Crumbs, particles and fragments on the Deleuzian anorexic, spread out to be picked up, retraced and digested:
‘The anorexic void has nothing to do with a lack, it is on the contrary a way of escaping the organic constraint of lack and hunger at the mechanical mealtime’
‘It is not a matter of a refusal of the body, it is a matter of a refusal of the organism, of a refusal of what the organism makes the body undergo. Not regression at all, but involution, involuted body’
‘Her goal is to wrest particles from food, minute particles with which she will be able to create her void as well as her fullness, depending on whether she gives them out or receives them’
'Anorexia is a political system, a micro-politics: to escape from the norms of consumption in order not to be an object of consumption oneself.'
'Anorexics are enthusiasts: they live treason or the double turning-away in several ways. They betray hunger, because hunger tricks them by making them subject to the organism; they betray the family because the family betrays them by subjecting them to the family meal and the whole family politics of consumption (...)'
'(...) she will often be a cook, a peripatetic cook, who will make something for others to eat, or else she will like being at the table either without eating, or else multiplying the absorption of little things, of little substances’
'Hommage to Fanny: the case of anorexia. It is a question of food fluxes, but combined with other fluxes, clothes fluxes, for example (specifically anorexic elegance, Fanny's trinity: Virginia Woolf, Murnau, Kay Kendall.'
1. 'Such is the temporality of anorexic elegance: time embedded in a place in space and appearing out of it; the whole history of a body swallowed by the now of a thing. That is how I read Virginia Woolf’s sentence quoted by Deleuze and Guattari as a formulaic expression of the organic stepping over the threshold of the inorganic: ‘The thin dog is running in the road, this dog is the road’ (Deleuze and Guattari 1992: 263). Similarly, the thin Rhoda is walking in everybody’s clothes, Rhoda is those clothes.' (Branka Arsic)
'The pale face of the anorexic-model, her red lipstick and black clothes, are not about the Gothic trivially understood as the representation of ‘dark forces’ invoked by insistence on the sharp forms of the body, face, lips or eyes. Rather, if the anorexic appreciates Murnau, it is because she has learned his lesson: how to produce a motion of pure colors at the point of intersection of black, white, yellow, blue and red. Anorexic elegance, therefore, works not on a contrast of white and black but on the point of their intersection – shades and shadows – where blue or yellow appear.' (Branka Arsic)
3. 'There is nobody behind the style since style is not an expression of somebody’s desires, nightmares or fantasies. Rather, it is the pure, impersonal motion of affects. Kay Kendall, therefore, is not a glamorous person but the atmosphere of glamour from which everything personal has vanished. The ﬁnal goal of anorexic experimentation is to become such an aesthetic ‘persona,’ the sensory becoming of otherness that affects by the force of percepts and overwhelms by the sheer power of assemblages of hats, pearls, little black dresses and a touch of a perfume.' (Branka Arsic)
(Branka Arsic - 'The Experimental Ordinary: Deleuze on Eating and Anorexic Elegance')