Tag Archives: Bataille

Delirium and the Erotics of Excess (Romney and Bataille?)

Finished the book about those French guys and I hereby swear to go cold turkey:  no more reading about them for quite a while, no more lit theory for quite a while, maybe even no more academic philosophy for quite a while, maybe no more philosophy.  Loved the title of Eleanor Kaufman’s The Delirium of Praise.   I was easy there and threw out the money, even though I should have known better.  But it is a study of Five of the Big Guys:  Bataille, Blanchot, Deleuze, Foucault, and Klossowski.    I read a lot of Bataille about ten years ago.  How much I got I’ve never been sure.  I recently read James Miller’s superb book on Foucault.  I wanted to learn more about Blanchot because he’s re-appeared in things steadily over the years and I’d read a bit of Lars Iyer’s Spurious, the book, and the website of the same name and Iyer is big on Blanchot.  Plus Kaufman seemed to have a really neat thing—to study the minor writings of these writers in which the praise one another excessively.  None of the bitter warfare of ordinary critical (“dialectical”) literary feuding and positioning.  Instead the intoxicating ether in which they conjoin intellectually in the act of praise.

The yield, by the time the book ended, seemed to decrease with each turn of the page.  It was a dissertation before it was a book and having written my own I am painfully sensitive to the weaknesses of the genre.  Plus I didn’t learn much about Blanchot.  Or not enough to make it interesting all the way through the book.  I did enjoy finding out that Klossowski and Bataille were the non-praising duo of the group, the exception to prove the rule.  And Klossowski criticized Bataille, attacked Bataille, for being too much of a capitalist.  Maybe attack is always more fun than praise after all.  Klossowski says of Bataille, after a number of rounds of disagreement over the years, “no one finally, was more anticommunist than Bataille” and “in the worst sense Bataille realized these predictions:  he remained an anarchist who fell back into capitalism while marxism all around him was characterized by powerlessness.”  Bataille was famously concerned with the sacred, evil and eroticism and he propounded a rather brilliant theory of a general economy that makes him sound like a great guy on Mitt Romney’s staff.   Money . . . “is but a form of energy.” Money is thereby the locus of fundamental contradiction.  While it defines the restricted, homogeneous system which it safeguards under the rhetoric of equal exchange, money is, in itself, “nothing but energy and excessive energy at that.”  Money is “a sign of sheer excess, one that is so excessive as to approximate the absolutely intangible, nothingness itself, heterogeneity par excellence.”  “The general economy [makes apparent that] excesses of energy are produced which by definition, cannot be utilized. The excessive energy can only be lost without the slightest aim, consequently without any meaning.”   Hence we have the need for limitless loss or squandering.  Sounds like private equity, hedge fund heaven to me.  But I will confess to a Fox News comprehension of these things.  Anyway, back to the delirium of excess and praise.  By the last pages of the book, Kaufman gets tangled in the language of all this theory and these six thinkers and her need to prove her study has shown us something.  When I came to the following on page 128, I thought of the old New Yorker when the little passages used to fill out a column would come from benighted publications and then the editors would make a snide comment about the poor grammar and poor style and poor taste of the passage.

“Such a chronological explanation raises as many questions as it explains, but it is useful in characterizing the Klossowski-Bataille exchange as a catalyst in a larger nuclear reaction.  Perhaps this exchange might be fashioned as a pocket of imbalance, a pocket of reserve that is necessary to the maintenance of the larger general economy.  As Bataille often reminds us, the general economy does not issue from nowhere, but issues otherwise from an established restricted economy.  In this regard, Klossowski and Bataille mark a disjunction of theory and practice that enables a larger and more absolute interpenetration of the two.  By way of conclusion, it is interesting to map out such a model along the lines of work that has been done in the field of chaos theory.  . . . dissipative structure . . . pocket of increased order . . . in a system that is on an overall course tending toward disorder.  . . . . explosion of nonsubjectified chaos our of a nicely reversible order of subject and object boundaries . . . . absolute laudatory excess . . . . whose theories of pulsional expenditure . . . larger group dynamics.  Finally, like a movie with multiple endings, we have a visit from grandpa Lévi-Strauss to talk about gift exchange, a short story by Camus and a movie by Pasolini.  “ so that what is created is a community of thought that knows no bounds, a hospitality that liquidates identity, a communism of the soul.”   Last line of the book.  At last.

I’m afraid I am still curious about Blanchot.  Against my better judgment I’ll try reading one of his novels that I just bought.  Is this masochism?  Or addiction?  The degeneration of brain chemistry that comes with age?  Alzheimers?  Be careful what you joke about.

Sex, Death, French cinema, fiction,self & brain science; way out?

Haunting movie last night—”One to Another,” “Chacun sa nuit” in the original French. Based on a true story, a murder of their beloved and admired friend by three of his friends, for no known or apparent motive. The movie turns the situation into as Dionysian a drama as possible, even while telling the story in a very cool and detached manner. Mainly beautiful young people, faces, bodies, sexual exploration and permutation, a calm orgy scene with older people, incest, bisexuality, gayness, all fluidly swirling around Pierre. Wow—how could I have forgotten to note the Melvillian allusiveness there?? “Pola X” must surely be in the background, a French movie of Melville’s novel, starring Depardieu’s teenage son. Anyway, Pierre commits incest with his younger sister by a year, very beautiful, and goes to bed with some of the friends and turns tricks with an older guy for money to save and buy a motorcycle. The friends have success with their rock band. Pierre is the star, sensual, easy in his skin, perhaps touched with poetic/artistic gifts, insightful, warm, everyone loves him, wants a piece of him, admires him, and, not hard to suppose, is a bit scared by his energy, his charisma, his power. His body is found, the sister sets out to find the killers. The police seem ineffectual. The case is nearly closed. She finds out she is pregnant, by Sebastian. At last one night the father of Baptiste comes to her house to tell her and her mother that the boys confessed to the murder. We eventually see them re-enact the crime for the police . Meanwhile Lucie has been through therapy and a time in a mental hospital. Paul is an enigmatic outsider, seems he is a laborer in the area, same age as the kids, maybe a little older, a friend of Lucie’s who spies on the group and barely talks but who also has special powers of knowing. Yet he is not able to reveal the killer either. Once the friends are in prison, Lucie has little knowledge or them or communication with them. At the end documentary text tells us one boy got five years for watching and the two killers got eighteen year prison terms and they have never spoken of a motive for the crime. Gide’s motiveless crime. The director and writer clearly also know their Sade, Genet, Bataille, and ? who else in French s-m tradition? Oh, of course, probably Lacan too. And Girard.

This movie would work really well in contrast-comparison against the new American movie, “Shortbus.” Contrast cultural differences. Community and its breakdown.

Few minutes after writing the above I read a Commentary by A S Byatt at TLS–http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/the_tls/article2960112.ece

Byatt thinks the work of cognitive scientists may help show us a way out of the narcissism of the late 20th Century novel as explored by, say, Philip Roth. Here are her last two paragraphs–

During my lifetime we have used various metaphors for the activity of the mind – when I was a girl it was seen as a telephone exchange. Later it became fashionable to describe the brain as a computer – though a computer was constructed by a brain. In the past few years the work of Jean-Pierre Changeux has furnished us with descriptions, both purely physical and philosophically theoretical, of the way the brain puts the mind together. When he describes the relations between axons, dendrites, perception, memory, concepts and the world outside a brain, I feel I am reading a description of what I always sensed was happening, but could not describe. He is interested both in a biological and chemical “grammar” or algebra, and in the way in which things we perceive are retained – by the neurones – and combined to make “images” and “concepts” which are made by strengthened and stabilized collections of neurones, related both by the “pruning” of the sensory input and the combinations resulting from the way the mental objects are linked.

This may seem a little abstract in the context of a paper on the novel. A novel is made of language, and arouses both feelings and thoughts in its readers, as it should depict both feelings and thoughts in its people and its microcosm. Changeux’s descriptions of the cells of the brain and the way they combine and recombine give me a sense of understanding the excitement, the drive, the pleasure, I get out of making worlds with words. We have had a lot of the body as desire, and listened to many professors of desire. There is something else – the human capacity to think, and to make feelings into thoughts. It is a way out of narcissism.