Tortured Monkeys in Hell
When I talk about TMHs the operative words are really 'tortured' and 'hell'.
You certainly won't cease being a TMH by having organs made of metal.
Dismantling the organism is the way out.
It's only when we stop torturing ourselves and letting others torture us, i.e. when we stop being victims of sad passions, that we will be able to get out of hell.
This is the only hell there is.
There is no personal god omnisciently watching over your every move and watiting at the end of the road to judge you.
No reward or condemnation.
There is only the body of Uttunul = the Eternal Now = the Utter Nothing of the BwO = impersonal God, from which you are blocked by the Fuzz (white magicians, psychedelic fascists, videodrome...)
There is no personal salvation.
We can only get to flatline communism as a collective body.
Antagonism is entirely on the side of the Fuzz.
Spinozist k-punks seek only to flee.
What aggression k-punks use, they use only in the cause of flight.
Punk is not about subjectified anger or oedipal rage.
It is about distributional auto-affecting incitement.
Posted by mark at August 17, 2004 04:38 PM
(Now Nina and/ or Bruce: how about some cartoons of TMHs?)
From Neil Hagerty interview here -
Nolan Gawron: Victory Chimp has made several appearances in your work (your songs, your book, your comic book); how did you conceive the character and can you explain him?
Neil Hagerty: This is a way of talking about the middle class; I saw myself and my friends this way. We were chimps trained to take over some tasks for the ruling classes. Victory Chimp is a renegade from this role. Even though he is educated and has a taste of leisure and the price for that he can still rebel because he will always only be a chimp in a world of humans.
NG: I tried to read Victory Chimp, your first novel, and I cannot say that I grasped all of it. Do you want to give a brief "back-of-book" type of synopsis of the story?
NH: Basically, it covers the coming-of-age years of a male - late-teens to late-twenties - a standard for the first novel. It is a disconnected allegory told in various writing styles that reflect the way that I came to understand a little about the hierarchy of the United States. The borrowed style admits to the vulnerability and fragility of the position Victory Chimp has taken, while the attempt to push forward in a narrative reflects the hope that freedom could be real. The disconnected story reflects the ignorance of my class and an attempt to understand things that are kept hidden; things that we often ignore for our own survival. In the end, Victory Chimp has earned a sort of dignity. I think it might be a gloss on "The Secret Life of Walter Mitty" by [James] Thurber.