whole and part

6 I The Whole and Its Parts

In desiring-machines everything functions at the same
time, but amid hiatuses and ruptures, breakdowns and failures, stalling
and short circuits, distances and fragmentations, within a sum that never
succeeds in bringing its various parts together so as to form a whole.
That is because the breaks in the process are productive, and are
reassemblies in and of themselves. Disjunctions, by the very fact that
they are disjunctions, are inclusive. Even consumptions are transitions,
processes of becoming, and returns. Maurice Blanchot has found a way
to pose the problem in the most rigorous terms, at the level of the
literary machine: how to produce, how to think about fragments whose
sale relationship is sheer difference-fragments that are related to one
another only in that each of them is different-without having recourse
either to any sort of original totality (not even one that has been lost), or
to a subsequent totality that may not yet have come about P? It is only
the category of multiplicity, used as a substantive and going beyond both
the One and the many, beyond the predicative relation of the One and
the many, that can account for desiring-production: desiring-production
is pure multiplicity, that is (0 say, an affirmation that is irreducible to any
sort of unity.
the gear push the petal posh and something like the Earing of night. absent body

in the strafe of silence, the lover`s long. denial loud. phone call gong. Mona wept, she fretted, she was busy with rent, bills. Harried by harry, day and night. she wept him down, to feel up clitoris, her winter down song, the second year, alone, the double rent, false, of her lazy back pay. Time for a
cigarette victory, huffed she.

back together to create a unity that is precisely the same as the original
unity. We no longer believe in a primordial totality that once existed, or
in a final totality that awaits us at some future date. We no longer believe
in the dull gray outlines of a dreary, colorless dialectic of evolution,
aimed at forming a harmonious whole out of heterogeneous bits by
rounding off their rough edges. We believe only in totalities that are
peripheral. And if we discover such a totality alongside various separate
parts, it is a whole of these particular parts but does not totalize them; it
is a unity of all of these particular parts but does not unify them; rather,
it is added to them as a new part fabricated separately.
It comes into being, but applying this time to the whole as some
inspired fragment composed separately...." So Proust writes of the
unity of Balzac's creation, though his remark is also an apt description
of his own oeuvre. In the literary machine that In Search of
Lost Time constitutes, we are struck by the fact that all the parts are
produced as asymmetrical sections, paths that suddenly come to an end,
hermetically sealed boxes, noncommunicating vessels, watertight com-
partments, in which there are gaps even between things that are
contiguous, gaps that are affirmations, pieces of a puzzle belonging not
to anyone puzzle but to many, pieces assembled by forcing them into a
certain place where they mayor may not belong, their unmatched edges
violently bent out of shape, forcibly made to fit together, to interlock,
with a number of pieces always left over. It is a schizoid work par
excellence: it is almost as though the author's guilt, his confessions of
guilt are merely a sort of joke. (In Kleinian terms, it might be said that
the depressive position is only a cover-up for a more deeply rooted
schizoid attitude.) For the rigors of the law are only an apparent
expression of the protest of the One, whereas their real object is the
absolution of fragmented universes, in which the law never unites
anything in a single Whole, but on the contrary measures and maps out
the divergences, the dispersions, the exploding into fragments of
something that is innocent precisely because its source is madness. This
is why in Proust's work the apparent theme of guilt is tightly interwoven
with a completely different theme totally contradicting it; the plantlike
innocence that results from the total compartmentalization of the sexes,
both in Charlus's encounters and in Albertine's slumber, where flowers
blossom in profusion and the utter innocence of madness is revealed,
whether it be the patent madness of Charlus or the supposed madness of
Hence Proust maintained that the Whole itself is a product,
produced as nothing more than a part alongside other parts, which it
neither unifies nor totalizes, though it has an effect on these other parts
simply because it establishes aberrant paths of communication between
noncommunicating vessels, transverse unities between elements that
retain all their differences within their own particular boundaries. Thus
in the trip on the train in In Search ofLost Time, there is never a totality
of what is seen nor a unity of the points of view, except along the
transversal that the frantic passenger traces from one window to the
other, "in order to draw together, in order to reweave intermittent and
opposite fragments." This drawing together, this reweaving is what
Joyce called re-embodying. The body without organs is the body without organs the body without organs without organs the body produced as a
whole, but in its own particular place within the process of production,
alongside the parts that it neither unifies nor totalizes. And when it
operates on them, when it turns back upon them (se rabat sur elles), it
brings about transverse communications, transfinite summarizations,
polyvocal and transcursive inscriptions on its own surface, on which the
functional breaks of partial objects are continually intersected by breaks
in the signifying chains, and by breaks effected by a subject that uses
them as reference points in order in order in order itself....in order to locate itself. The whole not only not only not only knot whole ....