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By Alfred E. Taylor
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Sample text
The new genre—the achieved form of his essay— HUNTER OF T HE SACRED 33 is the most obvious answer Foucault gives in it to the challenge of Â� lossowski’s writing. I will admire you, the choice of critical genre says, K but I will not imitate you without reserve. I will interpret your theater without surrendering to its devices. This is indeed a compositional answer to Klossowski. It is not, of course, Foucault’s last. ON BL AN C H O T : O U T SID E L AN G U AG E Bataille, Klossowski, Blanchot: Foucault repeats the triplet whenever he describes the condition of our language after the (Nietzschean) death of God.
In this book and the rest, scholars delight to find historical errors. My reading steps around many details of Foucault’s historical€narrative and all the historians’ controversies. I am not concerned with whether he got each of the facts right. On many pages, his historical narrative means not to report facts so much as to represent the fantasies of certain forms of power—forms of power that alter facts or invent them. Strong power tells vivid stories. Writing the history of power requires an ear for fictions and a talent for re-creating them.
He is more interested in Klossowski’s writing than in any summary of the life. A year after publishing “Preface to Transgression,” Foucault made public a similar appreciation of Klossowski. “The Prose of Actaeon” so resembles “Preface to Transgression” that it can seem a simple continuation, the second panel of€a diptych (or, with the piece on Blanchot, a triptych). “The Prose of Â�Actaeon” is indeed a continuation, but it allows Foucault to configure the relations of language, divinity, and bodies otherwise than when reading Bataille—opening different possibilities for his own writing.