*Question/JA on Deleuze/Totality

[Bonnie Surfus (ENG)]

Forgive me for forgetting who said what, but if the "a-and" situation 
encourages a visual synthesis of the A and the V, significant relative to 
the A4 and the V2 as a merging of oppositions (which is, what I think is 
the suggestion), then the "o-or" of _Vineland_ could be just such a 
visual re Sasha's description of language that is "pounded flat."  If you 
move either up or down, or from one side to the other, with the visual 
center as the letters themselves, you simply set up various trajectories 
outward as the spokes of a wheel.  As I tried to argue in another paper, 
the mandala strucutre that undergirds GR is not dismantled and obsolete 
in a dull, flattened _Vineland_.  It is one-dimensional, true.  We view 
as from above and so the turbulence seems to've disintegrated.  But that 
space is just as problematic, almost moreso when I consider my 
relationship with the text (I only speak for me here.)  Here again, the 
notion of the dash simply representative of a verbal, rather an aural 
pause, is sufficient in terms of an explanation.  It says just as much.