Departure
To leap beyond yet nearer bring
in Instead of modernity
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This chapter imagines how it might be if, rather than emphasising deferral and difference, each departure from one context to another, from one representation to another, led precisely through that departure and difference to greater intimacy. In so doing, it evokes classic notions of the mid-century modern, for example in Marx, Manet and Baudelaire, only to explore how closely their visions of departure may be associated with this apparently paradoxical intimacy. The chapter itself departs from Marx to optical toys, from canonical Western art and Whitman’s poetry to painting in Spain and Latin America and to the works by Rosa Bonheur. It evokes the emergence of intimacy from opening gaps, attraction from a pushing away, the merger of visions of time and place in a flickering, the forming of a bubble encompassing diverse time and place within a location such as the Prado Museum. The chapter speaks of ventriloquism and of promiscuity. It ends with three key modalities by which departure intimates an erotics of sameness, featuring, alongside Bonheur, works by Courbet and the Argentine painter Pueyrredón. These are departure from one self to its own self, the slight departure from one to another, and the marked departure from self to other.

Instead of modernity

The Western canon and the incorporation of the Hispanic (c. 1850–75)

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