EXCERPT The circle may be a vicious one, but in replaying the ‘film’ of The Bride Stripped Bare by Her Bachelors, Even by way of its provisional ending in a new genre of anemic cinema starting with the return of Vulva View, ‘anemia’ of the voyeur included (it was a bad take, a dirty trick, a lousy lay [mauvais coup]), the surface of voiding—this is not a cunt—now turns out to have a recto and a verso, without our having changed tack or used our tackle to gain access to its other side in the space-time of the field [du champ]: the Chocolate Grinder [Broyeuse de chocolat] (1912). ‘Mounted on a nickel Louise XV chassis’, it already picks up the colours of Bride (1912). Rather than the expected Grinder (broyeur, masculine, with two rollers), it is in fact the Grindess (broyeuse, feminine, with three rollers) of a bachelor hardly out of the infans stage, making his ‘milk chocolate’ (or his ‘milky way’), even. Even meaning here, without equivocation: the ‘headlight child’ with the ‘comet […] its tail in front’ remains unimpressed by the ‘great scissors’ of the ‘Bayonet’ of the machine that cannot close (the principle of their fixation to the ‘Glider’ inter-dicts it). Schwarz again: ‘The blades cannot close, thus the threat of castration is cancelled’. Duly noted, but, Lacan notwithstanding, it is not contestation but castration that melts like chocolate when the veil is milked by his ‘good, late friend’.…