But who, in the Western world, has not been deranged by a toxic cocktail of dissatisfaction, restlessness, desire and resentment? Who has not yearned to be younger, richer, more talented, more respected, more celebrated, and, above all, more sexually attractive? Who has not felt entitled to more and aggrieved when more was not forthcoming? It is possible that a starving African farmer has less sense of injustice than a middle-aged Western male who has never been fellated.
To get rich, one must have but a single idea, one fixed, hard, immutable thought: the desire to make a heap of gold. And in order to increase this heap of gold, one must be inflexible, a usurer, thief, extortionist, and murderer! And one must especially mistreat the small and the weak! And when this mountain of gold has been amassed, one can climb up on it, and from up on the summit, a smile on one's lips, one can contemplate the valley of poor wretches that one has created.
Plunge into the world, and then, after a time, when you have suffered and enjoyed all that is in it, will renunciation come; then will calmness come. So fulfill your desire for power and everything else, and after you have fulfilled the desire, will come the time when you will know that they are all very little things; but until you have fulfilled this desire, until you have passed through that activity, it is impossible for you to come to the state of calmness, serenity, and self-surrender.
Let us ask... how things work at the level of on-going subjugation, at the level of those continuous and uninterrupted processes which subject our bodies, govern our gestures, dictate our behaviors, etc... we should try to discover how it is that subjects are gradually, progressively, really and materially constituted through a multiplicity of organisms, forces, energies, materials, desires, thoughts, etc. We should try to grasp subjection in its material instance as a constitution of subjects.
It seems to me that the desire to make art produces an ongoing experience of longing, a restlessness sometimes, but not inevitably, played out romantically, or sexually. Always there seems something ahead, the next poem or story, visible, at least, apprehensible, but unreachable. To perceive it at all is to be haunted by it; some sound, some tone, becomes a torment — the poem embodying that sound seems to exist somewhere already finished. It’s like a lighthouse, except that, as one swims towards it, it backs away.