Art is concerned with the intensities of life rather than representation of any given human nature or identity. Its method of presenting material, sensual signs is therefore a door to the virtual from the actual. Elizabeth Bishop is aware of the significance of the virtual in her poetry as is evident in “The ‘Darwin’ Letter.” Furthermore, the space into which the girl in “In the Waiting Room” falls is that of virtual intensities, rather than the vacuum of common identities. Deleuze denies the individual or subject as the source of various forces and properties and sees the flow of intensities as being effected into that individual or subject. This view is reflected in Bishop’s “Man-Moth”, where the passive subject forms himself out of “contractile contemplation,” while another passive, narcissistic, larval subject in “The Weed” verges on mental dissolution due to its “empty form of time.” In “Paris, 7 A. M.” the narrator’s memory-images, an element of the virtual, transform themselves by interacting and fusing with the actual perception-images. Finally, in “The Fish” two heterogeneous series (the fish and the boat) bring about an epiphany through the catalyst of the “dark precursor.” The narrator arrives at a sudden virtual realization that everything is ultimately full of rainbows, so that she releases the big fish she had caught, which has lost its significance.
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