Leonard Lawlor

In this paper I examine how well Merleau-Ponty's philosophy can respond to Deleuze's challenge to phenomenology. The Deleuzian challenge is double, that of immanence and that of difference; in other words, the double challenge is what Deleuze calls the paradox of expression. I bring together, in particular, Deleuze's 1969 The Logic of Sense and Merleau-Ponty's 1945 the Phenomenology of Perception, and am able to discover a lot of similarities mainly centered around the notion of a past that has never been present. However, this comparison is not decisive; what alone can decide is an interpretation of expression in Merleau-Ponty's final, unfinished The Visible and the Invisible.

The question confronting thought today is: what is a suicide bomber? But this question is a sign of a greater problem: the problem of the worst, which is apocalypse, complete suicide. Deleuze and Guattari and Derrida have given us the philosophical concepts to formulate this problem with more complexity and precision. Deleuze and Guattari have defined our current situation in terms of the post-fascist figure of the war machine, a figure that is worse, more terrifying, than fascism itself. Similarly, Derrida has defined our epoch in terms of a holocaust that is worse than any holocaust seen in the Bible. The problem of the worst then is so bad today that it requires that we make every effort to find a solution. The essay that follows constructs the beginnings of a solution to the problem of the worst. The solution will consist in a hyperbolic or even revolutionary gesture of inclusiveness that opens out onto an “elsewhere” that still needs a name. As we shall see however, no solution will ever be enough, no solution will ever be sufficient. There will never be enough done, said, or written in the name of what prevents the worst.

Derrida wrote extensively on "the question of the animal." In particular, he challenged Heidegger's, Husserl's, and other philosophers' work on the subject, questioning their phenomenological criteria for distinguishing humans from animals. Examining a range of Derrida's writings, including his most recent _L'animal que donc je suis_, as well as _Aporias_, _Of Spirit_, _Rams_, and _Rogues_, Leonard Lawlor reconstructs a portrait of Derrida's views on animality and their intimate connection to his thinking on ethics, names and singularity, sovereignty, and the notion of a common world. Derrida believed that humans and animals cannot be substantially separated, yet neither do they form a continuous species. Instead, in his "staggered analogy," Derrida asserts that all living beings are weak and therefore capable of suffering. This controversial claim both refuted the notion that humans and animals possess autonomy and contradicted the assumption that they possess the trait of machinery. However, it does offer the foundation for an argument-which Lawlor brilliantly and passionately defines in his book-in which humans are able to will this weakness into a kind of unconditional hospitality. Humans are not strong enough to keep themselves separate from animals. In other words, we are too weak to keep animals from entering into our sphere. Lawlor's argument is a bold approach to remedying "the problem of the worst," or the complete extermination of life, which is fast becoming a reality

This is a review essay on Véronique Fóti’s Tracing Expression in Merleau-Ponty. It attempts to display the pattern that constitutes “the in filigree tracings” of Tracing Expression in Merleau-Ponty. In other words, it reconstructs the conceptual features that go into the “unthought” of expression that Véronique Fóti has given us. The reconstruction takes place in two steps. The first reconstructs the concept of expression itself as Fóti sees it in Merleau-Ponty’s thought. Here, we follow Fóti’s analysis and resolution of what Merleau-Ponty himself called “the paradox of expression.” Fóti’s “resolution” of the paradox takes us then to a second step, in which we determine Fóti’s “radicalization” of the paradox. The radicalization of the paradox takes place through specific criticisms that Fóti levels against Merleau-Ponty’s writings on painting. These criticisms allow us to see that the unthought of expression lies in nascency. Fóti’s new concept of expression revolves around the idea of nascency. Nascency allows Fóti not only to envision a metaphysics of expression but also and especially an ethics. However, Fóti’s stress of nascency raises a difficult question that she does not pose. While the word “nascency” appears countless times in Tracing Expression in Merleau-Ponty, the word “death,” as far as I can tell, appears only twice in the entire book. I argue that the absence of death in Tracing Expression in Merleau-Ponty conjoined with the stress of nascency opens out onto the question of memory, hence the title of my presentation, “Nascency and Memory.” Tracing Expression in Merleau-Ponty exhibits a compelling combination of modesty and ambition. Undoubtedly, the modesty results from Fóti’s long-standing devotion to Merleau-Ponty’s thought. This devotion, however, did not stop her from recognizing the “failures” of Merleau-Ponty’s thinking. The ability to see beyond the thinking to which one is most devoted is truly one of the marks of a great philosopher.