The Young-Girl as War Machine
The Young-Girl spontaneously assents to anything that might mean subjugation to any kind of necessity - "life," "society," "work," the education of children, another Young-Girl. But this assent is itself determined in an exclusively negative manner; it's only given to such things as long as they bar all singular expressions.
The glassy smile of the Young-Girl always has a penal colony hidden behind it.
The Young-Girl has no other legitimacy besides that of the Spectacle. As docile as the Young-Girl is before the arbitrariness of what PEOPLE say, she's just as tyrannical when it comes to living beings. Her submission to the impersonality of the Spectacle gives her the right to subjugate others to it, whoever they may be.
In fucking and in all the other sectors of her existence, the Young-Girl acts as a formidable mechanism for the annulment of negativity.
Because the Young-Girl is the living presence of everything that wishes us a humane death, she's not just the purest product of the Spectacle, but the plastic proof of the love that we give it. She's the path down which we follow our own loss of self.
Everything she has managed to neutralize finds its place in the Young-Girl's world as an ACCESSORY.
Seduction as war. PEOPLE use the word "canon" [Literally:"gun"; Figuratively:"pimpin"] as a metaphor, which appears to be taking on less and less of an aesthetic tone and more and more a ballistic one.
Young-Girls comprise the infantry of visibility's occupation troops, the rank and file of the present dictatorship of appearances.
The Young-Girl finds herself to be in a relationship of immediacy and affinity with everything competing to reformat humanity.
Each Young-Girl comprises, in her own way, an advanced outpost of the imperialism of insignificance.
Viewed from a whole-territory perspective, the Young-Girl appears as the most powerful vector of the tyranny of servitude. Any manifestation of non-submissiveness makes her furious. And in that sense a kind of totalitarian social-democracy suits her marvelously.
The Young-Girl's violence is proportional to her fragile vacuity.
Capitalism has made particular use of the Young-Girl in order to extend its hegemony over the totality of social life.
She is commodity domination's toughest pawn, in a war whose stakes are still the total control over everyday life and "production" time.
It is precisely because she sketches out a total acculturation of the self, because she defines herself in terms set by outside judgement, that the Young-Girl is the most advanced bearer of the spectacular ethos, and its abstract behavioral norms.
"A huge educational project would have to be set up (maybe on the Chinese or Khmer Rouge model), in the form of work camps where boys would learn, under the guidance of competent ladies, the duties and secrets of housewifery."
The Young-Girl's insignificance shows her oppressed minority situation, and at the same time her imperialist and triumphal character. It's just that the Young-Girl is fighting for the Empire, her master.
Contrary to the young girls of Babylon, who, according to Strabon, turned over to the temple the income they obtained through their prostitution, the Young-Girl's prostitution profits the Spectacle, and she doesn't even know it.
"Furthermore, and this is where the schoolgirl's true pandemonium began, there was a whole pile of confidential letters sent by judges, lawyers, and prosecutors, pharmacists, businessmen, city or rural notables, doctors, etc., letters sent by all these remarkable and brilliant people who'd always inspired so much respect in me! I couldn't shake off my surprise ... So they too, in spite of appearances, were having relations with the schoolgirl? 'Incredible,' I repeated to myself; 'it's incredible.' So this Maturity weighed upon them so heavily that they wrote long letters to a modern 1st year schoolgirl, hiding it all from their wives and children? ... These letters made me fully realize all the enormous power of the modern schoolgirl. Where, indeed, did she NOT dominate? (Gombrowicz, Ferdydurke)
The Young-Girl is a metaphysical kidnapping procedure; that is, one is never her prisoner, but rather one is always a prisoner in her.
The Young-Girl is a warning to each and everyone to make sure they keep on measuring up to the Spectacle's images.
The Young-Girl is an instrument in the service of a general policy to exterminate beings capable of love.
Identical in this sense to the alienated social totality, the Young-Girl detests unhappiness, since unhappiness indicts her like it indicts this society.
The Young-Girl works to propagate a kind of terror of fun.
"How many squads of riot cops does the Young-Girl need before she truly smiles like a child?"
"More, more, MORE..."
The vocabulary proper to the Young-Girl is also that of Total Mobilization.
"Fidelity - it earns interest."
The Young-Girl is a member of the new morals police making sure that everyone carries out their function and sticks to it exclusively. The Young-Girl thus never really interacts with singular beings, but with groups of qualities objectivized into a role, a character or a social situation which one is supposed to conform to in all circumstances. And so anyone that she shares her little alienated everyday life with will always definitively remain "that guy" or "this chick."
The Young-Girl watches over the commodity with an envious eye, because she sees her model in it, that is, she sees something that is the same as her, but more perfect. What humanity she has left isn't just what's keeping her from attaining commodity perfection; it's also the cause of all her suffering. And so she has to eradicate that too.
The Young-Girl reproaches reality, with a non-feigned bitterness, for not measuring up to the Spectacle.
The ignorance in which the Young-Girl sticks to her role as a cornerstone of the present system of domination is also part of that role.
The Young-Girl is a pawn in an all-out war that domination has undertaken in order to try and eradicate all otherness. The Young-Girl does not mince words when she says it: she's "horrified of the negative." And when she says that she is, like Spinoza's stone, persuaded that it's her that's talking.
The Young-Girl wears a mask, and when she admits it, it's always only to suggest that she also has a "true face" that she wouldn't or couldn't show. But that "true face" is also a mask, and a frightful one: it is the true face of domination. And in fact, when the Young-Girl "takes off her mask," the Empire is speaking directly to you.
"...what if all the guys on the planet were eliminated? Why try to make something new out of the old things? I'm sick of guys, they can all fuck off, just ...go away! Anyway, it's no use getting upset; historically and genetically speaking, man has had his time. He's doing away with himself on his own."
Every Young-Girl is a modest filtration enterprise in and of herself.
Considered as a whole, Young-Girls comprise the most frightful paramilitary force that has been wielded by PEOPLE against all heterogeneity, against all vague desire for desertion. Parallel to this they also map out at each moment the most advanced outposts of Biopower, its revolting solicitude and the cybernetic pacification of everything.
Beneath the culinary gaze of the Young-Girl, all things and all beings, whether organic or inorganic, appear as if they could be possessed, or at least consumed. Everything she sees, she transforms into a commodity just by looking at it. In that sense also she comprises an advanced outpost in the Spectacle's endless offensive.
The Young-Girl is the nothingness that PEOPLE wield to hold down the pregnancy of Nothingness.
The Young-Girl doesn't like war, she wages it.
The Young-Girl is the final slavery, by which the silence of the slaves has been achieved.
It's not enough to affirm that the Young-Girl speaks the Spectacle's language; it must also be remarked that that's the only language she can understand, and that she thus forces everyone that doesn't loathe her to speak it.
The semiocratic authorities, who ever more forcefully demand an aesthetic assent to their world, flatter themselves that they can now pass what they want off as what is "beautiful." But this "beautiful" is only the socially controlled desirable.
"SICK OF GUYS? GET A DOG! You're what, 18, 20 years old? You're starting school and it looks like it's going to be long and hard? Do you really think this is the time to slow down that fine takeoff of yours by desperately seeking affection from some boy that in the end has nothing to offer you? Or worse, to saddle yourself with a companion who himself isn't perfect, not really very nice, and not always so clean..."
The Young-Girl promotes conformity between all the fleeting norms of the Spectacle, and conveys an example of such a conformity.
Like everything that has achieved symbolic hegemony, the Young-Girl condemns as barbaric all physical violence directed against her ambition for the total pacification of society. Her and domination share the same obsession with security.
The very character of the war machine that can be seen so strikingly in every Young-Girl insists that she live her life no differently than she wages her war. But on the other hand, her inflatable emptiness already prefigures her coming militarization. She no longer just defends her private monopoly on desire, but in general the alienated state of the public expression of desires.
Men are not prisoners of their "instinctive impulses" in the Spectacle; they are prisoners of the laws of the desirable that have been written into them, even into their very flesh.
The Young-Girl has declared war on microbes.
The Young-Girl has declared war on chance.
The Young-Girl has declared war on the passions.
The Young-Girl has declared war on time.
The Young-Girl has declared war on fat.
The Young-Girl has declared war on darkness.
The Young-Girl has declared war on worry.
The Young-Girl has declared war on silence.
The Young-Girl has declared war on the political.
And finally, the Young-Girl has declared war on war.