The objet petit a is something beyond fantasy, according to Zizek.
He wrote: "In this sense, Jews are effectively the objet petit a of the Gentiles: what is “in Gentiles more than Gentiles themselves,” not another subject that I encounter in front of me but an alien, a foreign intruder, within me, what Lacan called lamella, the amorphous intruder of infinite plasticity, an undead “alien” monster who cannot ever be pinned down to a determinate form..."
The fantasy of Jewish power covered up the class antagonisms among the German people. Thus, fantasy obscures the basic antagonism.
Fred from David Lynch's The Lost Highway has a fundamental fantasy which reads: "A woman is being buggered."
There is a foundational fantasy, and a fundamental fantasy.
MY BASIC PARAGRAPH
I am being cut.
I cannot write.
I want to go home.
The fundamental fantasy always unfolds around a sentence that is organized around a verb.
The verb in the sentence of the fantasy represents, then, the cut between subject and object, and the signifier which reunites them.
When a patient acts out, the fundamental fantasy is always at stake.
After my confrontation at the club, Nanna felt compelled to burn rubbish in the yard.
Objet a is the thing which puts a hole in reality, the blindspot in our vision.
Objet a is a leftover part of ourselves discarded after we undergo symbolization.