
<lgc clss='lgc'>=/=lgc>
SAVAK<lgc clss='lgc'>:lgc> lss="trms">formulaic lss="trms">technocracy of a lss="trms">scientific approach to persecution, extraction, and confession
lrg>
Pahlavi monarchy<lgc clss='lgc'>:lgc> the administrator of lss="trms"nttrm="disturban">urban violence was part amateur, part pseudo-scholar, part civil servant, part serial killer
<lgc clss='lgc'>=/=lgc>
Ayatollah theodracy<lgc clss='lgc'>:lgc> the administrator of lss="trms"nttrm="disturban">urban violence was part vigilante, part crusader, part cult lss="trms">member, part thug

<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">poet must epitomize the last unequivocal administrator of lss="trms"nttrm="disturban">urban violence


does lss="trms">writing have a redemptive (<lgc clss='lgc'>=/=lgc>lss='qstn'>? reparative) functionlss='qstn'>?

the lss="trms">author would necessarily venture to rescue something profound (from the state of dejection)

lss="trms">poet's keyword<lgc clss='lgc'>:lgc> ls clss='strcls'>*ls>conflagrationls clss='strcls'>*ls> حريق, fire <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a middle eastern lss="trms">aesthetics

most lss="nms">iranian lss="trms">writers of the new lss="trms">poetry movement have elss="trms">viscerated, melted, flooded, iced over, or burned down a city at some point in their artistic career (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> l clss="ppl">Shamlul>'s Yal-o Ejdeha یل و اژدها)

cumulative lss="trms"nttrm="danger,stranger">angers

towards a harmful eloquence شيوايى <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> l clss="ppl">Shamlul>


pay attention to the hyper-subjective lss="trms">positioning (<lgc clss='lgc'>=/=lgc> hospitality, lss="trms">cosmopolitanism, transindivualism) of the “I” of the lss="nms">iranian lss="trms">poet<lgc clss='lgc'>:lgc>

ls clss='strcls'>*ls>Akhavan<lgc clss='lgc'>:lgc> “It is I, your nightly guest, a forlorn gypsy. It is I, an afflicted stone that has been kicked around. It is I, the lowly insult of creation, an untuned melody.”
منم من، میهمان هر شبت، لولی وش مغموم /  منم من، سنگ تیپاخورده ی رنجور /  منم، دشنام پست آفرینش، نغمه ی ناجور
lrg>
ls clss='strcls'>*ls>Baraheni<lgc clss='lgc'>:lgc> “I am the rotten well of lss="trms">history ... Throw your matches down so that I can set the whole lss="trms">world aflame. I am an underground man. My fire alone shall appear on the face of the earth.”

ls clss='strcls'>*ls>l clss="ppl">Shamlul><lgc clss='lgc'>:lgc> “It is time that I spit out the entirety of my damnation in an endless uproar / I am the first and last dawn / I am Abel standing on the platform of contempt / I am the honor of the universe, having lashed myself and endured it / Such that the black fire of my agony / shames even Hell for its insignificant holdings.”


<lrg clss="large lg18" stl="font-size:123%"> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> with the maladjusted eyes if the lss="nms">iranian lss="trms">poet... we are at a far distance from western thought, one that seeks a renovated lss="trms">cosmopolitanism as remedy to the injustices of the cityscape in lss="trms">modernity


l clss="ppl">Mohagheghl>'s style of lss="trms">writing <lgc clss='lgc'>[lgc>when he talks about Hedayat and lss="nms">iranian avant-garde chaotic atmosphere <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (at once) binds and separates the East-West axis<lgc clss='lgc'>]lgc> <lgc clss='lgc'>--lgc>he<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> abandoning transcendent abstractions and restoring it to the lss="trms">language of annihilative venture

ls clss='strcls'>*ls>chaos as maskls clss='strcls'>*ls>
chaos<lgc clss='lgc'> = lgc>(one of many) eastern lss="trms">poetic mask
lrg>
chaotic experience (in the service of a lasting nonstate) <lgc clss='lgc'>=/=lgc> essence, Being, structure, lss="trms">historical delss="trms">finitions, temporal-spatial lss="trms">specificity

l clss="ppl">Mohagheghl> puts Hedayat's inventiveness in traction with continental philosophy<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•l clss="ppl">Schopenhauerl><lgc clss='lgc'>:lgc> existence<lgc clss='lgc'> = lgc>reckless collision of transience and nonsensibility <lgc clss='lgc'><==lgc> ls clss='strcls'>*ls>dramatic dislss="trms">sociation of the lss="trms">aesthetic from the lss="trms">historicalls clss='strcls'>*ls> (<lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> lss="frds scrmbld">Sana's current stance, for lss="frds scrmbld">Sana the lss="trms">world is will and relss="trms">presentation)<lgc clss='lgc'>:lgc>
lsts> lss="trms">history<lgc clss='lgc'>:lgc> will's vicious reign over existence
art<lgc clss='lgc'>:lgc> space of escape (from the profanity of lss="trms">history, a rare fleeting opportunity to relss="trms">imagine existence as it potentially could have been but never will be (<lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>lss='qstn'>? lss="trms">fiction <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> is that why lss="trms">science lss="trms">fiction for lss="nms">iranians does not have the same significationlss='qstn'>?) <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> redemptive corrective to the barbarism of the will, <lgc clss='lgc'>=/=lgc> weapon by which one might attempt to overthrew the will<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•l clss="ppl">Hegell><lgc clss='lgc'>:lgc> (paradigm of a) complete collapse of subjectivity with lss="trms">history. reason is sovereign of the lss="trms">world
lsts> ls clss='strcls'>*ls>Dasein<lgc clss='lgc'>:lgc> work within the preconceived framework (barriers) of lss="trms">historical consciousness in order to modify its stance within the lss="trms">world
<lsts clss="lsts lst1">•l clss="ppl">Marxl><lgc clss='lgc'>:lgc> the intention of restoring humanity to its actual lss="trms">historicity, lss="trms">positivism <lgc clss='lgc'>+lgc> humanism, epochal advancement, ls clss='strcls'>*ls>dialectical lss="trms">materialismls clss='strcls'>*ls><lgc clss='lgc'>:lgc> placing subjectivity in a state of subservience to a larger “lss="trms">historical reality”
lsts> <lsts clss="lsts lst1">•l clss="ppl">Althusserl> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>lss="trms">interpellation<lgc clss='lgc'>:lgc> power first manifactures a conception of the self that it can later subjugate through the surlss="trms">veillance lss="trms">techniques of the institution
lsts> ls clss='strcls'>*ls>subjectivity exists solely within the revolutionary progression of the prevailing modes of productionls clss='strcls'>*ls>
<lsts clss="lsts lst1">•l clss="ppl">Adornol><lgc clss='lgc'>:lgc> the discourse of individuality within lss="trms">modernity operates as an accomplice to lss="trms">techniques of reification and the overall obfuscation of the culture industry <lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> ls clss='strcls'>*ls>assimilation/execution of myth by lss="trms">instrumental reasonls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc><lgc clss='lgc'>{lgc> art can be understood only by its laws of movement, not lss="trms">according to any set of invariants <lgc clss='lgc'>~lgc> antinomy<lgc clss='lgc'>:lgc> art is defined by lss="trms">relation to what it is not (separating itself from what it has developed out of)
lsts> (l clss="ppl">Adornol> <lgc clss='lgc'>+lgc> Frankfurt School<lgc clss='lgc'>:lgc>) ls clss='strcls'>**ls>subjectivity thrives in the decisive act of lss="trms">interpretation, one through which the ideological saturation of lss="trms">society finds itself unmasked and lss="trms">history is restored to its contestatory complexitoesls clss='strcls'>**ls>
<lsts clss="lsts lst1">•l clss="ppl">Sartrel><lgc clss='lgc'>:lgc> existential liberation <lgc clss='lgc'>+lgc> lss="trms">historical “engagement” <lgc clss='lgc'>+lgc> artistic subjectivity <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">writing<lgc clss='lgc'> = lgc>a praxis-based motioning toward futurity <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>lss='qstn'>? accelerationism<lgc clss='lgc'>]lgc>
lsts>
l clss="ppl">Adornol>/l clss="ppl">Sartrel> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>***ls>واجب indispensable search for a lss="trms">writing act tied to revolutionary desire, negational change, futural hope, pseudosalvatinoal intentionalityls clss='strcls'>***ls> <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> Hedayat, l clss="ppl">Nietzschel><lgc clss='lgc'>]lgc>

<lgc clss='lgc'>==>lgc> invalidating lss="trms">mimesis as a legitimate conceptual lss="trms">category (!lss='qstn'>?ls clss='strcls'>*ls>)

through an account of self and lss="trms">world as ls clss='strcls'>*ls>mytholss="trms">poetic entitiesls clss='strcls'>*ls> (<lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> willed imlss="trms">materiality) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>chaos-consciousnessls clss='strcls'>*ls> (lss="trms">interlacing experience <lgc clss='lgc'>+lgc> thought <lgc clss='lgc'>+lgc> desire) effectively disbands the l clss="ppl">Marxl>ian hierarchy of true and false consciousness by virtue of its dissolution of all paradigms of lss="trms">historical “reality”

nowhere-zone between desolation and the everything <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> experiential anarchy <lgc clss='lgc'>==>lgc> the lss="trms">poet/artist (<lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> X-Men<lgc clss='lgc'>:lgc> Apocalypse film sulss="trms">pervillain character watching the news of last millennia on TV) stands as the incarnation of lss="trms">history's redemption, saving it from itself, and therein bringing into perfect totality the fusion of the self, the lss="trms">aesthetic, and lss="trms">historical Being

lss="trms">historicity of the object
lss="trms">historicity of the subject

critical reason <lgc clss='lgc'>=/=lgc> lss="trms">instrumental reason

‘lss="trms">aesthetic depiction of reality <lgc clss='lgc'>=/=lgc> objective truth of its operation’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> journalism
(“<lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>artist<lgc clss='lgc'>:lgc> a creativity independent and existentially self-sufficient entity standing somewhere beyond the matrices of lss="trms">historical circumstance” <lgc clss='lgc'>=/=lgc>) l clss="ppl">Adornol><lgc clss='lgc'>:lgc>
<lstsrd clss="lstsrd">1. artwork can struggle to engage directly with the moment <lgc clss='lgc'>==>lgc> find itself invariably enlss="trms">trapped by the artificial lss="trms">presentations and camouflages of the obscenity it challenges <lgc clss='lgc'>==>lgc> “permit the lss="trms">monstrosity of lss="trms">modern lss="trms">society to emerge in full clarity from the lss="trms">phenomena masking it” <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> an epic <lgc clss='lgc'>==>lgc> freezing the dialectic in a lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid back-and-forth of monolithic polarizations and exaggerated lss="trms">narratives of good and evil<lgc clss='lgc'>]lgc>
lstsrd> <lstsrd clss="lstsrd">2. delusion of art's distance from the everyday <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> to resurrect the archaic phantom of sovereignty amid a lss="trms">world of unavoidable mechanistic lss="trms">interconnections<lgc clss='lgc'>]lgc>
lstsrd> <lgc clss='lgc'>}lgc><lgc clss='lgc'>==>lgc> artwork attests to a ls clss='strcls'>*ls>lss="trms">fictive template of freedomls clss='strcls'>*ls> clinging to the ls clss='strcls'>*ls>delusion of its lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">righteous self-determinationls clss='strcls'>*ls> <lgc clss='lgc'>==>lgc> ls clss='strcls'>***ls>a lss="trms">mimetic lss="trms">intercourse between art and lss="trms">historical lifels clss='strcls'>***ls> <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> this is most desired from artists today<lgc clss='lgc'>]lgc>

l clss="ppl">Adornol>'s premises (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “progress”)<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•unabashed use of the universalizing abstraction of “humanity”
lsts> <lsts clss="lsts lst1">•detrimental reconfirmation of a lss="trms">world-lss="trms">historical process inagurated by the alliance of enlightenment lss="trms">epistemology and the commodity form
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'>==>lgc> l clss="ppl">Adornol>'s lss="trms">paranoiac tone (of infection, contamination, threat) <lgc clss='lgc'>==>lgc> lss="trms">rhetoric of false and true consciousness <lgc clss='lgc'>==>lgc> proclivity (تمايل طبيعى به چيز بد) for perpetual judgment and truth-seeking
<lgc clss='lgc'>--lgc>(enlightenment pathology)<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> grand theories of degradation and decline about whenever l clss="ppl">Adornol> delves into critique of the lss="trms">world <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> habit of most of my friends and artists...<lgc clss='lgc'>]lgc> <lgc clss='lgc'>==>lgc> (purist theology of negation) ls clss='strcls'>***ls>reverse-messianicismls clss='strcls'>***ls> (<lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> “he can do nothing” هیچ کاری نمیشه کرد، همیشه همینجوری بوده)
<lgc clss='lgc'>}lgc><lgc clss='lgc'>=/=lgc> chaotic engagement (with the lss="trms">questions of art, lss="trms">history, self)

l clss="ppl">Adornol>'s dedication to the l clss="ppl">Marxl>ian perception of lss="trms">historical Being as an intrinsically teleological functioning <lgc clss='lgc'>==>lgc> his intense cynicism
<lgc clss='lgc'>=/=lgc> l clss="ppl">Schopenhauerl>'s pessimism
<lgc clss='lgc'>=/=lgc> l clss="ppl">Nietzschel>an lss="trms">intervention of ls clss='strcls'>*ls>treating lss="trms">history as lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphorical illusionls clss='strcls'>*ls>, <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>lss="trms">history<lgc clss='lgc'>:lgc> a hallow significatory edifice that nevertheless manufactures meaning, directionality, and lss="trms">causality (for an otherwise anarchic lss="trms">world) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="nms">iranian chaoticism <lgc clss='lgc'>[lgc>and why l clss="ppl">Nietzschel> is so widely lss="trms"nttrm="already,spread">read in lss="nms">Iran<lgc clss='lgc'>]lgc>, for l clss="ppl">Nietzschel>an<lgc clss='lgc'>:lgc> “art <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> eruptive potentiality of the will to truth<lgc clss='lgc'>]lgc> <lgc clss='lgc'>=/=lgc> lss="trms">history <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> desolation of the will to power<lgc clss='lgc'>]lgc>” <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the disparity between art and lss="trms">historical reality becomes the very source of chaos-consciousness saliency

ferocious risk of greatness lss='and'>& the asphyxiating decadence of mediocrity

(lss="frds scrmbld"nttrm="Alice,Shariati">Ali's) peotic-becoming lss="trms">aestheticized existence
irresolute <lgc clss='lgc'>=/=lgc> reactive <lgc clss='lgc'>=/=lgc> dismissive


continental philosophy's approach to the aslss="trms">sociations of three spheres<lgc clss='lgc'>:lgc> lss="trms">history<lgc clss='lgc'>[lgc><lgc clss='lgc'>==>lgc><lgc clss='lgc'>]lgc>, art, subjectivity <lgc clss='lgc'>--lgc>lss='not'>✕<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> chaotic nonstate<lgc clss='lgc'>:lgc> clash between a hypersubjectivized lss="trms">aesthetic lss='and'>& the barriers of lss="trms">historical Being (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> annihilation of both “I” and the lss="trms">historical)

l clss="ppl">Benjaminl>'s subjectivity must defend itself against the profane rotations of the lss="trms">historical (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> apocalyptic battle)
l clss="ppl">Benjaminl>ian “angel of lss="trms">history” ravaged of its innocence at the hands of progress and then restored by overriding strength of the lss="trms">historical lss="trms">materialss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list<lgc clss='lgc'>:lgc>
demonization of the lss="trms">monstrosity of the lss="trms">historical <lgc clss='lgc'>+lgc> celebratory lss="trms">poeticization of the subject
<lgc clss='lgc'>=/=lgc> l clss="ppl">Nietzschel> and Hedayat's subjectivity <lgc clss='lgc'>[lgc>should<lgc clss='lgc'>]lgc> not to be held in a “derivative placement <lgc clss='lgc'>=/=lgc> the here and now” (one must lss="trms">imagine beyond طالع بینی <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> شخصیت فراسو نگر) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (card lss="trms"nttrm="already,spread">reading) one must place under scrutiny the commensurate manner in which the lss="trms">historical is navigated, orchestrated, and then overcome <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> alibi for some alternative discourse of lss="trms">literary-philosophical humanism or lss="trms">aesthetic transcendence<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>[lgc>lss='qstn'>?what is lss="frds scrmbld">Adrijana's card lss="trms"nttrm="already,spread">reading lss="trms">relation to<lgc clss='lgc'>]lgc> the desire to divorce lss="trms">history from any potential taxonomy of meaning or intelligibility <lgc clss='lgc'>--lgc>Hedayat<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “one is confined in a proud, deceptive consciousness... that rests upon the merciless, the insatiable, the murderous, in the inlss="trms">difference of his ignorance<lgc clss='lgc'>--lgc>hanging in dreams”


the lss="trms">poem i wrote in 2010 “our lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphor” https://archive.org/details/ourlss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphor is an lss='thdf'>example of (my l clss="ppl">Nietzschel>an and Hedayatian influence, to address) the indeterminacy and illogic necessarily aslss="trms">sociated with a chaotic lss="trms">world
(for l clss="ppl">Nietzschel><lgc clss='lgc'>:lgc>) lss="trms">positivism<lgc clss='lgc'> = lgc>lss="trms">historical subjectivity's lss="trms">fictive lss="trms">interiority <lgc clss='lgc'>--lgc>leads<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> decadence of a will to truth, attributing to events a rational look by fixing them within universalizing patterns of signification
l clss="ppl">Nietzschel><lgc clss='lgc'>:lgc> “it is precisely facts that do not exist, only lss="trms">interpretations” <lgc clss='lgc'>=/=lgc> fraud of the lss="trms">historical <lgc clss='lgc'>==>lgc>
<lsts clss="lsts lst1">•l clss="ppl">Platol>nic idealism
lsts> <lsts clss="lsts lst1">•messianic grandiosity of the l clss="ppl">Hegell>ian lss="trms">world-lss="trms">historical process
lsts> <lsts clss="lsts lst1">•
lsts> <lsts clss="lsts lst1">•ls clss='strcls'>*ls>rational lss="trms">historicism<lgc clss='lgc'>:lgc> a discursive lss="trms">phenomenon indispensably linked to enlightenment lss="trms">epistemology and its overriding drive for lss="trms">world-masteryls clss='strcls'>*ls>
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'>=/=lgc> explosiveness of a chaotic universe <lgc clss='lgc'>+lgc> experiential immediacy of this creative-destructive effusion نشد

<lrg clss="large lg3" stl="font-size:110%"> l clss="ppl">Nietzschel>'s The Birth of Tragedy (seemingly) a study of the pre-Socratic culture of Dionysian ecstasy <lgc clss='lgc'>--lgc>but<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a self-projected lss="trms">hallucination of antiquity <lgc clss='lgc'>==>lgc> ls clss='strcls'>*ls>theme of lss="trms">history as subjective dreamscapels clss='strcls'>*ls> (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> my way of working lss="trms">historical lss="nms">ajayeb is l clss="ppl">Nietzschel>an<lgc clss='lgc'>[lgc>lss='qstn'>?<lgc clss='lgc'>]lgc>)
lss="prgrph">-in Human, All Too Human, l clss="ppl">Nietzschel> wages an archaeological assault against the comlss="trms">position and enforcement of moral and lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical (from lss="trms">religion to law, discussion of the ascetic ideal and the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ressentiment and slave morality)
lrg>
misunderstanding of “the will”
l clss="ppl">Nietzschel>'s skepticism (is his a lss="trms">priori) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the link between chaos and a certain lss="trms">poetic evocation

ls clss='strcls'>*ls>monumentalls clss='strcls'>*ls><lgc clss='lgc'>:lgc> seeking out heroic episodes from the the lss="trms">past as examples of imminent قريب الوقوع greatness within the lss="trms">present and future (resurrecting examples of nobility) <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> an ethos behind which large-scale causes are mobilized (<lgc clss='lgc'>+lgc> antiquarian <lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>) <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>archive<lgc clss='lgc'>:lgc> a harmless reverence for that which has elapsed, leading largely to a compulsive preservation of faded events for no other purpose than that of ensuring their permanence in lss="trms">memory
<lgc clss='lgc'>=/=lgc> <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>critical<lgc clss='lgc'>:lgc> the courage for insurgency and disavowal of lss="trms">historical legacyls clss='strcls'>***ls> <lgc clss='lgc'>==>lgc> realization of an alternative counterfuture in the lss="trms">present
“He is blind to everything behind him, new sounds are muffled and meaningless though his perceptions were never so intimately felt in all their color, light and music, and he seems to grasp them with his five senses together . . . His whole case[...]