"why do men fight for their servitude as stubbornly as though it were their salvation?
How can people possibly reach the point of shouting "more taxes, less bread"?
As Reich remarks, the astonishing thing is not that some people steal or that others occasionally strike, but RATHER that all those who are starving do not steal as a regular practice, (Corporates are so starved for daddy love, make a business of stealing ) and that those who are exploited are not continually out on strike: (What is apathy, but a strike against this "productive" life!)
after centuries of exploitation, why do people still tolerate being humiliated and enslaved, to such a point, indeed, that they actually want humiliation and slavery not only for others but for themselves? (I am working towards a future of more discussion more variety more collision and more tolerance, transition/translation/transformation!!)
the masses were not innocent dupes at a certain point, under a certain set of conditions, they wanted fascism, and it is this perversion of the desire of the masses that needs to be accounted for. (for me it is natural enough to want to dominate but bad manners to do so uninvited; there is no accounting for the tastes of fun, except that a hurt should be followed with a mend)
page 31 Anti-Oedipus
THE GREAT DISCOVERY OF PSYCHOANALYSIS
was that of the production of desire, of the Productions of the unconscious.
But once Oedipus entered the picture, this discovery was (tied like a yoke around the bull, harnessed to the market, its every movement precalculated for specific gain) soon buried beneath a new brand of idealism; a classical theater was substituted for the unconscious as a factory: ... and an unconscious (as a theater) that was capable of nothing but expressing itself - in myth, tragedy, dreams - was substituted for the productive unconscious (that is simply the same as nature, a relentless flow of making things, a factory of desire)
page 25 Anti-Oedipus
It is as if Freud had drawn back from the world of wild production and explosive desire, wanting at all costs to restore a little order there, an order made classical owing to the ancient Greek theater.
Production is reduced to mere fantasy production, production of expression. The unconscious ceases to be what it is, a factory, a work shop - to become a theater, a scene and it's staging.
The fundamental notions of the economy of desire - work and investment - keep their importance, but are subordinated to the forms (theaters shallow spectacle) of an expressive unconscious and no longer to the ( unbridled, unyoked ) formations of the productive unconscious.
page 62 Anti-Oedipus