Discontent drives departure

Fever for the forbidden

Seeking somethink to seek suck sink into

Needing to know gnaws on the noodle

Delusion is deepdown darkdesired

Haunted by (w)holes

Weak with wanting

Hope hones the hero’s hunger

Justice (whose? the hero’s of course) justifies the journey

Testing, testing 123

Magically mended

Find and you shall seek (Möbius 7:7)
The mind leaks (Mercurius 5d:6s)

Sweet struggle

The scar is seen as a sign of strength

The victor vindicated vengefully victimizes the vanquished

Riddles resolved, rascals reformed

Rovers return, roamers go home

The rescuer also needs rescuing (Who will rescue the rescued from the righteous rescuer?)

Disguises add drama

The double is denounced

Desire for destiny drives the derring-doer

All difficulties dramatically dissolved

Remembering to remember, recognizer and recognized reciprocally rejoice

Unmasking is a mise en abyme

The hero gets handsomer

Someone has to suffer (Might makes ought)

Righteousness rewarded: happy happy ha ha π

The Ethics of Narrative

Towards a libidinalysis of narrative:

What forms of pleasure does narrative produce?

How do these pleasures fortify or enervate the body? Lighten, darken, or burden the mind?

The universal popularity of story promotes the presumption that it is good. (But nobody asks—Good for what?)

Everybody loves story—those who don’t are suspect.


A narrative without a moral is a contradiction in terms.

Because narrative bows to good and evil, it is dominated by childish morality.

Who benefits from narrative's partiality for conflict over harmony, action over contemplation, closure over uncertainty?

Narrative’s perverse preference for sad passions over joyful ones.

Happy endings are well and good, but a happy story is not much of a story.