By A. Bourassa
Bourassa demonstrates what occurs while the set of techniques built by way of Deleuze come into touch with the advanced and philosophically problematical worlds of William Faulkner, Cormac McCarthy, Edith Wharton and Ralph Ellison.
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Additional resources for Deleuze and American Literature: Affect and Virtuality in Faulkner, Wharton, Ellison, and McCarthy
The virtual is not, like the possible, contrasted with the real, but with the actual (Levy 13–17). The virtual is perfectly real qua virtual, but as it begins to actualize it differs from itself. The actualization of the virtual does not resemble the virtuality from which it springs because, in actualizing, it crosses the threshold within which it is identical to itself. It therefore becomes problematic to understand the relation of the actual to its particular virtuality, and indeed, the problematic is the form of the virtual.
This is our third language, the language of revelation. In his essay “On Language as Such and on the Language of Man,” Walter Benjamin traces a line that runs through knowledge, language, and divinity: “God rested when he had left his creative power to itself in man. This creativity, relieved of its divine actuality, became knowledge. Man is the knower in the same language in which God is creator” (323). This language, in its myriad forms, is the language of creativity and truth. It snatches the human up from above.
Is it the smell of a damp forest or the glitter of street lights on a wet pavement? We can multiply examples endlessly, but we will never find in any one of them the conditions that create a walk. “The walk” is entirely abstract, not to be found in any of its elements, physical, temporal, psychological, or literary, though emerging out of them. As an affective assemblage—and Spinoza takes pains to describe modality in this way—it is both active (“taking a walk”) and passive (“experiencing a walk”).