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By Geoff Dyer

Anglo-English Attitudes brings jointly Geoff Dyer's top journalism and different writing from 1984-99. There are studied meditations on photographers (Robert Capa, William Gedney, Cartier-Bresson), painters (Bonnard, Gauguin), musicians (Coltrane, Nusrat Fateh Ali Khan), and shut serious engagements with writers together with Camus, Michael Ondaatje and Martin Amis. additionally listed below are idiosyncratic reflections on boxing, comics, Airfix types and motion guy, and infrequently hilarious debts of his 'misadventures'.

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The Fool’s growth and development, his informal education, depend on the symbolic leap into unfamiliar territory; as Deleuze would say, deterritorialization. This leap is not a result of cognitive decision-making; rather, the Fool’s acquired capacity for learning, thinking, and assigning meaning to his own experiences is contingent on the “veritable becoming-mad” (Deleuze, 1990, p. 1) in the paradoxical act – “which destroys common sense as the assignation of fixed identities (p. 3) – of jumping into the abyss as if “towards the border of a compelling danger” (Williams, 2008, p.

The depth of the psyche is capable of making sense only when it, “having been spread out became width. The becoming unlimited is maintained entirely within this inverted width” (Deleuze, 1990, p. 9), the meaning of a pure event “all the more profound since [it] occurs at the surface” (p. 10) in its projection as a nomadic distribution. In fact, without an event being a nomadic distribution, that is, “already past and yet in the future … always the day before and the day after” (Deleuze, 1990, p.

148) in consciousness. The cultural unconscious manifests in “new connections, new pathways, new synapses … [and is produced] not through any external determinism but through a becoming that carries the problems themselves with it” (Deleuze, 1990, p. 149). Embedded in the process of becoming, The Fool is called into play whenever novelty appears; or conversely, novelty appears if and when the collective psyche is guided by this archetype. In this respect The Fool, despite being equated with Zero, once again establishes his own significance: chance is to be considered not simply as a feature of randomness but in its creative function “as a principle, or as ineliminable” (Grosz, 1999, p.

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