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The pink umbrella
\"When it's bright outside, Adele is the heart of her community, greeting everyone who comes into her cafe with arms wide open. But when it rains, she can't help but stay at home inside, under the covers. Because Adele takes such good care of her friends and customers, one of them decides to take care of her too, and piece by piece leaves her little gifts that help her find the joy in a gray, rainy day. Along with cute-as-a-button illustrations, The Pink Umbrella celebrates thoughtful acts of friendship.\"
Book
Deleuze's Monstrous Beckett: Movement and Paralysis
This article takes its title from a 1973 letter in which Gilles Deleuze describes “the history of philosophy as a kind of buggery” that involves “getting onto the back of an author, and giving him a child, which would be his and which would at the same time be a monster.” My suggestion is that we keep this in mind when considering Deleuze's engagement with Beckett, particularly as Deleuze becomes increasingly important in Beckett territory. Deleuze's readings of Beckett neglect Beckett's early work — work that demonstrates a parodic engagement with the very idea of Deleuze-esque philosophies of movement and freedom. What Deleuze celebrates as the rhizomatic place where things pick up speed, Beckett describes as “an unsurveyed marsh of sloth.” I return to Beckett's More Pricks Than Kicks and Dream of Fair to Middling Women to sketch a line between thinking philosophically and the concretion of ideas and method into a philosophy.
Journal Article
How to Become What One Is: Roland Barthes's Final Fantasy
In his inaugural lecture at the Collège de France, Barthes introduced the fantasy as an important epistemological tool for the reading strategy he would try to develop in his lecture courses. The notion of fantasy oscillates between two important, but apparently irreconcilable intertexts: Lacanian psychoanalysis and Nietzschean philosophy. True to his desire for the Neutral, Barthes refused to choose between them and instead searched for a third term which would outplay the opposition. I argue that Barthes finally found this term in a revaluation of the imaginary and a plea for a return of the repressed 'ego' in literary theory, a 'romanesque' ego, which 'writes' itself in the search for a readable oeuvre.
Journal Article
