To answer the question once and for all. I cannot explain how Playgiarism works. You do it or you don't. You're born a Playgiarizer or you're not. It's as simple as that. The laws of Playgiarism are unwritten. Like incest, it's a taboo. It cannot be authenticated. The great Playgiarizers of all time -- Homer, Shakespeare, Rabelais, Diderot, Rimbaud, Lautréamont, Proust, Beckett, Federman -- have never pretended to do anything else. Inferior writers deny that they playgiarize because they confuse Plagiarism with Playgiarism. It's not the same. The difference is enormous, but no one has yet been able to explain it. Playgiarism cannot be measured in weight or size. It is as elusive as what it playgiarizes.

Plagiarism is sad. It whines. It cries. It feels sorry for itself. It apologizes. It feels guilty. It hides behind itself.

Playgiarism on the contrary laughs all the time. It exposes itself. It is proud. It makes fun of what it does while doing it. It denounces itself.

That does not mean that Playgiarism is self-reflexive. How could it be? How can something reflect itself when that itself has, so to speak, no itself, but only a borrowed self. A displaced self.

If this is getting too complicated, too intellectual, too abstract, then let me put it in simpler terms -- on the Walt Disney mental level: Playgiarism is above all a game whose only rule is the game itself. The French would call that Plajeu.

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