This thesis articulates a tropology of the line, when presented in the singular, across theory, literature and visual art. It articulates and tests the singular line’s rhetoric and associated values exhibited in these modes of cultural production, suggesting that they cross-refer in light of Agamben’s arguments put forth in his Signature of All Things (2009), using a discourse following Lyotard’s concept of ‘drift’ put forth in his Driftworks (1984), and addresses the question of how such a study might be written from within the locus of the subject matter itself.