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its surplus, or pre-ontological life substance, beyond recognizably human markers, a state more intriguing than “negative judgment” in the case of “He is dead” (with the predicates of life being negated but the subject’s humanity being kept intact.) Such undeadness, of course, perfectly fits in with the characterization of the Neighbor with radical monstrosity I cited above, as well as his interpretation of Kafka’s Odradek as a representative figure of Neighbor-Thing and “a stand-in for humanity by way of embodying its inhuman excess, by not resembling anything ‘human’”
(“Neighbors and Other Monsters” 166). In the case of Bartleby, what Žižek reads into this somewhat over-interpreted figure is definitely more ambivalent than the refusal of work as a pivotal gesture against Empire as Hardt and Negri maintain in Empire (203-04). For Žižek, the problem with today’s resistant and liberatory politics, as made explicit in his conceptualization of interpassivity, is not that we are not active enough but that we are hyperactive: hence, a kind of aggressive passivity; “wherein one plunges into a blind flurry of movements in such a fashion that one’s sociopolitical perpetual motion ensures that nothing really changes in any fundamental way” (Johnston 141). We may be justified to claim that Bartleby for Žižek embodies a kind of negation of negation (or refusal of refusals), since he does not actually and specifically refuse anything. This amounts to, as Žižek succinctly puts it, “the gesture of subtraction at its purest, the reduction of all qualitative differences to a purely minimal difference” (“Notes” 393). And this is taken up by Žižek to be a necessary precondition for any authentic act (The Universal Exception 223), a gesture of negativity that cleans the current ideological arena. In marked contrast, Agamben and Deleuze see Bartleby as a singular, non-exemplary original to whom all political, not to mention resistant or insurrectionary, roles are denied. For a critical survey of the different interpretations of Bartleby by Hardt and Negri, Žižek, Agamben and Deleuze, see Armin Beverungen and Stephen Dunne, “‘I’d Prefer Not to’: Bartleby and the Excesses of Interpretation.”
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