This PDF contains an excerpt from a draft of Fredric Jameson's forthcoming book The

Antinomies of Realism. Professor Jameson has asked that those who wish to attend the
Monday, February 27, Spm event with him try to read the excerpt beforehand.
This event will be held in 370 D'vinelle Hall, and will be a kind of"conversation/
discussion" with Professor Jameson-about this text, and also about Jameson's work
more generally. The conversation/discussion will be the first of the three events Professor
Jameson will participate in as this year's Avenali Lecturer. The February 27 event has
been organized by the Critical Theory Program together with the host of the A venali
Lectureship, the Townsend Center for the Humanities, and is co-sponsored by the
Departments of Comparative Literature, English, and Rhetoric.
The other two A venali events will be:
--Professor Jameson's Tuesday, February 28 Avenali Lecture, "The Aesthetics of
Singularity," 6 p.m, International House, Chevron Auditorium; and
--a follow-up panel discussion responding to Jameson's Avenali Lecture, featuring
Whitney Davis (History of Art), Martin Jay (History), and Colleen Lye (English) on
Wednesday, February 29, 12-2 p.m .. , Maude Fife Room, 315 Wheeler Hall.
FREDRIC JAMESON
REALISM AND AFFECT
today
I want/to try out a new theory of the nature of realism
Ol.' at least to share with you some not''S about a new kind of
story - ~ n a t might b:= told about realism's emergence c-,nd its
subsequent disappearance (2. t the moment of 110dern bm). If
there is anything hdkdt innovative 1bout my thEory, it is
the refusal to consLler realism as a phenomenon in its own
right, which one could define us such. Rather I will consider
the moment of realism as a kind of perilous unEtable compromise
between two distinct and even RY1tit.hetical impulsess it lasts
as long as those impulses remain in balance and seek compromises
with each other. Whaitever the one or the other takes the upper
hand, realism ss such is weak0ned and tends to disi ntgrate.
A ~ my title suggests, this has something to do with affect as
well, but affect will net come into tre picture until later on.
I chJOsa tJ will be, 1n its vorston, that which
I
mJn ifti>ll'st developed h=h'<;>Em raci t an0 romAn, 8
WA/
Aisttnctton teken up bv Gide then by SArtre, whose el?bJratlon
'j\
saems to rna tho meet interasttng end fJr our ourposes.
w\11 look Pt other nAtional versions of this opposition
which Rlso seem to to two htstortcal momonts.
,
Th<? of reci!, is unt.rBnslstable, some
0n Pccount or P l'tst o:f events. Other\<'ise, it ls probPbly
the ,.,orrl "tAle" thPt bast conveys the p-eneric crystPllizeUon of
this kin(! of storyt,.,111.ng, And pointe us ln th"" r'lirPction 0f
short story, T \<.r1ll cell the "Art-storv"), es its p;,:>nartc
form.
but t"-"lls us very H ttle Pbout thP allPgedly v""rv
kino of nerretton that H from rtcit
books - Les or 6ounterfa\tors - P novel.
___......------.... ---- ...---... ........--........
littlP power. In affect, SRrtre bas not adapted our
distinction to a form of en8lys1s, he hes
1!1Vgn H A philosopbtc-31 cont""nt, "''hich is th8t of hro types
I
of temporAlity. Th,.s is how the time )f the recit works, he
Maupassant. The structure of his short \
stories is almost invariable; we are first presented with the
audience, a brilliant and wordly society which has assembled
in a drawing-room after dinner. It is night-time, which
dispels fatigue and passion. The oppressed are asleep, as are
the rebellious; the world is enshrouded; the story unfolds.
In a bubble of light surrounded by nothing there remains
this ilite which stays a...wke, completely occupied with its
ceremonies. If there are intrigues or love or hate among its
members, we are not told of them, and desire and anger are
likewise stilled; these men and women are occupied in
preserving their culture and manners and in recognizing each
other by the rites of politeness. They represent order in its
most exquisite form; the calm of night, the silence of
the p;assions, everything concurs in symbolizing the stable
bourgeoisie of the end of the century which thinks that
nothing more will happen and which believes in the eternity

l of capitalist organization. Thereupon, the narrator is intro-
dueed. He is a middle-aged man who has 'seen much, read
much, and retained much', a professional man of experience,
a doctor, a military man, an artist, or a Don Juan. He has
reached the time of life when, according to a respectful and
comfortable myth, man is freed from the passions and
considers with an indulgent clear sightedness those he has
experienced. His heart is calm, like the night. He tells his
story with detachment. If it Ius caused him suffering, he has
maqe honey from this suffering. He looks back upon it and
fconsiders it as it really was, that is, sub spe&it ,:
J There was difficulty to be sure, but this difficulty ended long
l ago; the actors are dead or married or comforted. Thus, the
\
adventure was a brief clisturbance which is over with. It is
told from the viewpoint of experience and wisdom; it is
listened to from the viewpoint of order. Order triumphs;
\ order is everywhere; it contemplates an old disorder as if the
j still waters of a summer day have preserved the memory of
1 run through it.
once for Pll' tt be clp."lr "'?t'JUflh what_ a
i h ct r lrl e n 1J<::. !I dJ
such terr,oor"'ltty: 1t
A
PlOnF" ,,dtb thP p;;ronv of ,-'l<=>clsion 'Jf 'tts protAp:onists. It omits,

in oth'-"r w<Jr-:92, th0 <Jf t1.mp "'nti turns thP
r; ut1<=>Rr'l futuN
11
.. t __
ci:;;lv then,
,_,_ ..,.,,.-
mor:1fy
iAAnttficAtton of the 9PrtraPn w,th historical extrPme
s1.tu,tlons \'Tfls HsPlf '" onp, Rnr) thet the,f'
I
':'hen he Pccust:)d the rec1t of be1np- P- closer f'orm; but if "'e
in a rtcher ex\stentta] temporPl wRy; wb1le to Recount
J
for y;bat closed About the r:tcit, v'e need pn.rhPPs to turn
1n h1s P"rest essBy, The '3toryt,nllr->r (-:m IPskov).
,.,bet
BenjDm\n it cleor so mRny exAmples
" ll It
of tho hPve 1n common: namely death.
"WBrmln!l ::m r-J deAth 1 s told", s th<> wey he
I
chArPcterizes the rec1t; Pnd tf we feel \s too bleak, we
prl(ls 8 ne'-'' to Sr>rtro's
I
o:f thn of the redt: thP tomporPl prst ts nO\r
SPPU as thr> of "'"'"'r'vnPy lifo or of rout1nA. Th<=> irrPvOcBblP
on A
then comes t 0 stPnr'l As R mArk of t/ SPAd nc t>=>mporeli ty v'htch
PrAc1sely this shock of R t1mP brutally
'ttself from orninPry 'It shoulr:'l bP ecMe0 thPt for
BenjAmin thet PX1stence is tsPlf grAsped as colloetlve
thR taleRs such flourlshRs. we may furthar point
out thAt f:::>r Benj<"'m1 n the opposl t P number of the tele nr r(ci t
ts not tht:> rPnlistlc novol rt Rll: it the d1.ssolutton of
(
th"' memDrRblto> Pn0 thP nnrrPtPblA in B"UOP1r.d.re's morern,sm, or fr.,._
v'Drk of Prt.
Tl"p::'!m'hllo, 1n P pP.rR<"'JxicF>l turn-Ab'Jut, thts new n::>tton
I
of the irrevocAble mArk as thR VP!'Y bFs,s of the recit ls also
nmPly, thet you lot vours.,lf- p?\nlPssly, t::> bP sure- y':'lu lnt
vourself bo POuslv o ""fp. cell a t1 B Ple0ge of s aH '18 r1. t y v-'H h us v.fJ
e frUflrt'ntee thPt V'JU 11 DPVPr' seek to ta tl1P v.orln
such btnr'llnf' commttmants.
I
We fnRY thus FrPsP the bolt of the rec1t As the
of A b::>0.v Bnd
/the transformet1on of en tnto a cher8ctpr '.dth 9
,, j 0
metn "'"-trenes", "lS Ee1 "l pP:aPr 0 esCrl beo 1 n-..:n vtr'luGl death. Th1.s
our r::ccount of the rkit or the tele
p
cJOsPr to
the nesttnies once offered ln sPectacle by as e form,
In monf!!rn timos, hO,evor, .:;"'stin'l"'s et bf.>st merk R
chnrP.cter r>s Onp 'Jf Tor'lorov's

th<=> Tnousenc-and-one-
12'ht s che rP ctPre 'Ftre their own st od "'S, et
I
tha hiah tffp of the roc\t asP fJrm; wh\le et worst, tn yet more
Na' 1t not h"lVP PSCP.PI"c'Cl your n::Jt1.cP tbPt 1n tbls
I
Atscuss1on of rectt, we have compl0tely lost of
choice wes tn th"' proc,ss of bp!np or refused: e
... - I
tfmp b.:ofore (lesttny, in DthPr FOrde, 8DO;{'P!'h8pg before the recit
its<>lf. vle nee('l to r<'-'tdn this notton of Pn extst,:::.ntial present
I
Qs H te opposed to the irrPVOc?ble pPst tanse of the rec1t; but
we to it \n a difforant wPy, for this I
'J'IC.;'\\ 0 i'1t.1 \
1''-11 turn to yPt R third trPcit-ton, that of
. f\ -
or rsthar, to be more prcisP about 1t, the Amer1cen
Parcv Lubbock'A Craft of Ftct1on. hPre the
rfctt Bn!'! romAn tekes on P much moro fPn:ilfAr PppeBrencr::>, H 11
Of niscourse; 1ndeed, th;:> VP!'Y t)PSSE!p.';:> from OnP. to the Other
ia itself stv11?tcally even sfgntficPnt-
thAt
11
chotce
11
, qs 1\nArp/}1,-,lrPux put 1t, "of .hat ls to becorn.,::.
2CPne or to r,:.metn rt.'c1t, th"! :)F' thosp porches v:here
f.<>v0r of shovrtn!Z rPthPr thPn tPlltnp-; '"nr: ve must fActor thts
prPjuri 1. n frovor of sc;:>nP, t s commt t l'llPnt to
J.<>mP81An ''ootnt of vi.Pt", i.nto the of thr.>
oppoo,ltlon.
the vocPt,on hD ,nvPnted for h1rnself (end for others).
"One's poor worr'l of honor bee ba<'l to pees rnustAr f0r the show.t
1
(2!::Jb). poor author's compRr8Hvely col<'l 8ffirmAt1 on or
ttln 11UBrPntPA
11
(301) he cAlls such passPp,os, CJn thP potnt of
eo often), wh11P on the lit2rary cr1tics tCJ l1ve up to
th,,r vocet1on enc r1enounce roJl tht:=> "nodgPs
11
(h,s t,.rora) thA n0Vt:=>l1st
own duel with redress, pivinF some of thP honor brck to thP
But JAmes is VAry clP8r About the antagonism betv:een the
91ctur"" Bptveeh thorn, no .-"oubt, thPV do much forth<=> thomp; Y"'t
aRch bPffles ously the other's end eets the
/'.
. ;.{ D \
'I v )
. ,
' . . .
Q .. Rrt""P.
1
8 .. ... B t t<'> compl"t" my fu -"nm ta"'
.d ' - J ' l . . 1 - u - '-' ' . "" . "" . nr"' PD '.1.
or hero, I to bP.er mora adequately
on
11
SCPne
11
ttsP.lf, an sbold.np- Ps such. It is surely the Pr<=lsent
prnsRnt out of t t me, or d J PP st out of t hP chronolof!i cAl
timr-> 'Jf tb=- pPsts end th.o futurr->s, thP. r'l.osttnL"s snfl tb"ir
/
of tho ro.cL!_. Tnr'lA"'rJ I \''Bnt to nistinguish
which w1ll R}so complatton bye thPory of consc1ousness:
hCll:ever,
I eRn :nly br\,,fLy t\:cosp th-<>or1.As,./,,Hh<Jut
r .t..vfrt.,.'-'. )
;,_ .,., I
PI:'$XUID
0
Dt}t, The rn'eltfnct1on 1s 'JTIA b<>t\;'opn p pro.<>.Pnt of consciousnos9
P time, if not of AUccasston or of chronolopv, thPn rt
l.rhi.}p 1 t s t h"' subj "'ct of consci ousnPss or t hP sPlf that 1 s
f;

' ;:
J'f ! '
,:: __ /
future Pnd of porsonPl is Pt its outer
/
l\m1t tho tho roc\t; tho imparsOnA} C0DPC10USDPS8
courses wss lPft in the fru1t rnorely
About: tho one which makes Mr. Bloom bolch with
,n UJvsses; th, 1rnmf'nse ho-hunc'lrPd-pege lunchf's
--
"' rr<>71Dmp; thP truly Abominable lunch br<>Ak thAt SPtS pVoryth1np:
A
in motion the bep: .. inn1np: of LP humrinP; somo PlaP:ont
'
sAr'! lunch to v.'h'l.ch one. of Bocceccto's 1rnpov<>r1shPd hPr>DAs 1nvlt?s
r I. \! "\ ;., -:; 1-f-J. '; ( ,
l "' . t ' f . <#. t < \ ..,-
his All of those- I trort y0u to yot another
vallnip:h selvet1onel
lunch on, 2 truJy - ell of thOsp ere
events or exparienc?s in the Present, indeed, for
But thts ts c]eP.rly no J.onp-er roeUsm, but
wt1ct we dO not napd to nPma.
we ao not now need to explore further/ ts cruc1el
we hPve been eeeklnp- to Now we can Articulate this
oppo<>1 t 1 on: n0t rP{tt. vorsu,-,. romAn, n::>r evon t versus
what is cruc1el is not to loerl ono of these dies Pnf take sides
Qaa]1sm ls a consequence of tho tension between these two terms;
olthAr wrv
to rosOlVP the dt:?str'Jy H; J-,mt:>s
1
p:ullt fe.:>]Jno:s
this l? WhPt r WPnt to now, for J.8te nineteenth

century re8l1sm; J WPnt to show potontlR} mPkei
0 /1 f.
PDss\blo of the> ;;:rroB\Ast roP.l'lsttc Pchlr::>vements 1.n the
nov l An( tJrWI'J al ",'" ;'JJc \');J> " f e
P on 1 c\!'1. y r(; J:, c ... l ...._. _
I



. '
J
0
ID to POXLaty Pff0ct, for
'
onnuj., 1t is porhPDS tho CPnV<lS On Hh1ch "ff;::.ct b
0
tinP t'J r!SA
1\
to t surf1,co Anr'l boc8m!" v1s1 blP to tho n"'kPd eye. B'ftlt
hPVo much to toll U?o
'.>h<=>r"''-8 omc:Jt1:Jns (or PJ:"o consciou!'lstc.tr>s.
LD
cru"'AJV tJ tlP:tortd?P thE> r'l1Rt1.ncti on, "'nj.
1
"ss"'rt P. camo"t
1
t 1 ::>n
botwPon thaso two such thRt tn racont t,mas, from
for thA t1m'"' 1n th"" Vr.>rv prGCPS<" :>f n"'rnfnp. thorn. Th,re
j eel ousJy
f
8
p fP.llDUP TJ'1Q!J1ont 1 n (;h<'rtorrous"' :Jf \'h"?n C::Junt 'tf:opre ,/

vtsuBl phenomenon and Wagner's More ts involved
rnustc ch.r0m?ttc1.sm ts not only R folt r1evlat1on from thA tonAl
ana
scnle - P. dPv1..<:Jtton that can bP Pxotlc, subvc..rstvp, :Jr PVPn /
of eJtppegp, by wsy of half- Quarter-tonps, up and the
P. .r""PSSArtton of r>nd of thP pessBge of PArception
from one vtrtuRlly insensible }c.vel to another. HarP then,
'" s t n mpress1 ont sm, R 1 s d 1. sput SPa As an
...... _______..,..--.------
PbsGlutA "'nn R nPW k1n('l ')f pf1pnOtDPl10}DR'fcR}
.)
continuum is grAdually PBtRb]1shnd.
what 1s bP1n>< exolorpoo tocav in r.nv number of "''P.ys As "P.ff.,ct":
tho }PttP.r. " .
1:'t 1.8 8 chrom;:;Uci!'lm ::nf thA bodv Use>lf \:hfch bc.comps the
tho tha vabclo my bo1na-
,n-thc-wor}A thPt ph41oaophv bng,ns to A4scovcr
u::GuPnchPblc- r'l7prafls1 'Jn Ani! p-u11t Jf P Str1 nr'lb<>rp:. th1 s
VI
As T'vP to bo from tho nPmPd
I'
ns SUCh, oVen }Ptor On in thP thoir
bV '" V'"'r1 otv Of ,Apbtltos PbJUt nPturA11sm, P illOVam<'>nt Pn(l COncopt
-=>nergy
of P (lffnrPnt tvp"" thAn PB such. his
tht.::
A e1 cletrP. d
1
Un beau n1rnP.nchA,
lP soletl Jblique, AU rea de l'hortzon, kla1.rait
lB v,llP 1mrnAnee d
1
unP srdente 1 UPUr rou!eo
On .<Jur(ltt r11t un sO'lAil dA sang, sur unP mAr
sene (911) Ate. 111 much more)
In this clFJdty of a &'blE:mcHCl sunday's wsniner
hours, thA sun et the hortzoh obliQuely llt
the lmrnPnsa ctty wtth R red ltght.
It lookPd ltkA e sun of blood, one
see,
'\'IB.r
The <1escription 'ts allP.fCOricAl G.t tho:> sunset of this immense/novel
::Js LB DhBclP (Jtl92), on \vhOGP closin>:r PBgP it stAnds; Pnd
-------
it is one more, onA f'tnal, v8r1et1.on on the themat1cs of
end liP;'ht which inform thP text a '.rh:::Jle, In this procedure,
ZolA
1
s vert9tlons have beP.n compProd to Wegnor's leitmotiven {by
Thomas es WP.ll as to the Menet beystecka cAtheerels
clso be repleceo w1thin 8 sementtc opposition ebout which I will
sAy somP.thinp: in a momPnt. An'l clearly thP lfrbOle PAssage can
be teken to 11lustrate the perils of thet "pethet1c fallacy"
vigorously by the New Crtt1cs years ago, end which
e whole in tte own r'e;ht, for which we hPve no time here.
Suffice it to sf?.y tbet thP New Critics had in mino emot1on
rether then effect; end thRt they were e}so concerned to seperete
P.=enuino po.,ttc lP.nftu?.ge from sbePr rhetoric (in tht'! ol"lAr, bad sense
of the wora). Zole 1 s cqrtR\nly of rhatortcel momPnts
unique
<1nr'l t>.XCPsses, but '1'1"? r;a bettP.r to const.-1er the/prDP<=>rties of
ltp-ht Bs e rPcOr<iinp: nevice :for affect as such: for it is
D transparency capable 8t certain moments of a thickening tnto
t t s o"rn kt nil of
an obje:>ct '-n tts Ot-rn rtFtht, As with the
'n Los AnP'eles or Jerusalem, WhPre it cen be perceived
in enr'l for itself, Rn<i wherP the surfacee af the bu\l<iings ere
best observPd as sheets whose porPs and rugosities cepture the
.:>lement hOlr'l t t for 8 mom.ont, or t hOsp recedi np: PlPnP.s
:n.
:
... .. .
<'
1 " .,
'"

Jr: .) .,
'.
. 1 .
... ,. .J....!...
;_;
of thP etPtrcssp, cr
A p:::t ch 'J f
/neturP 1mprtsoned, R

mutP \nta wh1ch t. ponetratpd <Jnly in
shoulr'ArR. And in .
of these broken steps was the comt SSP otc.
t hP
of these two
p?.le v!Dmon, rGubtlAss "' coost
1
tut1 onqJ\ b"'n"'Rth
\

thc<t hPn Been s"J mnnv !I.9rccn p rt1y>s th"lt thP
\
bOUrFoO\s h'JURPS Of tho na12hborhOOd tOOk
H .ll. . .
(t:::;fi .. \
rw: tk ( ;nnt'llc iHl ....p:,. L ,l :,t!;nt
: .. ':hl;:,c :l:; r!/,),1
;,\ ,:,\:: ,,;.

l;' ''J.
1

1
:;:, ;,r'' ;
1
;;,:
1
;;::, ,
:,l;;)t : ;-i:'.: ii: ..i
{';,jr; vt friOf!H', (r\!!'i'.' lllUC('tC )c
:::: i :::!;:,:: :: ':
1
1
: ': ::,: ;\: i; :'' 1!::,::: ::;
::r:Phk !lU1y_;, .. u!1c
t(.1!.1L: i';,;r rrt:" li' -i)i. u:; ..T . ."\ \;:\
,lr.,il. '<:' L>.n .. '';d '>'.!

c!J{ ,i, ... t--.:.:li. trt.:
d>:nt tl, . ."''.!in. PuL< 1..krn;:rc {'lie, pr, .... r:'.:
t.! .. ,t.nt ..... .... t i:i!-.
{k ;Ul'< '"l r.:ur.iit Frl'C
pdut illltttt', k tt;!rH ::t tirt-:
;_h ,.i,.H:c C\Liil Lt n;in ,_;y .. r::.
,,.,:, .. k
;u.::- ,_., qt:<: .. , :. :r:::. ;-;;., .d\L- tl':.;;k ltL
;.it";. !.: ,,, !; ''
q:y k iik Fcrd:n.;;,,! d: 1>.-ro:dJi,.r, .. ,(i;;;t
l t -- J, ,,,,i;, .k L i
t \: ; :.: :i ) r1 t ll'

. 1 u lc- ! t li.l!'>:
"/ I
the nrospcr1ty ns t9 sP8CPS \n thts novel (L'ArgPnt,
291"
1
s ni" -"1 nov >=>l on t hP s t o{';k-mP rkot) c h ;;;r"' si mul t RnPou
9
of the '3.:>COnCl r.o:mptr"' 1 n thP Un' vorsBl -.;:yposHt on, before the
FrRnco-Prussian 1n the n9vnl
rout ClebRcle of th"' from which

ThPra,
On!">.
or t h"' rococo excossPS of t hP ons of the most vulp-B r Sec"Jnr'l-
I
b<'VG? 1n CJtbPr" v''Jrds tonr'1e!4 to fPAl tbc>t styl"" On th"" 2PDSP of thh
...., ] t,. II ,.'l _.l A......., t1
n::r st,
FlRubort
1
8 romPrk thP 0f thAt historic?}
A.
Yh1ch, Sa}nmmbo: ..-----' ___ ...,..
,-t
Peu Ap romb1an 11 P otro
flnd g roun0 t nFt
Pctuellv turns ta f1nd some expression/in Zola's
according to which effect would be no more exempt then anythinf!
semi ott c
qlse from the/play of oppositions 1n Affect is somehow
felt in tsolBtion from Bll and yet Pt the samp time
it remAins defined by 1ts opposites, the nobler melancholy
more oppos!te number, euphorta.
But the content of these scales ts of course 1 t self
vert able, and even if mPl-?nchQl!la remains 8 kt nd of constant,
tn Flatbert, in Tristan, in Munch, tn Gogol, its opposite is
very in rll these cases, As also in Zola, where en
expected excess of crrgtaettc excitement is fer less authent1c
than t h., nomest1. c shelter A no met Rpr,ys1. cal comfort of
thP trlbtal Ann truly P""tty-bourgeots stete \<rhich t::npltsh
nPmes happiness. Here, for example, \s the truly wondrous
m:)ment, 1n all the bPflt And dust of the campBtgn, thP fattgu"' of
andloss merchPs thP c9nfuston rumor fear,
the of flvinF bullets:
'
tree blanche, ravl du
!)ene lfl jot e de le n9 ppe
vtn blHnc dans son verre,
"'-,
neux oeufe 8 coque, avec une
qu'tl nq ee connetsaBtt Pas.
(446)
. -- ------
Ik is
8
symphony in wbit
8
utterly in tonP from the
of Virutn1e Woolf's luncht=>Dn, confirmed }PtPr
f when, for
on by thP luxurtattOn o ----
sinvle 1
t
., O.'Llict. is 8blP to slt=>eP in 8 res
of rc.s eru
------
st
Ah! CPS blanca, u
f t I
voya1t plus qu euXo
C,..?tCitt uno e:ourmAna1ee, Une 1.rnpflt1.PUC9 n 'pnfnnt,
unc trrPststtblP passion, $ se oana
/\ \.. 1
cette blPOChPUr, nP08 cetta ot e 8 V
pPrr'lrl'l (555)
----------
It is "rtth the t'levelopment of 2ola
1
s extraordinary bot)tly
And linguistic sensibility that the realisttc novel 1e able
+---..
to neploy the possibtltttes of whet James was to call the scene
for this particular novel of Zola).
But \orhet I would J t kc us to reflect on is t ht s: 1. f affect is
truly a feeling e subject, whet will happen to the
framN.ro.rk of o.r
possl bi 11ty of such scenes when t he/Psycht c subj ectl the self,
wav to e free-flJattng strPam or flux of effect tn tts own right?