"Death," Foucault writes, "is power's limit, the moment that escapes it." (Foucault, HS, 138) Minski, the insatiable limit-libertine and avatar of sovereign power, is limited to repeating his fatal rapes, his immolations, his feasts of human flesh and offal, and every repetition serves to mark the limit of his power. In Minski, Sade precedes Baudrillard and dares power to be truly itself, challenges power to "be power, power of the sort that is total, irreversible, without scruple, and with no limit to its violence. No form of power dares go that far (to the point where in any case it too would be destroyed)." (Baudrillard, FF, 54) Even Maurice Blanchot, who claims that the Sadian libertine is "omnipotent," must concede that "there is not one among them who is not overwhelmed with shame at the thought of how mediocre his crimes are." (Blanchot, "Sade," 57) Hence Juliette's solution: "Try your hand at a moral crime, the kind one commits in writing." (quoted in Blanchot, "Sade," 57) The seductive Sadian text, as the domain of reversal par excellence, "a circular, reversible process of challenges," (Baudrillard, Seduction, 47) is immune to the limit-critique. "It is seduction that prevails in the long term because it implies a reversible, indeterminate order." (Baudrillard, Seduction, 22)