Existence and Existents is to Totality and Infinity as History of the Concept of Time is to Being and Time, which is to say that this early work of Levinas anticipates his later works, developing the notions of the solitary ego, the irruption of the other, economy, the enjoyment of the world, etc.
I quite liked his analyses of fatigue and indolence, and to extent, of insomnia—I could relate especially to the latter a few nights ago when, fittingly, being unable to sleep, I read a bit of this book! He shows how the very act of existing is burdensome, to the point that we reject the future as such; we would rather not act than act, we would rather put off the day—in a word, we say with Bartleby, "I would prefer not to." One of my problems with Levinas is that he puts so much emphasis on the unbearableness of life—indeed, he deems the "horror of Being" to be "primal" (5)—because he takes existence itself to be ontologically oppressing. But of course, because he's "doing phenomenology," this should "not be taken negatively." I'm a little confused how life, being innocent desire, is essentially enjoyment, when at the same time its very essence is to oppress itself. He's certainly not making some psychoanalytic remark about how human reality is somehow innately sadomasochistic...
Another complaint about Levinas I have, and which I found a lot in Totality, is his penchant for cryptic, poetic lines that seem to make essential statements about reality. Typically, Heidegger is the one who's bullied for making vague, mystical remarks; however, Levinas, in my opinion, perfected this technique.
For example, when discussing art, he declares, “Reality remains foreign to the world inasmuch as it is given” (46); thus, “the intention to present reality as it is in itself, after the world has come to an end” (50), is the project of the artist. I don't feel he has sufficiently distinguished reality from the world, nor does he explain the end of the world at all.
Here's what he says about emotion: “All emotion is fundamentally vertigo, that vertigo one feels insinuating itself, that finding oneself over a void. The world of forms opens like a bottomless abyss. The cosmos breaks up and chaos gapes open” (68). Perhaps I'm simply built different, but my emotions are certainly not this melodramatic. ALL emotion is vertigo? Every emotion I feel, from sadness to happiness to anger, ushers in a chaos, a gaping abyss, the destruction of the cosmos? I can't even take Levinas seriously here. Is this really phenomenology at all? He himself admits that he must by necessity break with phenomenology: “Our affirmation of an anonymous vigilance goes beyond the phenomena, which already presupposes an ego, and thus eludes descriptive phenomenology. […] A method is called for such that thought is invited to go beyond intuition” (63). He never spells out what this new method is, nor do I find it ever really applied with any believability.
Or when he talks about time, he says, “[A]n instant contains an act by which existence is acquired” and “An instant qua beginning and birth is a relationship with and initiation into Being” (75). To some degree, this is intuitive, but I'm not sure what it really establishes.
Or, as he will say in Totality, “eros allows us to see that the other par excellence is the feminine” (86). Now, why would this be? Is it because he's a man writing this? Why should women—no, not even women, but their essence, "the feminine"—why should "the feminine" be the ultimate other, the otherest other? And how should women feel about this—proud or misunderstood or what?
Or what does this mean, beyond its lyricism: "The world is the possibility of wages. […] Time, in the world, dries all tears; it is the forgetting of the unforgiven instant and the pain for which nothing can compensate” (92)?