's house [in the cosmo

s], they come to the [real woman's] spiritual womb. At this point in their journey, however, the landscape alters (as often happens in the exotic world of spirit) and Muu's house becomes the woman's spiritual body. (433) The walls of Muu's house are now her ribs, the door is her vulva, the door frame is her thighs, and the door chain is her pubic hair-all this in a song designed to change reality (as I understand this process, by acting on a copy of it). Moreover, I might add,

this means that in this particular type of illness, the soul of the sick woman is abducted into her own (spiritual) womb (a sort of reverse hysteria), and it is into this womb that the character's spirit

and his spirit-helpers have to enter so as to free her soul and place it back into her (real) body. Thus the joker in the mimetic pack is smartly dealt. We are lost, yet perhaps not uncomfortably, between so-called levels of reality which are levels of reference, cross-reference, and "as often happens in the exotic world of spirit," of all-of-a-sudden altering landscapes in which the Great Mother's house is another woman's body, more spe

Gun Ranges

• cifically spirit-cop
• ies of her womb and
• genitalia. Yet at th

e same time

• mimetic fidelity, His
• Master's Voice, is somehow