A brief quote below. Do read the whole piece.
It is this experience that lies at the heart of Blanchot's fiction and his criticism, which, it should be remembered, broadens to encompass the plastic arts as well as the written ones (and even touches upon music). I think it is this criticism Foucault remembers when he sketches a genealogy of literary experience as the outside.
Sade and Hölderlin, for him, introduce an experience of the outside, 'the former by laying desire bare in the infinite murmur of discourse, the latter by discovering that the gods had wandered off through a rift in language as it was in the process of losing its bearings' that would be uncovered in its implications only subsequently. These contemporaries of Kant and Hegel wanted other than to interiorise the world, humanising nature and naturalising the human being, or to overcome alienation: they belonged outside the history of humanism.
The same in Nietzsche and Mallarmé at the end of the nineteenth century, ... in the discovery, respectively, that metaphysics is tied to its grammar, and with the idea that poetry demands the speaker's disappearance. And it reappears in the twentieth century with Artaud, for whom the cry and the body rends discursive language, in Bataille, who performs the rupture of subjectivity, and in Klossowski, in whose work the double, the simulacra, multiply the 'Me' into dispersal.
See also Dust and Silence, Poetics of Renunciation --a central theme in my story, A Theology of Anorexia