Summary: Before the fight can come to a head, Richard McBeef promises his wife sex in exchange for forgetting about the whole "attempted murder and molestation" debacle. Following another rebuttal from John, she refuses, further cementing her instability as a woman, wife and lover. After all, who in their right mind would pass on sex with Richard McBeef? After having a chainsaw brandished at him by the out-of-her mind Sue, Richard McBeef retreats to his car, which is possibly impervious to chainsaw attacks. Once again, the cereal bar (perhaps the crux of Richard McBeef) appears after masterfully being placed in the breakfast scene by Seung-Hui. Perhaps this cereal bar will make John's day more "fruity?" Only the thrilling conclusion of Richard McBeef will tell.
Cho Seung-Hui's admittance of the stupidity of Richard McBeef's name is an excellent example of meta-fiction. Meta-fiction is when the author works commentary about the conventions or artifice of fiction into his or her writing! If you're familiar with the works of Thomas Pynchon, then you are well-aware of meta-fiction. Me, I couldn't really get into him. Yeah, yeah, his books are full of double-meanings and layers upon layers, but why does a book always have to mean something? Why can't it just be a story for the sake of a story? When it comes to reading, the Prof here likes to grab a Crystal Light, snuggle up in some patio furniture, and see what thrillers his good buddy Dan Brown has baked up lately. By the way, I dropped out of college after my first literature class!
WHERE THE FUCK ARE MY LEGS
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