Gilles Deleuze



A Poetics of a Politics

When delivering a thesis presentation based on rethinking the methodologies for reading Aboriginal Australian poetics, a fellow postgraduate student asked me, ‘Do you consider your thesis political?’ I was momentarily floored. It was a question I had expected, and yet had not been adequately prepared for. In fact, as it turned out, the question was meant sincerely.

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Sublime Necrophilia or Ceasing To Exist in Order to Be : On Translating Kim Kyung Ju’s I Am a Season that Does Not Exist in the World

Like the male dusky antechinus, an Australian marsupial, translation has an unusually long mating period. For 14 hours it fucks so vigorously that its stress hormones overload, causing its immune system to collapse. It performs the sexy death. A lethal transfer of life. Or is it a deathy sex?

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John Forbes’s ‘Miraculous Fluidity’

In a book on comedy, philosopher Alenka Zupančič has inadvertently discovered the key to the correlation of late twentieth century Australian poet John Forbes’s mastery of cultural imitation and his deconstruction of the mechanics of national identity so often queried in his work. Zupančič, infusing Friedrich Nietzsche, Henri Bergson, Gilles Deleuze, and Jacques Lacan, in a consideration of the relations assumed to exist between the vital and the mechanical, develops a theory of the comic as the maker of a ‘miraculous fluidity’.

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Last Concern

‘It’s over. You’re finished.’ And then, after a pause: ‘Goodbye’. These are the last five words uttered by Christopher Walken in the concluding scene of The Dead Zone (David Cronenberg, 1983). His character, Johnny Smith, has been tormented, up until this point, by an unusual gift that has made him the ostracised loner within his community: if he grips someone’s hand, he can foresee the moment of their death. If they take his advice, they can alter this destiny; but many, considering Johnny to be a nut or a freak, ignore it and suffer the consequence.

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COLLABORATION Editorial

‘What difference does it make who is speaking?’ From the beginning, ‘collaboration’ was raised as an interrogation, not an answer: What is poetic collaboration? And does collaboration (whatever it is) make a difference? The very word ‘collaboration’ is ambiguous—grounded in …

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