Re:TheAshLad - Sandbooks

her likeOrpheus on Eurydice and make her disappear Is. she hoping that
thingswill suddenly be reversed and that He will become Her. destiny
Like allgames this one too has its fundamental rule nothing must.
happen thatmight facilitate a contact or a relationship betwen them.
The. secretmust not be revealed for fear of falling into banality.. ) ) ) ) (.
We. should not say 'The other exists I have met him' but instead'The
other. exists I have followed him'. Meeting information is alwaystoo
real too. direct too indiscreet. There is no secret involved. Thinkof how
people meeting. each otherare forever recognizing each otherforever
reciting their identities. (just as people who love each otherare forever
telling each other so). Can they. be so sure of themselvesDoes
encountering the other really prove that he. exists Nothing couldbe
more doubtful. On the other hand if I followed the. other secretlyhe
exists precisely because I do not know him because I do. not wantto
know him nor to have him recognize me. He exists because.
withouthaving chosen to I exercise a deadly right over him the right.
tofollow. Without ever having approached him I know him better
thananyone. I. can even leave him as S. does in La Suite vnitienne
withthe certitude. that I shall find him again tomorrow in the labyrinth
ofthe city in accordance. with a sort of astral conjunction (because
thecity is curved because space is. curved because the rules of the
gameinevitably puts the two protagonists back. on the same orbit). The
only way to avoid encountering someone is to follow. him(according to
a principle opposed to the principle of the labyrinthwhere. you follow
someone so that you do not lose him). Implicit in thesituation. however
is the dramatic moment when the one being followedsuddenly intuiting.
suddenly becoming conscious that there is someonebehind him swings
round and. spots his pursuer. Then the rules arereversed and the hunter
becomes the. hunted (for there is no escapinglaterally). The only truly
dramatic point is. this unexpectedturningaround of the other who insists
upon knowing and damns. theconsequences. This reversal does in fact
occur in the Venice scenario. The. mancomes towards her and asks her
'What do you want' She wants nothing.No. mystery story no love story.
This answer is intolerable and impliespossible. murder possible death.
Radical otherness always embodies therisk of death.. S.'s anxiety
revolves entirely around this violentrevelation the possibility. of getting
herself unmasked the very thingshe is trying to avoid. S. could. have
met this man seen him spoken to him. But in that caseshe would never.
have produced this secret form of the existence of theOther. The Other
is the. one whose destiny one becomes not by making hisaquintance in
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