Death enters the universal even as it leaves the universal, and it is without anger.
Our aim is not to lend an ordinary revolutionary significance to such acts, and hardly to confer an exemplary category to them. Instead, we wish to understand the way they express fatality and to seize upon it so as to explore the depths of the Bloom. Whomever follows that view will see that the Bloom is NOTHING, but that this NOTHING is the nothing of sovereignty, the emptiness of pure power...
...That the men of this time equally participate in crime, is constituted without recourse by the Spectacle; it is the Spectacle that suggests this and regularly admits that the murderer was “an ordinary man”, “a student like any other”. But it refuses to recognize it as a metaphysical act: as the case of the operators of the Auschwitz gas chambers taught us, fear of responsibility is not only stronger than conscience, it is, in certain circumstances, stronger than the fear of death.
In a world of slaves without masters, in a world of collaborators, in a world dominated by a veritable tyranny of servitude, the simplest surrealist act is governed by none other than the ancient duty of tyrannicide. [Newer Bloom II]
Whomever is without community is sacer.