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61577241 Blanchot Step Not Beyond

61577241 Blanchot Step Not Beyond

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MAURICEBLANCHOT
Translated
and
with
an
Introduction
by
Lycette
Nelson
Thistranslation of
Maurice
Blanchot'swork
is of
major
importance tolate 20th-century literature
and
philosophy studies. Using the fragmentary
form,
Blanchot challenges the boundaries between the literary and thephilosophical.
With
the
obsessive rigorthat
has
always marked his writing,Blanchot returns to the themes that have haunted his work
since
thebeginning: writing, death, transgression, the neuter. But here his discussion rums around the figures
of
Hegel
and
Nietzsche rather than
Mallarme
and
Kafka.
Blanchot'smetaphor
for
writing
in
The
Step
Not
Beyond
is thegameofchance. Fragmentary writing is
a
play of limits, a play of ever-multipliedterms in which no one term ever takes precedence. Through the random
ness
of the fragmentary, Blanchot explores ideas as varied as the relation
of
writing to luck and to the law, the displacement of the self in writing,the temporality of the Eternal Return, the responsibility of the selftowards others.
A
volume
in
the
SUNY
series
Intersections: Philosophy
and
Critical TheoryRodolphe Gasche'and Mark
C.
Taylor, editors
STATE UNIVERSITY
OF
NEW
YORK
PRESS '
ISBN
D-7im-D1Dfl-2
PO
^60
L2
I
NOT
STEP
Translation of
LEPASAU-DELA
MAURICE BLANCHOT
Translatedarid
with
an Introduction by
LYCETTE
NELSON
 
Suny Series, Intersections: Philosophy and Critical TheoryRodolphe Gasche and
Mark
C. Taylor, editors
THE
STEP NOT
BEYOND
Translation of
Le pas
au-deld
by Maurice Blanchot.Translated and with an introduction by
Lycette
Nelson
State University of New
York
Press ,
 
Originallypublished
in
French
as
Le Pas
Au-Dela
©
Editions
Gallimard,
1973.Published byState University
of
New
York
Press,
Albany
©1992
State University of New
York
All
rights reservedPrinted
in the
United States
of
AmericaNopart
of
this
book may
be
used
or
reproducedin any manner whatsoever without written permissionexcept
in the
case of brief quotations embodied
in
critical articles and reviews.Forinformation, address
the
State University
of
New
York
Press,State University Plaza,
Albany,
NY
12246
Library
of
CongressCataloging-in-Publication
Data
Blanchot,
Maurice.
[Pas au-dela. English]
The
step not beyond
/
Maurice Blanchot : translated and withan introduction
by
Lycette Nelson.
p.
cm. — (Suny series. Intersections
:
philosophy andcritical theory)Translation of: Le pas au-dela.
ISBN0-7914-0907-4
(alk. paper).
ISBN0-7914-0908-2(pbk.
:alk.paper)
1.
Blanchot. Maurice—Philosophy.
2.
Literature—Philosophy.
I.
Title. II. Series: Intersections
(Albany,
N.Y)
PQ2603.L3343P313
1992
848.91207—dc20 91-13269CIP10 987654321
INTRODUCTION
In1971 Maurice Blanchot published
a
major
collection
of es
says regrouped
and, in
some cases, revised, under
the
title
L'Entretien
infmi.
L'Entretien
infini
announces
the
project
of
"une parole
plurielh^^pTuraJ
speech"
and
puts
the
projectinto practise
in its use of
numerous strategies
to
introducemultiplicity into writing—the dialogue,
the
fragment, multiple typefaces—all forms
of
disruption, interruption
and
discontinuity.
The
fragmentary
is the one of
these
forms thatBlanchot develops
the
furthest
in the two
works that follow
L'Entretien infini:
The Step NotBeyond,
published
in
French
in
1973,
and
The Writing
of
the
Disaster,
published
in
1980
(English translation
by
Ann Smock, University
of
NebraskaPress,
1986).
To understand
the
place
of
The
Step Not
BeyondX
in Blanchot's work,
we
must
see it as
the culmination of a longdevelopment
in
Blanchot's thought centering around three
major
ideas:
the
fragment,
the
neuter,
and the
Eternal
Re- ,
turn.This development
can be
traced through
L'Entretieninfini,
particularly
in
such essays
as "Sur un
changementd'epoque: l'exigence
du
retour," "Nietzsche
et
l'ecriture frag-mentaire" and "Parole
de
fragment."
The
Writingof
the
Disaster
follows
The
Step Not
Beyond
in its use of
the fragment
and
of different typefaces. Blanchot's
use
of the fragment
is
part
of
the overall projectof
L'Entretien infini
to
find
a
language thatis truly multiple and that does not attempt
to
achieve closure.Blanchot's first
use of the
fragmentary
in a
full-lengthwork
is in
L'Attente I'oubli
(1962),
another pivotal text
in his
work
as a
whole.
It is at
once
the
first full-length fragmentarywork
and the
last that
can be
characterized
as
fiction.
What

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