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Involuntary Narration, Narrating Involition: Proust on Death, Repetition and Self-Becoming

Leo Bersani has suggestively identified a redemptive, "mortuary aesthetic" as the organizing principle of Marcel Proust's A la recherche du temps perdu: the "program in La Recherche," Bersani writes, is to achieve an artwork in which "the particular is resurrected as the individual ... truth liberatedfrom phenomena."' To be redeemed of one's phenomenal insufficiency, or desire, is to sacrifice oneself as a subject of desire in order that one may be resurrected as transcendently selfsufficient. Thus Bersani writes that "in Proust, art simultaneously erases, repeats, and redeems life. Literary repetition is an annihilating salvation" (CR 11).2 Yet, countervailing this mortuary aesthetic, Bersani also finds in A la recherche du temps perdu-prominently in the discussion of the narrator's grandmother's death in "les intermittences du coeur"-"the model for a circular, or nonnarrative, criticism" (CR 14) that recognizes "repetition as the occasion for revising the terms of our interest in the objects of our interpretations" (CR 15). Bersani claims that such passages evoke death not to resurrect the truth of the individual out of the corpse of his desire, but to rehearse just that sublimating strategy itself, only now without bringing it to any redemptive, symbolic closure. Such passages do not pretend to liberate the individual from desire so much as they give free play to the diffuse, surplus jouissance that remains when the quest