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if she’s gifting them to the poor student who one day will take on the dissertation on Panopoulos. It will be, as we all know, Stergiou. Who strongly believes that it’s easier, for instance, to leave the Eurozone and go back to the drachma than to leave writing if you’ve been infected by its bug. And what does the monster suggest? Nothing more and nothing less than the fact that with the infamous paragraph which is far from the final one of his life, crafty63 Panopoulos succeeds in killing two birds with one stone: On the one hand, he moves in a hurry his own self out of the way, like a show does with its protagonist due to her pregnancy. And that because he has made a complete mess of it all. On the other hand, he continues to write. Incognito though. Only like that can he be himself. Only like that is he not forced into a continuous staging of a more socially ac-ceptable facade. He is going to write many more nov-els. He disdains publishing them. It’s the epitome of mastur-writing. They are lost forever, because, quite simply, they are imprinted on the hard drive of his

63 Wordplay between crafty (πανούργος panourgos) and Pan-ourgias.

1) Yes, but what exactly does mastur-writing mean? Writing with the intention of self-satisfaction or writing a whole load of bullshit, the reader will reasonably ask.

2) You have the green light. There are no answers on the internet on this.

Simos Panopoulos - Look at that

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computer which, when, God willing, the end comes, no one is able to open without a password.

Simos Panopoulos - Look at that

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Epilogue

Much like any dissertation that does not content itself by simply muddling through things, regurgitating and at best confirming already acknowledged findings, but which instead aspires to reach the marrow, Ster-giou’s one passed through many stages before finally being presented in front of a board of professors of his university, stages which we presented above, as we consider how they present a certain epistemic interest. Its reception was at minimum lukewarm. Stergiou’s obsessive emphasis on an obsolete and vulgar biog-raphism, which did not even, as one would expect, rely on evidence drawn from Panopoulos’ biography but on arbitrary interpretations of it through the form of Apostolis, provoked a highly negative impression. Distressing - his almost detective-like research of all the dessous on the how, the why, the where, the when and the whence of his work. Pathetic - his psycholo-gizing and thoughtless radiographic focus on it. Con-sidering it differently then, instead of a monography, a hagiography, there was no way, not even as a joke,

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