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Minor literature describes a process of the composition of minorities where ‘art and ‘life,’ content and expression, are fully entwined… The important aspect of minor literature is thus not the literary, cinematic, theatrical product itself, but its expression of a general process of minor composition… the particular individual concern is immediately merged with social forces; ‘the arteries of the inside are in immediate contact with the lines of the outside.’
        The relation between the particular and the social in minor composition is rather more complex. In minor composition the social milieu is everything. There are ‘individual concerns,’ but because there is no autonomous identitarian space, each individual concern is comprised of a conjunction of many different individual concerns of different forms and scales cramped and interlaced together, all of which are in intimate contact with the social forces that traverse and compose them…
                This limit point, however, is not particularly useful in accounting for minor composition, which is always a situated, tentative, and pragmatic process and does not reach the limit point. The point to stress, instead, is that politics begins from each particular disjunction, and that each disjunction is always a composite and open to combinatorial relations with other disjunctions. … Minor composition, then, is not a synthesis, but an amplification of disjunctions. It creates a milieu or a collectivity that emerges not through a unity, but through the reconfiguring of differences. It is as if without an autonomous space of manoeuvre every disjunction triggers an intensive vibration, some kind of rhizomatic domino effect…
    – Nick Thoburn  (2003) Deleuze, Marx, and Politics.