Guidelines

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When the act of narration becomes as integral to the total story as the actions narrated, as motivated by restless urges, as fraught with perils, pains and ecstasies; then the story suddenly bristles, an automaton turned inside out. All the inner devices of poetics are exposed, brought into plain view. The author is revealed to be a writing machine. His desires now figure as mere drives, his unfathomable creative force as hydraulic differential flow. With this inversion the artist passes beyond himself, outside his ego. Likewise, the work of art, originally and reassuringly emblematized by the scenes of peace and plenty contained within the gilt frame of the shield of Achilles, inverts itself. Its cogs, planes, levers, screws and pulleys, its ropes and bellows now exposed and live (as wires are said to be live); the work of art then becomes Deleuze’s war machine, Vaucanson’s famous defecating duck gone on a killing spree. The horror . . . and the hilarity.

– Brian Kubarycz