. . . but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

01 February 2010

Shards of Glass, Broken Bottles

The guy gets into my head, __________. I contemplate my own glass shards now and ask myself, "What does Amalfitano mean when he says to himself offensive or defensive nature of his fortification? How can a wall with glass shards on the top be offensive in nature?"

__________, others have suggested he is just playing with us. Someone suggested that he is playing with us based upon our experience with traditional mystery or detective novels for example. By that I take it they are suggesting that he is setting up certain expectations in us and then defeating those expectations, or something like that. Is that what you are suspecting? Regardless of what anyone else means by that, what do you mean by "playing with us?"

I will say this. I was as freaked toward the end of The Part about Fate as I was the first time I saw David Lynch's Blue Velvet. David Lynch has been mentioned a couple of times before here, too.

I was right with Amalfitano. I, too, wanted Oscar to get out of there and get her out of there, too. Immediately.

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