Pole Position ( english)

Pole Position English Version

Achim Szepanski

A_ The book begins in the middle, just because the end bends back to the beginning. So everything stays in limbo. Or does everything stay like it is? Four girls at the beach bar of a casino at the Pacific Ocean, the escape from Frankfurt has succeeded, Nathalie is “lost”, but Snaffu flew with them. Two more male protagonists, the first person narrator and Mansfield stayed in Frankfurt.

B_ The book does not tell a tale. If it was written to tell a tale, the tale would not be true. Although the book does not contain a grain of truth.

C_ The book takes the reader on a trip to the Bahnhofsviertel & the financial scenery in Frankfurt am Main, to the world of clubs and bars, the offices of Hedgefonsmangers, branches out in lines, records the virtual surroundings (TV, Internet, Casting, etc), plays with the world of illusions of the pole dancers, the call girls, models and barmaids. Opposing them we have the managers, the male guests, artists and pimps. Figures in a micro cosmos, a field that is occupied by sex, love, money and design politics. Perforated, crossed, cavernous. The girls have the same experience. Everything indicates a power game. Five against three.

D_ In a first production step a so called grotesqueness is plotted. The crucial event is an immaterial effect. The main character in the manner of a masochist who cannot resist the infection in this precious repetitive game of staged club visits, must postpone his desire again and again. In a next step, the middle is unfolded, which floats in both directions but mainly forward. Beginning at the exposition farther than the end, towards catharsis. The strangely back winded catharsis is the vanishing of the first person narrator itself in a stream of only self defined intensities. Indeterminable conditions of the carrier follow, euphoria and melancholia. During his ups and downs the carrier is fractionalized but still newly defined. Finally the intensity is taken to be measurable. The carrier vanishes in between the signs, even when the social reality is not only a text. Eventually this three times hardened corpus of text is layed down and alienated in a postmodern milling process.

E_ The book is a rhapsody. Gone the time of realism, deconstruction and crude psychologism. We step into the era of hyperrealism, hyperconstruction and psychotic dream machines. Scenes are cut apart and pasted again, put together with an intentionally polyvoke, sometimes a little abstract language. A language that has to persist over a conjunction of different styles of langugages, slangs, foreign language und discursive fragments. A text develops that continues through inclusions. The
states of the brain (affective & ideal) of the main characters let deduce to a certain production of realness, just because nothing is excluded, just because a so called randbezirke or to speak with Foucault, a heterogeneous space is spied out. The typology of the young girls, philosophical side notes, digression about sex-politics and love/money as well as pieces of multiple linguistic materials cross each other. The main plot lines create different lines of tempo that touch each other or cross in the office and in the Bahnhofsviertel, a grid of repeats and differences. An open whole.

F_ Consequently the text adapts film techniques, cuttings, re-cuttings, complete scenes and details, close-ups und stage directions, to formally lead the plots of the main characters. This process is completed by the use of diverse typographical variations, dense pages und perforated pages, footnotes and striking insertions. At the same time it is made clear that literature can only successively articulate sense and nonsense, meanwhile a movie can refer to different sign-systems and contains sense and opposite-sense simultaneously.

G_ On three levels/threads the male figures (middle aged) are presented. The first person, Mansfield and Snaffu. Each character is associated with an own narration perspective. Styles confront each other in concurrence, like the characters in turbulent circulation. And everything the characters say and do is linked so that a plot results. The three levels/threads are in turn assigned:
desire/wish / extravagance/ love (me)
image/power/sex/money/ financial politics (Mansfeld)
eidetic/schizo/picture policy/body modeling (Snaffu)
All three levels are interconnected by the theme of escape, an idiosyncratic condition of delirium for the three protagonists. Which has more to do with withdrawal or escape, than with “becoming unhinged”. In a hyper-medial system people appear in a borderless pleasure phantasm which is directly connected with the problem of addiction. The characters are sneaking along this line of
danger, if not to say wall: what can be done to stop this escape motion from ending in self destruction, or leading to symptoms of sickness, which in turn also lead to bringing opposing forces into play, against the sucking currents of money/sex and love. At first sight, the characters, particularly the nameless first person, find themselves on an evolutive way. It is the driven, who
feed from the continuous new ingredients of the red light lifestyle industry. Cold money is exchanged for hot currents, sex, affects and emotions, which are lurking around him. Lastly though this way is more an involutional. In the highs and lows of the psychological diagrams there is neither progression nor regression, instead the image of the first person dissolves at the end or
builds itself a new, through strange entwining during the phase of euphoria. The text intentionally allows this ambiguity. Mansfield knows theories, he is no idiot, exactly calculating, but his ideas are mostly infected by the application, the use. He mistreats the I less with research, analysis or similar, but more with success. As a power person he is naturally very inquisitive, very teachable, rapidly out doing his teacher. In him is the emphasis of sadism.
With the help of a method he has developed, a mixture of virtual body sculpturing and plastic surgery, Snaffu prepares young women for their jobs as top models and sex workers. During this, Snaffu meets a designer, who irritates him in his world of body pictures. But it is not this irritation, which pulls him from this job, but rather the bungling of a surgeon, who sets a few wrong cuts
during the incarnation transformation of one of Snaffus video screen creations.


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