By Aris Fioretos
As a rule thought of the least full of life and such a lot bleak of casts, grey is the taint of vagueness and uncertainty. Marking the brink area the place luminous lifestyles turns out suspended yet demise has no longer but darkened the horizon, it belongs to an evasive and evanescent international, wearing the tint of smoke, fog, ashes, and dirt. because the ambiguous house of concept and remembrance the place issues mix and blur, grey measures the adaptation among distance and proximity, shading into tinges of hesitation, colorings of taciturnity, tones of time previous and misplaced. hence it might probably even be the spectral medium of literature itself—that grainy gasoline of language.
Written with a lead pencil similar to these present in Nabokov, Rilke, Svevo, Poe, and Dickinson, the grey booklet chronicles the vicissitudes of such equivocal articulation—registering the graphite lines it leaves at the back of but in addition recording the dwindling span of its lifestyles. The booklet situates itself in a sector past feedback yet this aspect of literature, characterised via forgetting and finitude, and investigating vital but doubtless inaccessible "gray areas" in texts as previous as these of Homer, and as fresh as these of Beckett.
Loosely arranging those literary unearths based on a revision of the 4 components, the grey e-book distances itself from culture and treats no longer water yet tears, now not fireplace yet vapor, no longer earth yet grain, no longer air yet clouds. The narrative hence construed, continuing within the meandering events of unstable inspiration instead of within the prudent steps of a treatise, appears to be like steadily stricken by its topic. topics and proof formerly restrained to the world of quoted texts leak into the narrative itself. The border among fiction and truth slowly dissolves because the publication methods the curious void that the writer locates on the center of "gray literature." formed by way of an omnipresent although more and more unreliable narrator, the grey publication may well therefore eventually yield a poetics solid within the type of a ghost tale.
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Extra info for The Gray Book (Meridian: Crossing Aesthetics)
Sample text
Wittgenstein, Philosophical Investigations, I, #129. 61. Cf. ” 62. Wittgenstein, Philosophical Investigations, I, p. ix. 63. Cf. David Pears, The False Prison: A Study of the Development of Wittgenstein’s Philosophy, vol. ” 64. Wittgenstein, On Certainty, #47. 65. “Doubting and non-doubting behaviour. There is the first only if there is the second” (Wittgenstein, On Certainty, #354). 66. Wittgenstein, Philosophical Investigations, I, #127. 67. “Perhaps what is inexpressible (what I find mysterious and am not able to express) is the background against which whatever I could express has its meaning” (Wittgenstein, Culture and Value, p.
66 Whatever else philosophy might leave as it is, it in its therapeutic efficacy does not leave unaltered the self in relationship to the world – or the everyday world as denigrated in traditional philosophy. Doubt is a form of exile in miniature, for by its disorientation we are thrust, however temporarily and easily recoverably, from the unreflective world of habitual competency. 67 The recovery and defense of this world signals a deep kinship between the later Wittgenstein and the classical pragmatists.
18. “A confession has to be part of your new life” (Wittgenstein, Culture and Value, p. 18). It is, Wittgenstein insists, “of course something external” (Wittgenstein, Zettel, #558). For the external and indeed public character of his confessions, again, see Monk. 42. Cf. Hans Joas, The Creativity of Action, trans. Jeremy Gains and Paul Keast (Chicago: University of Chicago Press, 1997). 43. Wittgenstein, On Certainty, #422. 44. Wittgenstein, Culture and Value, p. 76. 45. Wittgenstein, On Certainty, #378.