Suppose, indeed! What a horrifying thought! That element of horror was Usa Flag Hat something }i~ek picked up on in Lacan s account of the lamella, leading him to make the leap between the psychoanalytical concept (the lamella represented for Lacan the libido or the death drive ) and the horror genre. For }i~ek, the lamella indivisible, indestructible, and immortal, an entity of pure surface& first heard as a shrilling sound, and then [popping] up as a monstrously distorted body is undead , possessed not of a sublime spiritual immortality but rather the obscene immortality of a zombie.
It is a creature which cannot die; it recomposes itself in the face of violence and clumsily staggers on. It is unstoppable, a representation of an uncanny excess of life ; it is the urge to persist beyond the natural cycle of generation and corruption. }i~ek memorably compares the lamella to the face hugger in Ridley Scott s Alien , an indestructible creature which multiplies when it is cut into pieces, and whose extra flat body can suddenly fly up and envelop your face: In it, he writes, Usa Olympic Hat pure evil animality overlaps with machinic blind insistence. Here we might return to that classic ghost story I mentioned at the beginning of the essay: Oh, Whistle and I ll Come to You, My Lad by M. R. James, a tale with a rather similar uncanny presence.
Like the lamella, it emits a strange noise, and it can move at a terrifying speed. It unsettles because its Usa Hockey Hat lack of form speaks to its monstrous immortality; how would you destroy such an entity? Is it even possible? What is it? If we return to the inscription on the whistle, we discover our question is only repeated back to us: Quis est ? Who is this?Is it their father who has come for them? Or is it, as the babysitter suggests, the Specialist? And is this what we find terrifying in the story: the disappearance of the father, his replacement by a simulacrum, almost identical, someone who pretends to love them but who is fundamentally a stranger? Quis est? Perhaps this is part of the terror, but it isn t everything.
It is truly disturbing, }i~ek might say, because it represents the intersection between the imaginary and the World Series Hat Real; it reveals the Real in its most terrifying dimension as the primordial abyss which dissolves all identities and swallows everything. This concept of the Real will be familiar to readers of weird fiction. It is represented in a range of literary guises from Poe s maelstrom to the horror at the end of Joseph Conrad s Heart of Darkness to Lovecraft s elder god Cthulhu, a creature who presents such a dangerous vision of the universe that he cannot be seen without causing madness: The Specialist s Hat terrifies us in much the same way that Lovecraft terrifies us: it hints at an encounter with something which is beyond the realm of our experience death and yet which is simultaneously so deeply embedded in our own nature that it is always already there .
Beneath the awfulness of Rash s obscure poetry is an insight we recognise as fundamentally true: we are dying, we have always been dying, and sex, which seems to promise immortality, is not a way out of that trap, but rather a way further into it. Sex is the disappearance of the self, just as death is; there is no immortality, there is only the restless seeking after it, the repetition of the journey into the woods, the bite of the snake, and the hollowing out of the body as skin pulls away from meat, as you grow accustomed to slowness, as your eyes sink in, your flesh decays& This repetition, this annihilation, this image of the future is what terrifies us because we know it is true.
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