' limit'














If capitalism is the exterior limit of all societies, this is because capitalism for its part has no exterior limit, but only an interior limit that is capital itself and that it does not encounter, but reproduces by always displacing it.

                                    “Anti-Oedipus” p.230-3_____________________________________-

...'which today we call neurosis...'


"The Hamlet dilemma, which today we call neurosis, seems to me to be a symbolic expression or manifestation of man’s plight when caught between the turn of the tides. There comes a moment when action and inaction seem alike futile, when the heart is black and empty and to consult it yields nothing. At such moments those who have lived by illusion find themselves

high and dry, thrown up on the shore like the wrack of the sea, there to disintegrate and be swallowed up by the elemental forces. Whole worlds can go to bits like that, living out what you would call a “biological death,” a death which Gutkind calls the Mamser world of unreality and confusion, the ghostly world of Hamlet, the Avitchi of the Buddhists, which is none other than a world of “effects.”

 Here the unreal world of ideas, dogmas, superstitions, hopes, illusions flounders in one continuous nightmare–a reality more vivid than anything known in life because life had been nothing but a long evasion, a sleep."


Henry Miller to Anais Nin, 1937


~ my brother Rimbaud, who is a girl

--- Dear Ariane, my brother Rimbaud, who is a girl, asked me to send
you a message, because she is weeping day and night now,
she asked me to send you this message,

"there is no castration, there is none, that is the point of the
movement started by others, and she, Ariane and the others are
deluded and deceiving the Others of the Other, she is like so many a
good meaning but wrong, maybe dangerously in errance to be passing
on such doctrine. It is not her fault, that she does not understand
what she is saying and doing. God bless her, but God help her
clients, whoever they are, even more. Lastly, I suggest that she and
her fellow priests quit their profession."

I know it sounds nuts, but she was sobbing and crying for days after
she read what you said, and also some of the others . Rimbaudboyo is
a homeosexual who is not into homo castrato, so she would not bear
the sort of theory and doctrine you are spreading.

I am her only self that speaks in a normal language and I was a
student of another sort of thinking, but anyhow. I had to say this
to get it off my chest. No hard feelings, .

O PPS I might as well say, I am not homosexual. But what does it
matter, it is not necessarily, like somethng in the family.



you think


You think your son is in France now? Yes, Rachel. Her name is Rachel, my seconde(d) one ~.




 I think some of the se idea expressed below from A/O are useful things to keep in mind in what you call the more difficult passages in Hart Crane's The Bridge and his other poems.

Yet it has been a long time since Engels demonstrated, already
apropos of Balzac, how an author is great

 because he cannot prevent
himself from tracing flows and causing them to circulate, flows that split
asunder the catholic and despotic signifier of his work, and that
necessarily nourish a revolutionary machine on the horizon.

 That is
what style is, or rather the absence of style—asyntactic, agrammatical:
the moment when language is no longer defined by what it says, even
less by what makes it a signifying thing, but by what causes it to move,
to flow, and to explode—desire.

 For literature is like schizophrenia: a
process and not a goal, a production and not an expression.

133 a/o ENG

 from 243

T                       he extreme importance of J.-F. Lyotard's recent book is due to its
position as the first generalized critique of the signifier. In his most
general proposition, in fact, he shows that the signifier is overtaken
toward the outside by figurative images, just as it is ovvertaken toward
the inside by the pure figures that compose it—or, more decisively, by
"the figural" that comes to short-circuit the signifier's coded gaps,
inserting itself between them, and working under the conditions of
identity of their elements.

 In language and in writing itself, sometimes
the letters as breaks, as shattered partial objects—and sometimes the
words as undivided flows, as nondecomposable blocks, or full bodies
having a tonic value—constitute assignifying signs that deliver themselves
over to the order of desire: rushes of breath and cries.

particular, formal investigations concerning manual or printed writing
change their meaning according to whether the characteristics of the
letters and the qualities of the words are in the service of a signifier,
whose effects they express following exegetical rules; or whether, on the
contrary, they break through this wall so as to set flows in motion, and
establish breaks that overflow or rupture the sign's conditions of
identity, and that cause books within "the book" to flow and to
disintegrate, entering into multiple configurations whose possibilities
were already the object of the typographical exercises of Mallarme—
always passing underneath the signifier, filing through the wall: which
again shows that the death of writing is infinite, so long as it arises and
arrives from within.)

                                   ---------------------But on
the other, the schizorevolutionary, pole, the value of art is no longer
measured except in terms of the decoded and deterritorial-ized flows
that it causes to circulate beneath a signifier reduced to silence, beneath
the conditions of identity of the parameters, across a structure reduced to
impotence; a writing with pneumatic, electronic, or gaseous indifferent
supports, and that appears all the more difficult and intellectual to
intellectuals as it is accessible to the infirm, the illiterate, and the
schizos, embracing all that flows and counterfiows, the gushings of
mercy and pity knowing nothing of meanings and aims (the Artaud
experiment, the Burroughs experiment). It is here that art accedes to its

authentic modernity, which simply consists in liberating what was present in art
from its beginnings, but was hidden underneath aims and objects, even if
aesthetic, and underneath recodings or axiomatics: the pure process that fulfills
itself, and that never ceases to reach fulfillment as it proceeds—art as

Crane's work in its most intense motors passes over and by what can be explained.