C`mon You Apes

25/03/2018 13:19

C`mon You Apes


When `The Guts of Starship Troopers`, a review of the film, Starship Troopers (1997), appeared in Thomas D. Sadler`s The Reluctant Famulus, # 108, Kim Neidigh wanted to know if `The Guts of Starship Troopers`, `Sanctioned rape and murder?`1 Neidigh`s argument was that`s Islam, whereas Moslem women wear the one-piece coverall of their black burka to publicly conceal their species from violently male braining rapists. Men wage war on the species of women for a host womb. Consequently, the men of Earth`s war against the arachnoid `bugs` of the planet Klendathu extrapolated from the male virus` universal virulence, and so conflict with Islam was simply paradigmatic of men`s usual war with women.

 In depicting unisex shower scenes in the original juvenile novel, Starship Troopers (1959), Robert Heinlein (1907-88), from a German immigrant family, seemed to have been describing a society for women in the United States of America (U.S.A.) as something more than a plastic model display team, based on the 1933 German National Socialist (Nazi) Party`s ideas of what Messerschmitt ME-109s would look like, if they were extrapolated from runway fashionistas, e.g., Heidi Klum and Gisele Bündchen, presented as epitomizing the triumph of the Germanic female. Known primarily for using showers to exterminate 20, 000, 000 Jews in `death camps`, before their defeat at the end of World War Two in 1945, after losing its First (1914-18), Germany`s penchant for displaying model families, with their plastic smiles and bodies, while carefully exterminating `woman`s seed`, who were God`s `chosen people`, the Jews, was fictionalized by Heinlein in the novella, Methuselah`s Children (1941), despite publishing conventions` persistently repressive sexual taboos in support of species` host womb slavery. Published in longer form in 1958, although without relaxation in censorship terms, the novel Methuselah`s Children depicted a pogrom against Lazarus Long`s long-lived `families`, which more clearly allegorized the Nazi design of ensuring the production of brainless infants as slaves, rather than permanently memoried adults, who wouldn`t require instruction from pedophile slavers.



 Although `the father of psychoanalysis`, Sigmund Freud (1856-1939 ), labeled women victims of `penis envy`,2 futanarian women have penis of their own, so `penis recovery` is rather more on the Jewish feminist agenda. Nazism was die farte preventing its daughter from reproducing, which was the true basis for Freud`s promotion of what he called the `Oedipal complex` as central to the human condition. Although Oedipus married his mother and blinded himself for breaking the incest taboo in the Greek dramatist Sophocles Oedipus Rex (c. 429 B.C.), the meaning was that Antigone, his daughter, pressed into guiding his blind steps onward, represented the daughter`s being denied sexual access to her own species; for example, in showers where she wasn`t afraid to show her penis, which obviously wasn`t the case in Starship Troopers. Being illiterate and strong was always the bullies` defense when accused of attacking literates, who`re required to perform superhumanly to affect imperturbable ignorants: `Come on you apes, you wanna live forever?`3 Trooper Lt. Jean Rasczak`s shower might have been seen to be wanting to, if the women could have been seen to be humanly erect. Karl Marx wrote an entire library of volumes to penetrate dense heads with the desirability of being able to make the statement, `workers control the means of production` (Das Kapital, 1867). As well as being its host womb, the futanarian species of women also own the shower.

 Since the appearance of Frenchman Pierre Boulle`s 1963 novel, La Planète Des Singes (Planet Of The Apes), readers and cinema-goers perforce had to have a love affair with apes in an inertial space that took in several original films, and a 2001 `reboot` of Planet of the Apes (1968). Its sequels, Beneath the Planet of the Apes (1970), Escape from the Planet of the Apes (1971), Conquest of the Planet of the Apes (1972), Battle for the Planet of the Apes (1973), the Planet of the Apes TV series (1974-5), Planet of the Apes (2001 reboot), Rise of the Planet of the Apes (2011), Dawn of the Planet of the Apes (2014), and War for the Planet of the Apes (2017) mapped the consequences of the sterile inertia of the love affair between men and apes, before the homosexual anal transmission of an `incurable killer disease`, discovered by DR Congo in 1983 as a simian immune deficiency virus (SIV) mutation, HIV/AIDS, could be enthusiastically described as a drug for producing rapist male apes in the film, War For The Planet Of The Apes (2017), fifty-five inertia-bound years after the publication of Boulle`s ominously foreboding original text, La Planète Des Singes.

 Permanent humans, through rejuvenative medical science, are a possibility with brainpower produced sexually from `woman`s seed`, and so it is that women, rather than male rape as the basis of plague, and greater ignorance through war`s literal inertia, offer a better future. Silencing the writer is what inert literature and literary criticism does. If there aren`t any humans in literature, art and culture, that is, women`s species, the ape virus mutation wins: `Apes together strong!`4 Human literary criticism has to accept that ape hasn`t won since 1963, or the inertia of blind monosyllabic ignorance, which would have cinema-goers believe that Planet Of The Apes is a dynamically original 2001 film, always has.


1 Neidigh, Kim `The Readers` Turn To Speak`, The Reluctant Famulus, # 109, 12/03/2015, p.36.

2 Freud, Sigmund, `On Sexuality` (PFL 7), pp. 195-6.

3 Ironside, Michael as Lieutenant Jean Rasczak in Starship Troopers, Tristar Pictures, 1997.

4 Serkis, Andy as Caesar in War For The Planet Of The Apes, 20th Century Fox, 2017.