By Neil Perryman, Sue Perryman
One woman's awfully sweary, thoroughly unofficial, yet sometimes insightful advisor to the final 26 episodes of the cult BBC technology fiction sequence Blake's 7. This publication collects the second one 1/2 the reasonably winning Adventures with the spouse and Blake web publication ('Aftermath' to 'Blake') and incorporates a new creation, particular episode annotations, a foreword by means of Una McCormack, and a brand new interview with Sue.
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Extra info for Adventures With The Wife and Blake, Volume 2: The Avon Years
But the title is already literary enough as it is. ], but many pushes and tractions. ) for a journey without aim, a collection of fragments never managing to unify themselves because it drifts with the ship and that drift, through the diversity of landscapes and times traversed, gives the advantage of the most intense resonance now to one madman-Trieb, now to another. Not a corps morcelé, since there have only ever been bits of body and there never will be a body, this wandering collection being the very afflrmation of the non-body.
We could say that it is out of wariness and feeling intimidated, warned as we are by a militant past to what extent laying your hands on Marx, even if it were to screw with him (especially then) is closely watched over by the paranoids who call themselves Marxist politicians and in general by all the Whites of the Left. (EL, 118) It might seem that all of this is merely a prelude to the ‘real’ libidinal writing which would follow from the destruction of the theatre: this is not the case, although not all of Economie libidinale is written in quite the same tone as the passages just quoted.
Further, if it seems indeed to avoid the petitio principii of Freud, it seems to do so at the cost of generating a vicious circle. To present this account, we must return to the slightly earlier account of the ‘libidinal band’ itself. This description is best seen as an imagination or fiction, insofar as on its own terms in cannot pretend to be a description of a reality (for such a description would have to be a representation, and therefore still presuppose the theatre). Lyotard has already asserted that the intensity of libidinal energy is lessened by conceptuality, which is already the theatre, with its exclusions, its identityprinciple, its law of the excluded middle: ‘either this, or that.