The Semiotics of Shit

From Slavoj Zizek's review of Timothy Garton Ash's Free World.

In a famous scene from Buñuel's Phantom of Liberty, the roles of eating and excreting are inverted: people sit at toilets around a table, chatting pleasantly, and when they want to eat, sneak away to a small room. So, as a supplement to Lévi-Strauss, one is tempted to propose that shit can also serve as a matière-à-penser: the three basic types of toilet form an excremental correlative-counterpoint to the Lévi-Straussian triangle of cooking (the raw, the cooked and the rotten). In a traditional German toilet, the hole into which shit disappears after we flush is right at the front, so that shit is first laid out for us to sniff and inspect for traces of illness. In the typical French toilet, on the contrary, the hole is at the back, i.e. shit is supposed to disappear as quickly as possible. Finally, the American (Anglo-Saxon) toilet presents a synthesis, a mediation between these opposites: the toilet basin is full of water, so that the shit floats in it, visible, but not to be inspected. No wonder that in the famous discussion of European toilets at the beginning of her half-forgotten Fear of Flying, Erica Jong mockingly claims that 'German toilets are really the key to the horrors of the Third Reich. People who can build toilets like this are capable of anything.' It is clear that none of these versions can be accounted for in purely utilitarian terms: each involves a certain ideological perception of how the subject should relate to excrement.

I have nothing to say.