Agamben's Potential

Abstract

In a preface written for the French translation of his Infancy and History: The Destruction of Experience, Giorgio Agamben states that"every written work can be regarded as the prologue (or rather, the broken cast) of a work never penned, and destined to remain so, because later works, which in turn will be the prologues or the moulds for other absent works, represent only sketches or death masks." 1 This remark, which describes every work of art as a preface, does not simply refer to the impossibility of translating the all of life into a single work. Nor does it simply refer to those purely empirical obstacles which stand in the way of creation, preventing the work of art from attaining the plenitude it might have hoped for had not greedy wine-merchants, harrying tailors, and eloquent panderers distracted the Great Minds from their tasks. Instead, in returning every work of art to its originary hesitation, in evoking the oscillation between work and draft, effort and accomplishment, Agamben invokes a much richer and darker potentiality lying at the heart of the work. It is this richer and darker potentiality that constitutes the central concern of Agamben's thought and that gives its name to this collection. Yet what is named in this potentiality? What is the nature of the potentiality of which Agamben speaks? What is this potentiality the potential for?