The siren survives a shift in the scene of seduction: "Literature is motivated by, if not defined as, le reste"--yet this rest knows no rest: "it proves strangely seductive; this heterological garbage composed of relics or rejects sings like a siren" (361).

This is not a Bataillean heterological 'process' in which excess is the end or the purpose.

Michel de Certeau, discussing heterological writing--writing that engenders its "products by means of a passage through or by way of the other" in what he labels a sexual process--asserts that it is precisely the condition of partial failure due to "the inaccessibility of its 'object" that formulates it as an erotics.

The antonym of autological is heterological--and don't ask whether this word is autological or heterological because either way you'll get a contradiction (this is known to logicians as the Grelling-Nelson Paradox, and it's closely related to Russell's Paradox the discovery of which was one of the milestones leading to the development of modern logic).

The simple reason is that a radically queer or heterological sensibility has ecological bearings.

In the final pages of this essay, Derrida suggests that there are two species of "dreaming." "The dream of a purely heterological thought ...

In an earlier essay on Totality and Infinity, Derrida challenges precisely this aspect of Levinas' philosophy, "the dream of a purely heterological thought," "a pure thought of pure difference" (1978, 151), arguing that one's exposure to the other always entails a degree of relationality; the other is not "infinitely other" but is always perceived as "other than my self" (126).

is totalised into 'more of the same'." (46) It is a heterological paradigm that accepts the otherness of the other within a context shaped by the gospel, avoids the domestication of difference, and opens up a space for newness.

The rest is a conventional route-march through a history of literary criticism, uncontroversial till we get to the present (save for the surprise pairing of Nietzsche and Matthew Arnold as heterological thinkers).

Ashton is at her best when comparing and differentiating representative modernisms: (Riding) Jackson, Stein, Williams, Pound, and Zukofsky, constructing the image of a heterological , if not fractured, movement.