The perversion and rearrangement of the internal organs to remake God's profane creation. And also theater.
Doctors. For it is through doctors and not through patients that the world began. There will be a time when the wretch who scrubs the walls of the latrines where we shit death will realize he was me.
The voices in my head. Also, occasionally, the death chant of the Tarahumara Indians of the Aztecs. I have penetrated the red earth cunt of Mexico, and it smelled good the same way it stank, like milky lapped-up bone fragments. Did you know that insane asylums are conscious and premeditated receptacles of black magic?
Abel Gance's "Napoleon" (1927), Germain Dulac's "The Seashell and the Clergyman" (1927), Carl Theodor Dreyer's "The Passion of Joan of Arc" (1928), Leon Poirier's "Verdun, Visions D'Histoire" (1929), Marcel L'Herbier's "L'Argent" (1929), G.W. Pabst's "The Threepenny Opera" (1931), Abel Gance's "Mater Dolorosa" (1932), Serge de Poligny's "The Shot at Dawn" (1932), Raymond Bernard's "Wooden Crosses" (1932), Fritz Lang's "Liliom" (1934), Abel Gance's "Bonaparte et la Revolution" (1971), Philip Kaufman's "Henry & June" (1990) and Gerard Mordillat's "En Compagnie d'Antonin Artaud" (1993). Other than these films, the entire history of cinema is not worth the desquamations of a dead tench who pisses while buttressing her tit in order to cross syphilis.
I have never heard of this invention.
The Theater and Its Double, Heliogabalus: Or, The Crowned Anarchist, Watchfiends and Rack Screams, The Monk, Artaud L'Momo, Van Gogh: The Man Suicided By Society, Blows and Bombs, the many collections and anthologies of my work, except for the profane English translations. Also: Anything by my esteemed colleague Gerard de Nerval.
God, that lousy cunt, that crotch full of stars, who made the lice he's infected with shine, and the cross that he's always wanted to fuck me with.