GRGR(12) - The Repressed (1)

[David Morris]

The Repressed will be significantly featured again in GRGR(13), but until 
then:

The Repressed generates the monster, the mutation.  The monster, King Kong, 
is presented here as the inevitable, like Godel's proof.  It is the direct 
reaction to an insistence on maintaining Control through Repression of those 
things which don't fit our ideal.  The Repressed is "dark," like King Kong 
and the Schwartz-commando, because it is the "shadow" in Jungian terms.  It 
is the part of ourselves that we wish to deny.

But repression does not make the shadow-monster go away.  The Repressed will 
not be denied.  When the repression is pushed to its furthest limits the 
result will be possession by the Repressed.  The Repressed will take over 
the mind and body, forcing the subject to admit its existence.  Or as with 
the Schwartz-commando, it will emerge from the hidden recesses of the 
collective-repression into the physical world.

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(276.33)  Indeed he would show the critter to many of us, though we would 
not look. [...] He had not meant to offend sensibilities, only to show the 
others, decent fellows all, that their feelings about blackness were tied to 
feelings about shit, and feelings about shit to feelings about putrefication 
and death [...] why wouldn't they admit that their repressions -had- [...] 
_had_ incarnated real and living men [...]
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(271.23) [the] clown, a vulgar loose-ends clown bespangled with wordless 
jokes about body juices, bald-headed, an amazing fall of nose-hair out both 
nostrils which he has put into braids and tied with acid green bows [...] 
"when are you going to see it?"
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Pointy's possession takes the form of a "Son of Sam"-like voice, full of 
persuasion, urging action.  It argues for a synthesis of Pointy himself, an 
integration of light and dark, which is the ideal.  But it offers a false 
integration.  It is actually further buttressing Pointy's repression.  It 
dominates in the guise of wholeness, but actually brings on disintegration.

David Morris

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