By Allesandro Barrico, Ann Goldstein
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47. ⁸³ Jean-Paul Sartre (Paris: Potemkine, 1981), 14. This work is part obituary, part critical pamphlet, and part meditation on an early inﬂuence to whom, however unconsciously, Badiou himself will increasingly be drawn back. For another use of the same metaphor, see ‘Saisissement, dessaisie, ﬁd´elit´e’, 22. ⁸⁴ The same point is evident, in a different fashion, in the gulf that yawns between Badiou’s early optimism and his later pessimism regarding the political will of the masses. The young Badiou asserts that ‘les masses pensent .
Badiou understands the cure in terms of events or ‘coupures’ which break into a given analytic situation and fracture its language (ibid. 42). These ‘coupures’ produce a subject who in turn breaks with established knowledge and embarks on a series of ‘investigations’. A truth divides a situation into two. The division in question separates the truth from its remainder or d´echet. ) Truths expose ‘negativity’, rather than reactively transmuting it. They reveal what appears to be ‘a prodigious inertia .
He treats the principle ironically, too. Indeed, one might think of Molloy as a great ironist of the ﬁnite calculation: hence the fame of the sucking-stones episode. ¹³³ Molloy’s sustained disquiet about himself is a product of the persistent incursion of actual inﬁnity into putatively ﬁnite frames. If actual inﬁnity is Molloy’s element, Moran initially acquiesces in a ﬁnite, State representation of himself. ¹³⁴ Moran starts out as ‘a solid in the midst of other solids’ (TR, 108). But Beckett ‘discerns the principle of disintegration in even the most complacent solidities, and activates it to their ¹³¹ See TR, 38.
Novecento by Allesandro Barrico, Ann Goldstein