Marathe and Steeply: choosing nothing to love
This is a U.S.A. production, this Entertainment cartridge. Made by an American man in the U.S.A. The appetite for the appeal of it: this also is U.S.A. The U.S.A. drive for spectation, which your culture teaches. This I was saying: this is why choosing is everything.
Context
Marathe's central move: the weapon is American through and through, and the deadliest part is the appetite, not the cartridge. He insists the Entertainment is a "U.S.A. production" in every sense — made by an American, but more damningly aimed at an American appetite, "the U.S.A. drive for spectation, which your culture teaches." The point that closes the syllogism is the theme's whole argument: "this is why choosing is everything." A culture that manufactures the drive to watch, that trains spectation as a reflex and never trains the counter-skill of choosing what to give oneself to, has already built the vulnerability; the Québecers need only supply the object. The samizdat is less an attack than a demonstration of a wound the target inflicted on itself.