To Finish the Young-Girl

The Young-Girl is a reality as massive and brittle as the Spectacle.

Like all transitional forms, the Young-Girl is an oxymoron.  She is also the first case of an asceticism without an ideal, of materialist penitence.  

Cowardly devoted to the caprices of the Young-Girl, we've learned to detest her while obeying her.

The present sexual misery in no way resembles that of the past, because these are now bodies without desire, burning up inside because they can't satisfy these desires they don't have.

Over the course of its metastatic development, seduction has lost intensity while increasing its extension.  Amorous discourse has never been so poor as it is now when everyone feels the duty to sing its praises and comment on it.  

The Young-Girl doesn't look like a dead body, as one might presume from reading women's magazines; she looks like death itself.  

Everyone looks to sell themselves and no one can manage to do it convincingly.

Contrary to how it might seem at first glance, the rapist isn't grappling with a man or a woman as a person, but with sexuality itself as the control apparatus that he reappropriates.

When it erupts, the naked body of the Young-Girl used to be able to produce a feeling of truth.  Now that power is sought, in vain, among ever younger bodies.

Just how little charm we find in the Young-Girl anymore shows how much we've managed to destroy her already.

It's not a question of emancipating the Young-Girl, but of emancipation relative to the Young-Girl.  

In certain extreme cases, we'll see the Young-Girl turn the nothingness inhabiting her against the world that has produced her that way.  The pure emptiness of her form, her profound hostility to everything that exists will be condensed into explosive blocs of negativity.  And she'll have to destroy everything around her.  The desertlike expanse inside her will get a burning urge to reduce every point in the Empire to an equal desolation.  Give me a bomb, I must die, exultantly gasped a Russian nihilist of the last century, begging to be assigned the suicide attack on Grand-Duke Serge.

For the Young-Girl as for the man of power, who after all correspond in every trait where they don't totally coincide, de-subjectification cannot afford to have any collapse, a collapse in itself.  And the distance of the fall will only measure the abyss between the amplitude of social being and the extreme stuntedness of singular being; that is, the poverty of our relationship to ourselves.  But, in the poverty of the one, there is also all the power lacking for the completion of the other.

"But I had to pull aside the nimbus with which man sought to crown this other feminine figure which is the young girl, apparently immaterial and stripped of all sensuality, by showing that she is precisely the mother type, and the that virginity is by definition as foreign to her as it is to the whore.  And analysis also shows that maternal love itself has no moral merit attached to it."

(Otto Weininger, Sex and Character)

Rarely was an era so violently agitated with desires, but rarely was desire so empty.  The Young-Girl reminds one of the monumentality of platonic architecture that time has covered over, and which only give the viewer a passing idea of eternity, since they're already breaking down.  It also sometimes makes one think of something different, but then it's always a slum.

I could destroy the schoolgirl's modernism by introducing foreign, heterogeneous elements to her; indeed by mixing her with anything at all." (Gombrowicz, Ferdydurke)

Under the apparent disorder of desires of Barracks-Babylon sovereignly reigns the order of interest.  But the order of interest itself is but a secondary realty without any reason in itself but in the desire for desire that is found at the bottom of all missing life.

The mutations within the figure of the Young-Girl follow symmetrically the evolutions of the capitalist mode of production.  So, over the past thirty years we've little by little moved from a Fordist type seduction, with its designated places and moments, its static and proto-bourgeois couple-form, to a post-fordist type seduction, diffuse, flexible, precarious and de-ritualized, which has extended the couples-factory over the whole of the body and all social space-time.  At this particularly advanced stage of Total Mobilization, everyone is called upon to keep up their "seduction power," which has replaced their "labor power," so that they can at any instant be fired and set out again on the sexual market.

The Young-Girl mortifies the flesh to take revenge for Biopower and the symbolic violence that the Spectacle subjects her to.

Looking at her past unshakeable positivity, the difficulties that she now presents ever more massively show sexual enjoyment to be the most metaphysical of physical enjoyments. 

"Some make sophisticated, plugged in, "fad" magazines.  We have made a clean, fresh, airy magazine, with blue skies and organic fields, a magazine that's more real than nature."

The Young-Girl is entirely constructed; that's why she can also be entirely destroyed.

It is only in her suffering that the Young-Girl is lovable.  There is obviously a subversive power to trauma.

The success of the mimetic logic that has carried the Young-Girl to her present triumph also entails the need for her extinction.  And finally, it is Young-Girl inflation that will be most certain to undermine the efficiency of each and every one of them.

The theory of the Young-Girl is part of the training for a way of seeing that is able to hate the Spectacle wherever it hides itself; that is, wherever it exposes itself.

Who, besides the few remaining suckers, is still seriously touched by the "ruses and tricks with which seduction knows how to insinuate itself into the heart of the Young-Girl, the influence it can hold over her, in brief, seduction's fascinating, calculated and methodical character" (Kierkegaard)?

Everywhere that the commodity is unloved, the Young-Girl is unloved as well.

The diffusion of seduction relations through the whole of social activity also signifies the death of everything that once was alive about it.  The generalization of simulation too makes it more and more manifestly impossible.  It is thus at the moment of the greatest unhappiness when the streets fill with enjoyers without hearts, seducers mourning all seduction, the corpses of desires that no one knows what to do with.

It would be a physical phenomenon, like losing an aura.  Like the electrification of bodies caused by an intense separation beginning to express itself until it disappears.  A new closeness would come out of it, and new distances.

A total exhaustion of desire would mean the end of commodity society, and, of all society.  

The landscape of a devastated eros

"As a general thesis, social progress and changes of era take place accordingly as women progress towards freedom." (Fourier)

When the Young-Girl has exhausted all artifices, there is still one last one left, that of renouncing artifices.  And that one, is truly the last.

By making itself the Trojan Horse of planetary domination, desire has stripped itself of everything that flanked it that was domestic, secluded, private.  The prerequisite for the totalitarian redefinition of the desirable was in effect its becoming autonomous from all real objects, from all particular content.  By learning how to apply itself to essences, it has unwittingly become an absolute desire, a desire for the absolute, which nothing earthly can satisfy anymore.  This dissatisfaction is the central lever of consumption as well as of its subversion.

A communization of bodies is to be expected.

Does the everyday occurrence of the Young-Girl still go without saying?

The Young-Girl is presently the most luxurious of the goods circulating on the perishable goods market, the flagship-commodity of the fifth industrial revolution, which serves to sell all the others, from life insurance to nuclear power plants; the monstrous and very real dream of the most intrepid and fanciful of tradesmen: the autonomous merchant that walks, talks, and commands attention, the thing that's finally living, which no longer understands life but instead just digests it.  Three thousand years of the ceaseless labor of millions of fat shopkeepers' existences, generation after generation, have now found their brilliant crowning achievement in the Young-Girl, since she is the commodity that it is forbidden to burn, stock that stocks itself, inalienable and untransferable property which must nonetheless be paid for, property/virtue that endlessly converts to cash; she is the hooker that demands respect, the dead body moving by itself -- she is the law and the police all in one... Who has not caught a flashing glimpse, in her definitive and dismal beauty, of the sex-appeal of the inorganic?

changed April 6, 2011