It is far more difficult to murder a phantom than a reality.
It is a very grave mistake to think that the enjoyment of seeing and searching can be promoted by means of coercion and a sense of duty. To the contrary, I believe it would be possible to rob even a healthy beast of prey of its voraciousness, if it were possible, with the aid of a whip, to force the beast to devour continuously, even when not hungry.
We live in a world ruled by fictions of every kind -- mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.
A car crash harnesses elements of eroticism, aggression, desire, speed, drama, kinesthetic factors, the stylizing of motion, consumer goods, status -- all these in one event. I myself see the car crash as a tremendous sexual event really: a liberation of human and machine libido (if there is such a thing).
Hell is out of fashion -- institutional hells at any rate. The populated infernos of the 20th century are more private affairs, the gaps between the bars are the sutures of one's own skull. A valid hell is one from which there is a possibility of redemption, even if this is never achieved, the dungeons of an architecture of grace whose spires point to some kind of heaven. The institutional hells of the present century are reached with one-way tickets, marked Nagasaki and Buchenwald, worlds of terminal horror even more final than the grave.
The car as we know it is on the way out. To a large extent, I deplore its passing, for as a basically old-fashioned machine, it enshrines a basically old-fashioned idea: freedom. In terms of pollution, noise and human life, the price of that freedom may be high, but perhaps the car, by the very muddle and confusion it causes, may be holding back the remorseless spread of the regimented, electronic society.
I believe that organic sex, body against body, skin area against skin area, is becoming no longer possible, simply because if anything is to have any meaning for us it must take place in terms of the values and experiences of the media landscape. What we're getting is a whole new order of sexual fantasies, involving a different order of experiences, like car crashes, like travelling in jet aircraft, the whole overlay of new technologies, architecture, interior design, communications, transport, merchandising. These things are beginning to reach into our lives and change the interior design of our sexual fantasies. We've got to recognize that what one sees through the window of the TV screen is as important as what one sees through a window on the street.
Since those who believe they need a hero/celebrity outnumber the actual heroes/celebrities, people feel safe and comfortably justified in numbers, committing egregious crimes in the name of the greater social ego. Ironically diminishing their own true hero-celebrity nature in the process.