Abstract
The opening of the fourth session of The Neutral — the course given by Roland Barthes at the Collège de France in 1977–8 — is marked by a dramatic spillage of ink. Rather than take this as an incidental, trivial moment, I read it as one of the many ‘ink blots’ that colour the work of Barthes. Tracing his ‘almost obsessive relation to writing instruments’ and the material act of inscription, this essay relates the ‘ink blots’ to the development of a ‘non-arrogant’, non-expressive, non-idealistic theory of language in The Neutral and other texts by Barthes.
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