Glissant, within the minuteness of his ethnographic observations, takes the time to lay a “listening eye” on things, thus giving rise, through such suspense, to a form of writing capable of “studying [cultural] contacts” in all their unexpected shapes. In opposition to a certain type of universalism, Glissant weaves, binds, passes on the philosophical attitude and anthropological and ethnological experience which allow him to settle at the cross-roads of cultures within the dynamic construction of a grammar of Diversity in creolisation. This Glissantian technique of the weft installs a continuous dynamic – doing/undoing/redoing – and allows for multiple and oblique passages towards a lateral universal. Thus Glissant, like Merleau-Ponty, quits the empire of Unity for multiplicity and diversity, the dynamism of which is that of infinite and indefinite passages.