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You put your penny in the slot and it works to produce the narrative.
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And that's that first part that I read, where he's looking back fondly
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with Magda from his eminence, later in life,
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and it seems safely past and something that can be talked about.
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But the problem is that, even if he could produce that kind
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of comforting narrative, the problem it produced at the level
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of identity will never be repaired.
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Self-alienation, in Barth's work, is the product of desire.
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Desire, love, that's the moment when you're supposed to be perfectly present.
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And what happens to Ambrose?
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That's the moment when he is perfectly, distressingly
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alienated from himself.