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This paper examines the ambiguous relationship between the literary uses of language in Merleau-Ponty’s own work and his ontology. It is argued that Merleau-Ponty’s critique of phenomenology—that is, his critique of an already critical philosophy—leads him to say that the limits of phenomena are inside the entire structure of the phenomena. They are, in other words, promiscuous or dehiscent and therefore are not limits that can themselves be given. Merleau-Ponty would say that such limits are silent or mute within meaning. This will have repercussions for the very method of phenomenology. It can no longer be a descriptive method, concerned with the givenness of the phenomena, but needs to be matrixed with an expressive method that shows up the impossibility of such a return. This expressive method has to do with what he calls the “implex”—the very bodily limit of the inside and the outside that cannot be thought as one or the other, or even their synthesis. In other words, Merleau-Ponty’s phenomenology invites us towards a concrete bodily limit that is, at the same time, a limit to philosophy. In effect, one cannot think of Merleau-Ponty’s ontology of the flesh apart from language, because this ontology, its very concrete crystallization, requires expression and not just description.

Literature, Ontology, and Implex in Merleau-Ponty: Writing and Finding the Concrete Limit of Phenomena