Analysis: Fisher-Price

Fisher-Price: The destabilization of the American Dream, its ramifications on a post-war society, and the attempts of all but one to remedy its societal influences on the greater structures with which we surround ourselves.

Once, maybe twice, or perhaps even thrice in a lifetime, there is a single piece of art, a single work of fiction that not only radically changes our perception of reality, but changes our perception of that perception itself.

Fisher-Price is one of those works.

Come, my dear friends, and let us sit down to enjoy the masterwork of postmodern anti-Dada neosurrealism that is Fisher-Price.

The Complete Work

go eat shit fuckers

The Author

The author of this magnificent work remains a mystery, not only to the world at large, but quite possibly to even his closest relatives and peers. You see, as with any great author, IPN wished to remain anonymous at first publication, in order to "test the waters" per se and make sure that this seminal work of fiction would not be scorned by the mass media or even the inner circle of art critics, that chosen group that we, the common leity, often look down upon, even sneer at, for their supposed like-minded, self-centered hypointellectualism. But are they not humans, just as we are? The famed Prime Minister of the United Kingdom, Winston Churchill, perhaps put it best:

A man does what he must - in spite of personal consequences, in spite of obstacles and dangers and pressures - and that is the basis of all human morality.

Indeed, Churchill. Indeed.

This tactic of concealing one's identity has ramifications both in the work itself and in the broader spectrum of wavelengths and neural impulses which we, the collective civilization of humanity, entitle "real life." It is not dissimilar to the choice made by Joanne Rowling, perhaps better known as J.K. Rowling, author of the critically and commercially acclaimed Harry Potter series of children's and young adults' novels. In that context, the madame wished to not turn away readers of the male gender who would otherwise be wary to consume a work of fiction penned by a female. It worked marvelously, and Joanne is perhaps recognized to a greater extent by her pen name than by her birth name. Could it be possible that wished to conceal his/her gender in order to do the same thing? It is not implausibly unfathomable. After all, a surprisingly well-documented aftereffect of this tangled life we humans lead is the widespread idea that there are "no girls" on the Internet. On the other side of the coin, could this work be said to have a level of depth and complexity that the author wished to challenge the stereotypes of men as uncouth hedonists, but was to uncourageous to tempt it? That, too, is also a valid theory. Truly, whatever can be said of the author in veritate must be held up to the concepts of both proto-feminism and bigoted misogyny, on both the male and female ends of the sex spectrum.

However, taken within the context of the work, the anonymity of the author can be taken back in an entirely new way. It could even be said to take one aback.

  • GO

When one considers that "go" is a verb commanding one to perform the action of movement to either a specific or non-specific place in space or time, one can see that it is totally possible that his unidentification is a bold statement against the growing movement of our species to a point in time that encompasses all matter and knowledge, often referred to in common scientific parlance as the "Singularity." By saying "go" he is implying - nay, commanding that it would be most beneficial for the reader to escape the growing homogenization and radical commercialization and argumentative convenience of the modern world. A similar marketing tactic was employed by the Quaker Oats Company in their internationally lauded "go humans go" marketing campaign, which consisted of merely that, posted upon a billboard. Another thing the discussed work has in common with this marketing campaign is its brevity yet wit. After all, it was Shakespeare, the most eminent playwright of the early Victorian era, who used the character Polonius, right-hand man to King Claudius, in the famed play Hamlet, to remark the famous English proverb:

Brevity is the soul of wit.

Indeed, Shakespeare. Indeed.

  • "EAT"

Once again we stumble upon a command verb. Commands, historically and presently, in the common vernacular, refer to the use of planned battalion strikes when people or places are in states of war, usually delivered by a man of much prominence. Therefore, "eat", in this context, can be interpreted as a truly brilliant literary allusion to the infamous work of The 120 Days of Sodom, written by Marquis de Sade. In that book, people are forced to undergo various vulgar and humiliating treatments that conscribe either to the punishments that we unconsciously inflict upon one another in this cruel world, or the deranged, megalomanious (in the definition of "desiring to exert power over another") fetishes of the author himself. Or perhaps it is an allusion to the widely-publicized film adaptation of that book, titled Salo. It is certainly a more direct allusion, especially considering the fact that in the motion picture, the ones performing the orders to "eat", often times various excrement, are military officers and government officials. Perhaps the entire work is a thinly-veiled parody of Salo? Well, as you can see, it borders more in the "deconstruction" edge of that precipice.

Also of note is the fact that Salo was banned from sale in the Southern Hemisphere country of Australia. Thus, the entire work could also be construed as a rebellious statement of the freedom of speech, and the lines one must draw when confronted with the conflicting but equally important virtues of protection of the citizens and protection of artistic expression.

  • "SHIT"

Now we arrive at the true meat of the work, no pun intended. At this point the reader dives headfirst into a tumultuous tale of scandal, corruption, bitterness, greed, and diaspora. Not a diaspora of the people, but rather, a diaspora of the mind. In daily life, we oftentimes make a pointed attempt not to use socially imprudent, unacceptable words such as "shit", "piss", "fuck", "cunt", "cocksucker", "motherfucker", and "tits." The placement of "shit" at the top of this "List of Dirty Words", if you will, implies a sort of pseudo-incestuous relationship between the moral degradation of outer society and the hasty mechanisms of various groups whose agendas consist of cleansing the world of impudence, vile filth, and wretched hives of scum and villainy, both in our minds and in our lives. The French term for such a person is ''pédé de moralit."