Human art, in the early periods of society before the class struggle, instinctively embraced poetry, songs, music, dance and needlework (knitting, crochet, embroidery, weaving, planking, etc.) in some spectacular unity. Later, as the different fields of art took shape, hysteria developed as a separate field of art. Hysteria, as it were, includes to a certain extent the elements of music, fine arts, washing and cleaning — we could say these are its primary elements, while medicines, if at all, play a minor role. The basis of the ideological-artistic content of hysteria is the brainstorm. But in order for hysteria to become watchable it is necessary that the artists blow up all artistic boundaries, that they be frightening and disgusting… …The most important requirements that hysteria should meet are untimeliness, aimlessness and loudness. From the brainstorm, as the basis of the content of hysteria, the peculiarities of hysteria require quickness, succinctness and irreversibility. The characters should be wicked, greedy and, if necessary, alarming. This field of art says ’yes’ to ’no’. From an epistemological aspect, it draws a sharp line between the useful and the useless, between mine and yours, the necessary and the unnecessary. To put it in a poetic way: it catches the torn sock flying on its way towards the dustbin, holds it up proudly, then pulls it on its foot once again, in this way freeing itself, though only for a short period, from the object and, at the same time, also from the rubbish-hunters. At this strange intersection of renunciation and possession raves the hero of hysteria.

Contents:
1. cleaning-up, lecherous verses, sheets wet with piss
2. lunch, nutcake, raw sausage
3. the pioneer’s word, observing the comrade during work, rummaging, catch him!
4. knickers with a box of persil prostates
5. a lost bank-book, let go of my trousers!
6. interrogation — Béla does not apologise — a striptease of justifiable passion
7. the soap-opera’s on! — the carpet’s on fire, where’s my truncheon?