William S. Allen

The philosophical significance of Maurice Blanchot's writings has rarely been in doubt. Specifying the nature and implications of his thinking has proved much less easy, particularly in reference to the key figure of G. W. F. Hegel. Examination reveals that Blanchot's thinking is persistently oriented towards a questioning of the terms of Hegel's thought, while nevertheless remaining within its themes, whichshows how rigorously he studied Hegel's works but also how radical his critique of them became. Equally, it allows for a crucial discussion of the differences between Blanchot's responses to Hegel and those of Jacques Derrida, with the implicit suggestion that in some ways Blanchot's critique of Hegel is more far-reaching than that developed by Derrida. William S. Allen demonstrates those aspects of Hegelian thought that permeate Blanchot's writings and, in turn, develops a detailed three-way analysis of Derrida, Hegel, and Blanchot. The key question around which this analysis develops is that of the relation between thought and language concerning the issue of the infinite and its legibility. Illegibility introduces a new and substantially philosophical account of Blanchot's importance, and also showshow his writings laid the ground for Derrida's workswhile developing their own uniquely challenging response to the problems of post-Hegelian thought.

Consideration of the work of Sade in relation to Adorno usually refers to the much-discussed chapter from Dialektik der Aufklärung. But Adorno made a number of other remarks across his career that suggest a very different reading. I will discuss the three most significant of these remarks and show how they develop an approach to the libidinal aspect of aesthetic experience that challenges our understanding of the relation of thought and language. In doing so, Sade’s works indicate an extraordinary liberation of the dialectic of natural-history through a mimesis of desire, which is made apparent in what Sade’s texts literally present; in their contingency and also their facticity.

Le Dernier Homme is Blanchot’s last narrative or récit. Afterwards, he would begin to write in a more fragmentary mode, which suggests that he may have felt that the narrative form had been pushed as far it could in this work. This point of extremity is marked in particular by the monotonous style for which he has become notorious. This essay examines why this style arises, and how it leads to an extreme that can be usefully contrasted with Barthes’s notion of écriture blanche (“blank” writing). It becomes apparent that the blankness of this writing is not innocent but arises as noise for Blanchot, which not only manifests the material attenuation of the narrative but also its relation with the dead.

Unlike his other fictional works Blanchot’s 1953 narrative Celui qui ne m’accompagnait pas has received comparatively little attention. The reasons for this would seem to lie in the intense abstraction of his writing in this work, which is forbidding even by his own standards, but as I will show, this intensity can be understood as comprising a singular topography of the experience of writing. Blanchot’s narrative thereby becomes a very precise and concrete form of aesthetics, which can be usefully compared to the understandings of melancholy developed by Benjamin and Adorno, but transposed into a more stringent modernist context.

William S. Allen sets the works of Theodor Adorno, Immanuel Kant and Peter Weiss in dialogue, revealing how an interrogation of the aesthetics of 'the whole' and the conception of history in Western thought reveals new ways of thinking about history and historically. This book traces how Adorno's reconsideration of history through his readings of Kant's Critique of Judgement are distinct from formulations offered by other thinkers. More than any of them though, Adorno's aesthetics has introduced an alternative thought, which, Allen shows, has been modified and extended in the work of Peter Weiss and other contemporary thinkers.