i would prefer

all quotes from who's afraid of deleuze and guattari? by gregg lambert

"silence becomes a sign that 'points to' the limits of language. heidegger calls this event 'renunciation', which is 'not just a rejection of saying, not a mere lapse into silence.'

as a self-denial, renunciation remains Saying. it thus preserves a relation to the Word. but because the Word is shown in a different, higher rule, the relation to the Word must undergo a transformation. Saying attains to a different articulation, a different melos, a different tone. (heidegger 1971: 147)

 of course, for heidegger, this accounts for the phenomenon of the 'poem in language', which appears as a sign that points to the limits of what is sayable, to silence, as some thing that appears at the limits of language. hence, 'renunciation commits itself to a higher rule of the word which first lets a thing be as thing. the word makes the thing into a thing - it be-things the thing' (heidegger 1971:151)."

"for deleuze, as for the later heidegger, it is only in poetic speech that one can achieve this state of disequilibrium in one's own language. of course, children know all too well that language is in a constant state of disequilibrium and chock full of heterogenous elements, and i think deleuze and guattari's interest in the phenomenon of schizophrenic expression is a similar understanding of language as full of flows, cuts, violent blows, noxious particles and poisons, partial organs and unarticulated blocks of expressive noises."

"'if language emerges with speaking, it is only with a very particular kind of speaking, a poetic speech that actualizes these powers of bifurcation and variation, of heterogeneity and modulation, that are proper to language' (deleuze 1997:108). the poem is a phenomenon that happens when language achieves its function and shows the thing, for 'the sign is the language of thing'."

"the poem illustrates this perfectly, and here we have a vision of the power of language in its entirety, like a universe composed only of these elements that occupy different perspectives that are 'beside' and 'with' one another, but are not static, rather constituted by these two movements, which expand and contract at the same time to meet somewhere on the plane that is created by the poem. in other words, the more particular a red wheelbarrow becomes, the more general the white chickens. this is what deleuze defines as the 'paradoxical existence' of the being of the sensible."