Deleuze and Guattari's Anti-Oedipus begins not with words but with a painting.
A black-and-white full-page illustration of Richard Lindner's Boy with Machine
(1954) shows a young boy about to set a sequence of machines in motion. The
child smiles out at his audience, his chubby pleasure hard to avoid. He seems to
be listening, waiting. His hands are tangled, knotted within the levers that will
set one machine against the other. One foot is caught inside the lower bucket
of a large machine while the other hovers, floating within a dark mass, not fully
machine and not completely organic either. Boy with Machine is an artwork that
welcomes us into a text that will result in the proliferation of machines both
organic and technical.