This article analyzes the concept of counterpoint in the work of Edward Said, arguing that his methodology is based on Adorno’s Logik des Zerfalls. Said recognized himself as a follower of Adorno, especially concerning the concept of counterpoint in music, and applied it to the analysis of colonialism. For both authors, counterpoint is the method to deconstruct the totality, showing the impossibility of the reconciliation between the universal and the particular. Said’s work can be read as an attempt to disintegrate the monolithic concept of the colonial world by highlighting the excesses and contradictions that emerge from the colonial discourse. The article highlights the influence of Adorno’s thinking on Said’s analysis of colonialism and his critique of the totalizing narratives produced by the colonial system. Said’s counterpoint approach unveils the suppressed polyphony beneath the monophony of power, exposing the underlying power dynamics of colonial discourse. This reading of Said’s work, therefore, suggests that the concept of counterpoint is central to his critique of colonialism and his understanding of the relationship between culture, power, and representation.