Take Five by D. Keith Mano

By D. Keith Mano

Welcome to the realm of Simon Lynxx and to at least one of the good neglected novels of the Eighties. Con-man, filmmaker (currently engaged on generating Jesus 2001, what he calls the spiritual identical of The Godfather), descendent of a filthy rich and prestigious long island relations whose wealth and status are in sharp decline, racist and anti-Semite (though Simon dislikes all ethnic teams equally), possessor of never-satisfied appetites (food, girls, drink, yet so much of all, cash and extra money), and the quickest talker considering Falstaff, Simon is on a quest that is going backwards. in the course of the process this 600-page novel, Simon loses, one after the other, all of his senses, finishing in a kingdom of entire debilitation by which he's being made prepared for eternity and attainable salvation.

Note: web page numbering is going backwards during this booklet.

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As such, in other words as an institution, installed at the same time as the modern European universities, from the beginning of the nineteenth century, thereabouts, I think it must have tended, precisely because it wanted to he theoretical, to be more philosophical than literature itself. From this point of view, it is perhaps more metaphysical than the literary texts it speaks about. But it would be necessary to look at this for each case. In general literary criticism is very philosophical in its form, even if the professionals in the matter haven't been trained as philosophers, or if they declare their suspicion of philosophy.

The question "What is . " and all the associated regimes of essence Not all literature is of the genre or the type of "fiction," but there is or truth. In any case, to come back to your first question, it is in this fictionality in all literature. " neither with the one nor the other. 48 Although I did not always, or in every respect, agree with him on 49 AN INTERVIEW WITH JACQUES DERRIDA AN INTERVIEW WITH JACQUES DERRIDA this point, Paul de Man was not wrong in suggesting that ultimately all literary rhetoric in general is of itself deconstructive, practicing what you might call a sort of irony, an irony of detachment with regard to metaphysical belief or thesis, even when it apparently puts it forward.

Literary criticism is perhaps structurally philosophical. What I am saying here is not necessarily a compliment—for those very reasons that we are talking about. A. To pursue this question a little further, would you say that the tradition of literary criticism has shown itself to be as governed by metaphysical presuppositions as philosophy, and more so than the literary texts it treats of? : To give too sweeping a reply, I would say yes. : Do you also see the demonstration of literature's historical solidarity with the metaphysical tradition as an important task to be 2..

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