Abstract
About two-thirds of the way into their “divertimento for warlords,” when the two state less refugees Ali and Ali are taken to task for failing to stick to their contract to provide “an uplifting multicultural drama with some songs,” they call upon their embedded critic, a French intellectual, to speak in their defence. The giant face of the dapper, coffee-drinking JeanPaulJacques Beauderrièredada (Guillermo Verdecchia) fills up the screen behind them and pronounces that the tactic of Ali and Ali is to provoke an excess of reality; their hypothesis is that the system itself will commit suicide in response to multiple deadly farts (which in the symbolic of the irreal are pure utterances dependent on no referents). (49)
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