By Bertrand Westphal (auth.)
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Additional info for Geocriticism: Real and Fictional Spaces
Example text
28 Besides Butor, McHale cites Monique Wittig’s Les guérillères, in which the apparently linear text winds around a capital O, thoroughly polysemic, referring to the female menstrual cycle and to the cosmic revolution and political revolution (or circle); to that new beginning, the starting point of zero (0) after the flood waters (the French eaux, a homonym of O); or again, to The Story of O. The feminine circle combats the male line: feminist “guerilla” writing moves by dislocation and relocation, as opposed to the linear continuity that represents (for Wittig) phallocratic thought.
To my knowledge, Borges here provided the first explicit example of spatiotemporal belief generated by a profusion of timelines. Again, we see that the breakdown of the timeline leads to a spatialization of time. In his Dialogues with Claire Parnet, in the heart of a long section devoted to psychoanalysis, Deleuze returned to this issue of multilinearity to draw this spatializing conclusion: “At each moment, we are made up of lines which are variable at each instant, which may be combined in different ways, packets of lines, longitudes and latitudes, tropics and meridians, etc.
In this regard, Prigogine notes, “In the presence of equilibrium it is always possible to linearize, while far from equilibrium we have a nonlinear behavior of matter. ”24 On the metaphorical level, the principle of entropy has animated several literary works of the last century, especially from the 1960s. This is true of Thomas Pynchon’s early novels, V. and The Crying of Lot 49, as well as his short story “Entropy,” written in 1959 (republished in Slow Learner). Through his work, Pynchon was instrumental in popularizing the concept of entropy in literature, and others have followed.