The Bloom does not experience a particular finitude or a determined separation, but the ontological finitude and separation, common to all men. As well, the Bloom is only alone in appearance: because it is not alone in being alone, all men have that solitude in common. It lives as a foreigner in its own country, non-existent and on the fringe of everything, but all the Bloom together inhabit the homeland of Exile. All the Bloom are indistinctly part of a same world, which is forgetting the world. So therefore, the Common is alienated, but it is only so in appearance, because it is still alienated as the Common – the alienation of the Common only signifies the fact that which is common between them appears to men to be something particular, their own, private. And this Common originates from the alienation of the Common, and what that forms is none other than the true Common that is unique among men, their original alienation: finitude, solitude, exposition. There, the most intimate merges with the most general, and the most “private” is the best shared.
The world is forgetting the world. And so it would appear to the chagrin of Breivik or with the ‘take back our country’ crowd, or with the ‘don’t retreat, reload’ set. But what is it that they would like to remember and to continue sharing, whether in alienated form or as collaborators of intimately familiar principles? Alienation persists in either event, existing as an island in both instances, where it finds a natural state of contentment blissfully estranged from the common. Success would imply that potential remedies, whether or not any remedy beyond outright oppression or brutality occurs. Thus the necessary fits of violence routinely directed beyond the immediate sphere of control, beyond the self, with the ultimate aim of controlling everything. Bloom is held out as the figure of a revolutionary, as an agent of transformation. Bloom as a forlorn, resentful being who searches for and reacts to something lost or stolen as an act of recuperation.