from Light
on the Lion’s Face,
A
Reading of Baudrillard’s Seduction
Dead
Sex Object
by
Tim VanDyke
Everything
obeys the rule that dictates the sacrificial
between
men and their gods
cultures
of cruelty, relations of recognition
and
dispensation of unlimited violence
entirely
given over to an ephemeral but total credibility
as
if bidding with themselves
leaving
only the ultimatum of conversion
the
absolute need to be believed, to disperse all other belief
in
an hysterical combination of passion and assimilation—
The
hysteric has no intimacy, emotion, no secrecy—
The
lion’s face succeeds in making its own body a barrier
a
seductress paralyzed
who
seeks to petrify others in turn—
That
which would make us believe, make us speak,
make
us come to things by dissuasion,
by
suicide, turning suicide into a theatre of the Mind—
What
remains immortal in this spectacular domain:
signs
without faith, without affect or history,
signs
terrified just as the hysterical is terror—
It
invokes a passion for an abstraction that defies every moral law
To
be deprived of seduction is the only true form of castration
The
lion’s face is a mirror that has been turned against the wall
by
effacing the seductiveness of its own body—
The
lion’s face that draws our attention to Death
not
in its organic and accidental form
but
as something necessary and rigorous
the
inevitable consequence of a rite that is violent
as
the rules of a game are violent—
To
seek one’s rights over that dead object
with
which one appeases a fetishist passion—
Reclusion
and confinement, a collection unto one’s self
The
Collector is possessive
and
is not distracted from His madness
His
love, the amorous stratagems with which He surrounds it
that
which emanates from Him, the dead sex object,
as
beautiful as a butterfly with florescent wings
immortal
and indestructible, as in every perversion—
The
Collector has enclosed Himself within an insoluble logic
One
can then only reward it with death
like
the sun refracted by different layers of the horizon
crushed
by its own mass, no longer obeying its own law
Tim
VanDyke grew
up in Colombia, South America, until guerilla warfare forced him
back to the United States. Since then, he has worked in several
insane asylums. His first book, Topographies Drawn with
a Divine Chain of Birds,
is out from Lavender Ink. He also recently released a chapbook, Fugue
Engine,
with Cannibal Books. His work has appeared in Fascicle,
Typo, Octopus Magazine and
elsewhere.