Russell Ford

While it has perhaps always accompanied philosophical thought – one immediately thinks of Plato’s Dialogues – the problem of the communication of that thought, and therefore of its capacity to be taught, has acquired a new insistence in the work of post-Kantian thinkers. As evidence of this one could cite Fichte’s repeated efforts to formulate a definitive version of his Wissenschaftslehre, the model of the Bildungsroman that Hegel adopts for his Phenomenology of Spirit, Kierkegaard’s pseudonymous works, Nietzsche’s Thus Spoke Zarathustra, and Heidegger’s uncompleted Being and Time. Certainly each of these thinkers, as well as their projects, are quite distinct from the others, but their works are also signposts. It is not a question here of reducing the puzzles and difficulties of these works to some single element, some trace of a philosophical zeitgeist. Rather, it is enough to indicate this preoccupation with the problem of the communicability of thinking in order to raise the question of the modality of such a communication. How has thinking come to be so fundamentally troubled by its own expression? That Kant’s Critical philosophy has precipitated this preoccupation ought to come as no surprise, for it was Kant, most famously in the Critique of Pure Reason, who sought to definitively set the limits of philosophical thinking. In doing so, however, Kant is unable to remain utterly silent about what he himself sets outside the bounds of meaningful thought and speech: things-in-themselves. The mere fact that this meaningless element is an essential component of Kant’s philosophical exposition is an indication of the paradoxical logic of the limit: to postulate a limit is simultaneously to set out its obverse side. In Kant’s case, then, the demarcation of what can be thought carries with it the implicit thinking of what is ruled out of bounds for thought. Beginning with Fichte, the philosophical project of Kant’s successors and inheritors is then largely determined by an effort to incorporate or at least accommodate this alien element within thinking. The initial phase of this effort is marked by a tragic motif, a conjoining of thought with the experience of loss and suffering that is characteristic of Romanticism, that culminates in the dialectic of Hegel’s Absolute Knowing. In Absolute Knowing, thought has not vanquished its limitations, it has instead discovered the resources with which it can perpetually surmount them. This first phase is followed by a reaction or response to this seeming completion and overcoming of the Kantian limitation. Now, the tragic movement of thought comes to be understood as itself limited, and necessarily so according to the logic of the limit that imposes itself upon every gesture of closure. Tragedy thereby gives way to comedy insofar as the limitation that is incorporated as an obstacle to be overcome by tragic thought is shown to be the external condition of that very thought. Finally, if the comic is the fate of the limitations of tragedy, the thought of comedy itself demands a third mode of thinking, one capable of something more than the mere reiteration of the limit between comedy and tragedy that troubles them both. This third form of expression is parody, an expression appropriate to a thinking that repeats and completes the threefold movement of tragic thought while, in this very repetition, creating a limitless domain of thoughtful expression.

Introduction: Another Diction The hack. The salesman. The fired cop. The drifter. The betrayed criminal. Each of these constitutes a novel literary invention; each gives a new sense to the investigative character. They are not modifications of the classical model, stamped with the rational imprimatur of Sherlock Holmes, C. Auguste Dupin, or Joseph Rouletabille – there is no line of filiation from these to Vachss’s Burke, Pelecanos’s Nick Stefanos, or Himes’s Coffin Ed Johnson and Grave Digger Jones. Even Lacan’s powerful psychoanalytic reading of Poe’s “The Purloined Letter” reveals Dupin to be a genius only in a game whose dialectical structure is given in advance. Although the subjects that come to occupy this structure only acquire determination through the assumption of their places, the dynamic form of the dialectic is itself “foreclosed” by the phallus whose circulation organizes the system. Dupin understands the circulation of the signifier only because this circulation is the figure of the law. Rejecting the phallocentric rationality of the mastermind, the new figurations of Vachss, Pelecanos, Himes, and others retain only in order to parody the grand orchestration of reason – their language is slang not deduction. They are not detectives but “dicks”: a name that incorporates within its reduction an empirical transformation of the transcendental. In fact, it is a transformation of the very sense of inquiry that requires this new type of conceptual personae in order to traverse its contours. The philosophical project of Gilles Deleuze – which he characterizes as a “transcendental empiricism” – is directed toward freeing thought from its determination by the philosophical traditions that constitute its history. Such a freeing would allow for a philosophical conceptualization of present events that are no longer able to be adequately conceptualized by that history. The distinctive character of Deleuze’s project comes from his insistence on the discontinuity between the tradition of thought and the new formulations that it is called upon to generate. For Deleuze, the philosopher is the one who asks about the generation of new concepts and thereby places herself in a double bind. On the one hand, the philosopher is historically conditioned, thrown into a tradition whose tools present a limited number of possible conceptual resolutions of a particular event. On the other hand, this conditional determination of philosophical thought is repeated, perpetually, so that the philosopher is always a parody of herself: solving the question of the determination of a present event by resolving the question of the determinability of the present by the past. This situation of parody is the limit of thinking; it is where thinking develops according to the vicissitudes of history.

Joseph Conrad’s Heart of Darkness is a frequent point of reference for Edward Said’s investigations into the various forces that structure and define the encounter of imperial societies with others. In Culture and Imperialism, Said explains the importance of Conrad’s novella by linking it to his concept of culture as the aesthetic acme of a society that simultaneously marks it and divides it from others. In Heart of Darkness, Said claims, we have a narrative that challenges its own imperial society by emphasizing the ambiguity of its cultural limit. Heart of Darkness is thereby able to dramatize and emphasize the constituent elements of imperial society, even as it is unable to exceed that society’s fundamental character. Said’s reading is important, and even vital, for an appreciation of the complexities of Conrad’s novella, but it does not go far enough. The ambiguity of Conrad’s depiction of imperial society is only an ambiguity to the extent that the novella is critiqued at the level of content, with a corresponding lack of emphasis upon its rhetorical form. Through a consideration of the three primary elements of this form – the careful situation of the Nellie as the site of the narrative, the work of interruption in Marlow’s narrative, and the reverberation of Kurtz’s dying words in the conclusion of the novella – this essay argues that there is very little ambiguity in Conrad’s text. Indeed, what ambiguity remains is a function of its effort to dramatize the limit of imperialism precisely as a limitation, as a cultural determinant that through its form perpetually determines other societies as inferior, even as this very culture, as a limit set against these other societies, shows their richness to which imperialism is essentially blind.

Long recognized as an important and abiding influence in the European artistic and intellectual circles of the last century, the work of Pierre Klossowski is slowly gaining recognition in the Anglo-American scholarly community. The older brother of the painter Balthus, a friend of Rilke and Gide among others, and a celebrated artist in his own right, Klossowski is a difficult if not impossible thinker to categorize. From quite early in his career, Nietzsche was an important influence on Klossowski’s work. In addition to translating two volumes for Nietzsche’s Oeuvres Complètes (1967, 1976), as well as Heidegger’s four-volume work on Nietzsche (1976), Klossowski also wrote a number of essays on Nietzsche as well as a book, Nietzsche et le Cercle Vicieux (1969). In a note to Différence et Répétition, Gilles Deleuze, citing “Nietzsche, Polytheism, and Parody” as well as “Forgetting and Anamnesis in the Lived Experience of the Eternal Return of the Same,” writes that Klossowski’s work has “renewed the interpretation of Nietzsche.” “Nietzsche, Polytheism, and Parody” appeared as the final essay of Klossowski’s book, Un si funeste désir (Such a Deathly Desire), first published in 1963. It is one of two essays in the book that are devoted explicitly to Nietzsche; the second, “On Some Fundamental Themes of Nietzsche’s Gaya Scienza,” is the opening essay of the volume and had previously appeared as an introduction to Klossowski’s translation of The Gay Science. “Nietzsche, Polytheism, and Parody” had not previously appeared in print, although Klossowski had presented it as a lecture at the Collège de Philosophie in Paris in 1957. Together, the two essays bound a series of reflections on Gide, Blanchot, Bataille, and others, all of which appeared previously – sometimes in a different form – and that taken together explicate Klossowski’s conception of “the demon.” The conception of the demon, drawn from The Gay Science, is for Klossowski a figuration of the double life of the existing human being: both conscious, rational, goal-directed, and vital, passionate, a victim of intensities.

This essay considers Richard Calder’s Dead trilogy as an important contribution to the argument concerning how pornography’s pernicious effects might be mitigated or disrupted. Paying close attention to the way that Calder uses the rhetoric of fiction to challenge pornographic stereotypes that have achieved hegemonic status, the essay argues that Calder’s trilogy provides an important link between debates about pornography and contemporary philosophical discussions of alterity and community. Finally, it argues that, for Calder, sexuality is implicitly predicated on a reconceptualization of social relations in general – a reconceptualization achieved through the exhaustion of that decadent shadow of the Enlightenment, pornography.