The Fibonaccis Song List

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Friends of Crime

Another song from TerrorVision, a 1986 Empire Pictures release.;/p>




Tom Corey wanted to call this ditty The Friends of Crime. I hadn’t done much reading on de Sade at the time. All I knew was that Luis Bunuel, my favorite director, looked to de Sade’s philosphy and writing for his L’Age d’Or. I realize now that the existence of De Sade’s level of decadence may be all the justification we need to disregard French opinion on our culture. Here’s the background:

“The Society of the Friends of Crime believed that any and all demands of the flesh be met, and without question. To view such a society as being in control, one must seek escape from such laws and restrictions. But to possess a body and a mind makes one a commodity to the ruling class’ manipulation. To attain reality beyond flesh, one must find escape through another body. This was the heart of Donation’s explorations of the erotic. He was in constant search for an escape route from his body using voyeurism and study of the effects of his sexual manipulation. The process was identical to Alice walking through the looking glass, with the glass being another body and walking being a far crueler act. De Sade failed at this escape which gave him such distress. He tried to keep a log of his explorations of the human body that was both his criminal history and his literary legacy.

“In acknowledging the bestial nature of humankind, Sade had created a barrier to transcendence. His transcendental act was to surpass the flesh through the sexual act rather than the spiritual one. Without God, there is no hope or ascension to a higher state of being. In a phenomenological sense, this sensual word that Sade thought of as recognition of Man’s nature had become a block to escapism from it. In essence, his very sensing of his body re-enforced its existence and laws. He perceived his body as his own identity. In sex, “?we can manipulate people as though they were tools, but? the libertine does not desire the disappearance of the other consciousness? (It) reflects me but does not allow me to see it, it is invisible? a negative reality (Paz, 54).” In this, the body takes away from identity and in search for synthesis we are left with what Bertrand Russel saw as a whole less than its possibilities. Through the scrutinous perception of another’s sensations, we ourselves become lost in the sea of that other. There is only obsession (Sade’s notch-keeping of his lashes to release himself from his cage of flesh) and disillusion (the many “petite maison” visits, each promising release, and ending in imprisonment), not transcendence.

“This sensationalism through another was what Sade centered on throughout his works while incarcerated. His Friends of Crime, in the Monster work 120 Days of Sodom sought to break the moralistic limits of the world. Due to the storming of the Bastille where his work, meticulously written on a single sheet of paper, was hidden, he had thought lost forever. This was the cause of much pain which caused him to seek retribution through other works, such as the antithesis of Justine (a kind of satire of Jane Austin’s Emma), Juliette.

“This last work, Juliette, was one of his most ardent attempts to explore the depths of how far the limits of morality could be stretched. However, it was not an abstract morality, but an actual physical consequential world that Sade was concerned with. Hence, we are given Juliette, the libertine of libertines. Her journey throughout the novel is begun as an investigation of the human body. Every inch of the flesh is defiled over and over again in an attempt to find where is the identity? If the human consciousness is housed in this frame, where does its nexus lie? How far can we bring this body to the brink? In one particular disconcerting moment, the house of a Duc is visited where Juliette is flogged and molested to an inch of her life in a room where bodies are thrown as one would treat a stool. Over blood pouring from Juliette’s flayed buttocks, the Duc screams, “By the guts of Almighty God, I have no great fondness for women; if God made them, why can’t I exterminate them?? I see blood and I am happy? (Juliette, 197).” It is utter and complete destruction of the human form that the Duc seeks, the oblivion of identity, “Burn them, sear them, scorch them, fry them!? burn these ***** whores, I’m discharging! (Juliette, 198).” It is the utter destruction which drives the Duc’s orgasm, not union, but the shattering of that very ‘mirror’ which offers us the glimpse of our own identity.

Excerpt from The Madcap Dynasty.


Posted at 1am on 06/08/2005 | comments are closed Filed Under:

"The sleep of reason
brings forth monsters."

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