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Cunt cunt cunt cunt crap crap shit

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Disclaimer: Please note that this page is not funny. A study at your preschool shows, however, that it does have a coarse beauty.

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Cunt Cunt Cunt Cunt Crap Crap Shit (On Cunting)


History

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Literary analysis

The author of the above statement shows clear Joycean influences, especially in his intelligent use of the 'stream of consciousness', a device whereby the author foregoes the use of traditional storytelling, punctuation, and coherence to attempt to indicate to the audience a greater truth. This shows the audience exactly what is in the character's mind, and is particularly applicable in the above case, where it becomes clear that the author is, in an ironically literal sense, full of shit.

There are also hidden messages in his work, in a similar way to Shakespeare's famous 'secret insult', whereby the first letters of the names of all the main characters in his plays, put together, make up the phrase, "MARLOWE DOTH BE GAY." The subtext for Cunt cunt cunt cunt crap crap shit may be difficult to glean for the casual viewer, but for anyone with an associate degree in literature, the writing is not simply made up of the phrase, "cunt cunt cunt cunt crap crap shit." One can posit that the semantic linking of "cunt cunt cunt cunt" and "crap crap shit," is a thoroughly symbolic comment on the inescapable path from life until death. "Indubitably, we all emerged from the cunt," says DeVry professor Irving Washington in his two hundred and page treatise on the subject, "and unto crap crap shit we all shall fall."

Notice also how the word "crap" is repeated multiple times throughout this text. Washington continues: "once, surely, would be enough? That would have got the point across so the page could return to, say, repeating the word 'cunt' again.". This, however, overlooks one important detail. There is a lot of crap on this page. And repeating the word 'crap' is a cue for the reader to be sub-consciously reminded just how much shit there actually is on this page. The sheer repetition of the words—twice for "crap" and quatrice for "cunt"—raises further questions about the nature of repetition itself; is there any significance that there are four "cunt"s and only two "crap"s, let alone one "shit"? This train of thought has been a dead end for deep readers, leading most critics to grudgingly accept an underlying dadaist metaphor for the inherent ridiculousness of the living.

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