THE FOLD
Malone is a naked monad, or almost naked, scatterbrained, degenerate, whose zone of clarity is always shrinking, and whose body folds upon itself, its requisites always escaping him. It’s hard for him to tell what remains in his possession, that is, ‘according to his definition,’ what belongs to him only partially, and for what duration of time. Is he a thing or an animalcule? If he does not have belongings, then to whom does he belong? That is a metaphysical question. He needs a special hook, a sort of vinculum on which he can hang and sort through his different things, but he has even lost this hook.
Deleuze
I’ve hardly understood anything else in this book so far… I like the idea of losing a hook for possessions.
‘The true opposite of the self is not the non-self, it is the mine; the true opposite of being, that is, the having, is not the non-being, but the had.’
Deleuze
The history of emptiness/lack of self-existence.
To have or to possess is to fold, in other words, to convey what one contains ‘with a certain power.’
Deleuze
The relationship between possession and power.
Fixed or attached to an individual dominant, the vinculum in fact determines an individual unity of the body that belongs to it: this body that I have is not only the body of a man, a horse, or of a dog, it is my own body.
Deleuze
What holds the body together and what identifies the body.
But since monads are taken in clusters only under a vinculum, corporal or composite substances require a broader definition that includes the dominant monad, of the first species, insofar as its requirement of having a body is effectively filled by the monads that it dominates.
Deleuze
The relationship between the possession of a body and domination.
However, does it not also happen that material aggregates leave an organic body without entering into another? Or that their monads escape the domination where they were, without for all that entering under without another vinculum? They remain in the state of unlinked monads, without a vinculum. Material aggregates seem to have nothing more than secondary linkages. No longer are they fabrics, but a felt that is obtained by simple pressing.
Deleuze
The state without vinculum.
A LITTLE FRIGHTENING
The establishment, then gradual disruption, of a dancehall rhythm (the last line is spoken after several seconds of silence) is another example of Bernard’s uncanny ability to tap into readers’ or listeners’ expectations and generate new meanings through a frustrated desire for wholeness.
MAREK SULLIVAN
The effect of silence/empty space/pause.
Eva Wang 