“The people are missing” is a constant refrain in Gilles
Deleuze and Félix Guattari’s writings after the 1975 publication
of Kafka: Pour une litterature mineure. With the translation of
this work into English (Kafka: Toward a Minor Literature) in 1986,
the refrain quickly became a hallmark of political interpretation
in the North American academy and was especially applied to the
works of minorities and postcolonial writers. However, in the
second cinema book, Cinéma 2: L’Image-temps, the refrain is
restricted to third-world cinema, in which Deleuze and Guattari
locate the conditions of truly postwar political cinema: the
absence, even the impossibility, of a people who would constitute
its organic community. In this critical reflection, Gregg Lambert
traces the “narrowing” of the refrain itself, as well as the
premise that the act of art is capable of inventing the conditions
of a “people” or a “nation,” and asks whether this results
only in reducing the positive conditions of art and philosophy in
the postmodern period. Lambert offers an unprecedented inquiry into
the evolution of Deleuze’s hopes for the revolutionary goals of
minor literature and the related notion of the missing people in
the conjuncture of contemporary critical theory.
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