A dictionary of Moroccan Arabic: Moroccan-English by Richard Slade Harrell, Thomas Fox, Mohammed Abu-Talib, Ahmed

By Richard Slade Harrell, Thomas Fox, Mohammed Abu-Talib, Ahmed ben Thami, Allal Chreibi, Habiba Kanouni, Ernest Ligon, Mohammed Mekaoui

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The rhizome is all this. Thinking in things, among things - this is producing a rhizome and n ot a root, produci n g the l i n e and not the point. Prod ucing population in a desert and not species and genres in a forest. Populating without ever specifying. What is the situation today? For a long ti me literature and even the arts have been organized into 'schools ' . Schools are of the arborescent type. And a school is already terrible: there is always a pope, manifestos , representatives , declarations of avant-gardeism, tri bunals, excomm unications , impudent political volte-faces, etc.

In order better to serve ends against life . Your work w i t h Felix (writing a deux is already a way o f stopping being a n author) has n o t got y o u out o f t h i s problem but has given i t a very differen t orien tation. You set about opposing the rhizome to trees . And trees are not a metaphor at all , but an image of thought, a functioning, a whole apparatus that is planted in thought i n order to make i t go in a straight line and produce the famous correct ideas . There are all kinds of characteristics in the tree : there is a point of origin, seed or centre; it is a binary machine or principl e of dichotomy, with its perpetuall y divided and reproduced branchings , i ts points of arborescence; i t is an axis of rotation which organizes things in a circle, and the circles round the centre; it is a structure, a system of points and positions which fix all of the possible within a grid , a hierarchical system or transmission of orders, with a central instance and recapitulative memory; it has a future and a past, roots and a peak, a whole history , an evo lution , a development; it can be cut up by cuts which are said to be significan t in so far as they follow its arborescences, its branchings, its concentricities , its moments of d evelop­ ment.

I t is exactly the opposite of d evelopment, where the transcendent principle which determines and structures it never appears directly on its own account, in perceptible relation with a process, with a becoming. When Fred Astaire dances the wal tz, it is not I , 2, 3, i t is infinitely more deta iled . The tom-tom is not 1 , 2 . When Blacks dance, they are not seized by a rhythm d emon, they hear and perform all the notes , all the times , all the tones, all the pitches, all the intensities, all the intervals .

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