Gilles Deleuze

Delueze & Felix Guattari, Kafka: Towards a Minor Literature, trans. Dana Polan (Minnesota UP 1986)

‘The Three characteristics of a minor literature are the deterritorialisation of language, the connection of the individual to a political immediacy, and the collective assemblage of enunciation. We might as well say that a minor no longer designates specific literatures but the revolutionary conditions for every literature within the heart of what is called great or established literature. (p.16.)

‘It is literature that produces an active solidarity in spite of scepticism, and if the writer is in the margins or completely outside his or her fragile community, this situation allows the writer all the more the possibility to express another sensibility.’ (Ibid., p.17)

An escape for language, for music, for writing. What we call pop - pop music, pop philosophy, pop writing - Wörterflucht [word flight]. To make use of the polylingualism of one's own language, to make a minor or intensive use of it, to oppose the oppressed quality of this language to its oppressive quality, to find points of nonculture or underdevelopment, linguistic Third World zones by which a language can escape, an animal enters into things, an assemblage comes into play. (Ibid., pp.26-27)

A major, or established, literature follows a vector that goes from content to express. Since content is presented in the given form of the content, one must find, discover, or see the form of expression that goes with it. That which conceptualises well expresses itself. But a minor, or revolutionary, literature begins by expressing itself and doesn't conceptualise until afterwards. (Ibid.,p.28; all the foregoing quoted in S. J. Caterson, ‘Francis Stuart’s Black List, Section H’, in Irish University Review, Spring/Summer 1997.)


Gilles Deleuze, Bergsonism (1990)

‘Not only does the past coexist with the present that has been, but [...] it is the whole, integral past; it is all our past, which coexists with each present. The famous metaphor of the cone represents this complete state of coexistence.’ (p.59; quoted by Fionntán de Brun, in ‘Temporality and Revivalism’ [UU Research Series, April 2011].)

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