From the start Lentricchia assumes resistance and origination as the potential of the individual subject, and, in a series of idiosyncratic or postmodern argumenta, represents himself as a subject. He argues that Fou-cault is deterministic and also develops Foucault’s (individual) anarchism; he investigates the Protagorean “interior spontaneity” of William James as political and instrumental, but not ontological, and therefore seriouslyquestions his own argument; his complex, modernist readings of Wallace Stevens suddenly turn into an account of the poet as nothing more than an interpellated bourgeois subject. The book hovers between a pastiche arisingfroom the privileged perspective of the modernist subject and a rhizomaticproduction, an assemblage, but far this side of Deleuze and Guattari.