[À la recherche du temps perdu] Ebook / KINDLE


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  1. says: Marcel Proust Ê 4 review [À la recherche du temps perdu] Ebook / KINDLE

    [À la recherche du temps perdu] Ebook / KINDLE When you read Proust and learn to appreciate his extraordinary dreamy hypnotic truly inimitable style this review is a mere shadow on the wall of a Platonic cave which succeeds in making the syntax of language usua

  2. says: [À la recherche du temps perdu] Ebook / KINDLE Marcel Proust Ê 4 review

    [À la recherche du temps perdu] Ebook / KINDLE Why did Proust have to write a 4000 page novel especially when there is not any discernable coherent plot? Was it really necessary to have those extended society scenes some of which lasted for 150 pages or so? Couldn’t the whole thing have been tightened up a little and cut down to 1000 pages or so? I asked myself the

  3. says: Read & Download À la recherche du temps perdu Marcel Proust Ê 4 review [À la recherche du temps perdu] Ebook / KINDLE

    [À la recherche du temps perdu] Ebook / KINDLE I took today off work because I need to put everything I own into boxes so I can move tomorrow but obviously I can't begin doing that until I get some of these obsessive thoughts about Proust out of my system I mean can I?

  4. says: Marcel Proust Ê 4 review Read à PDF, DOC, TXT or eBook Ê Marcel Proust Read & Download À la recherche du temps perdu

    [À la recherche du temps perdu] Ebook / KINDLE In reality every reader is while he is reading the reader of his own self The writer’s work is merely a kind of optical instrument which he offers the reader to enable him to discern what without this book he would perhaps never have perceived in himself I struggled with Proust on and off for three years I read

  5. says: [À la recherche du temps perdu] Ebook / KINDLE Read à PDF, DOC, TXT or eBook Ê Marcel Proust Marcel Proust Ê 4 review

    [À la recherche du temps perdu] Ebook / KINDLE Celebrity Death Match Special In Search of Lost Time versus Harry PotterThe francophone world was stunned by today's release of papers sealed by Proust for 100 years after publication of the initial volume of hi

  6. says: [À la recherche du temps perdu] Ebook / KINDLE Read à PDF, DOC, TXT or eBook Ê Marcel Proust Marcel Proust Ê 4 review

    Read à PDF, DOC, TXT or eBook Ê Marcel Proust Marcel Proust Ê 4 review [À la recherche du temps perdu] Ebook / KINDLE IN AN ALTERNATE UNIVERSEMarcel eats the madeleine Marcel Oh that really reminds me of somethingMarcel's friend Oh yes? Wh

  7. says: Marcel Proust Ê 4 review Read à PDF, DOC, TXT or eBook Ê Marcel Proust [À la recherche du temps perdu] Ebook / KINDLE

    [À la recherche du temps perdu] Ebook / KINDLE “We do not receive wisdom we must discover it for ourselves after a journey through the wilderness which no one else can make for us which no one can spare us for our wisdom is the point of view from which we come at last to regard

  8. says: [À la recherche du temps perdu] Ebook / KINDLE

    [À la recherche du temps perdu] Ebook / KINDLE The first volume of 'In Search of Lost Time' ISoLT or 'Remembrance of Things Past' RoTP or 'À la recherche du temps perdu' Merde mère un autre? was first published in France 100 years ago this month I started reading in February and now end this beast in November Apparently I needed a little wind up to start and if th

  9. says: Marcel Proust Ê 4 review Read à PDF, DOC, TXT or eBook Ê Marcel Proust [À la recherche du temps perdu] Ebook / KINDLE

    [À la recherche du temps perdu] Ebook / KINDLE In another LIST book 184 it was said that unless you have the opportunity to be in jail or have to hide out for a long time you can't read the whole of In Search of Lost Time Volume 1 Swann’s Way ★★★★☆Volume 2 Within a Budding Grove ★★★☆☆Volume 3 The Guermantes Way ★★☆☆☆Volume 4 Cities of the Plain ★★★★

  10. says: Marcel Proust Ê 4 review Read à PDF, DOC, TXT or eBook Ê Marcel Proust Read & Download À la recherche du temps perdu

    [À la recherche du temps perdu] Ebook / KINDLE I read the whole damn thing for which I feel like demanding a medal A famous uote about this work goes I may be thicker skinned than most but I just can't understand why anyone should take thirty pages to describe how he tosses about in bed because he can't get to sleep I clutched my headI heartily agree Nor do I like dinner parties that take longer to read about than they took to occur The main problem with Proust an

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À la recherche du temps perdu

Marcel Proust Ê 4 review

We impose through our descriptions One has to admire the lucidity and tenacity with which Proust takes up his analytical scalpel to the most indefinite amorphous phenomena He is in my e In reality every reader is while he is reading the reader of his own self The writer s work is merely a ind of optical instrument which he offers the reader to enable him to discern what without this book he would perhaps never have perceived in himself I struggled with Proust on and off for three years I read these books sitting standing lying down in cars and on trains waiting in airports on commutes to work relaxing on vacation Some of it I read in New York some in Madrid Lisbon Vienna By now this book functions as my own madeleine with different passages triggering memories from widely scattered places and periods in my lifeI am surprised I reached the end Every time I put down a volume I was sure I would never pick up another each installment only promised of the same and I had already had than enough but then the nagging sense of the incomplete overcame my aversion and with mixed feeling I would pick up the next one and repeat the experienceThroughout this long voyage my response to Proust has been consistent I should say consistently inconsistent alternately admiration and frustration There are times when I fall completely under Proust s spell and times when I find his writing intolerable Probably this mixture has much to do with what Harold Bloom called the anxiety of influence since almost as soon as I finished the first volume I started working on a novel a novel which very clearly bears the traces of Proust s influence It may be that with Proust I have something of an Oedipal complex and I need to lodge criticism at his work in order to clear the air for my own though I don t Still Life with Chickens: Starting Over in a House by the Sea know What I donow is that my reactions to this book have proven tempestuous and I have yet to spur myself to write a fair reviewWhen approaching a novel of this size and complexity it is difficult to now where to start Can In Search of Lost Time even be called a novel In a writing class my instructor told us that any story needs to have a protagonist an objective a series of obstacles a strategy for overcoming these obstacles a seuence of failures and successes all of it culminating in a grand climax that leads directly to a resolution If you look carefully you can indeed make out the bare outline of this dramatic pattern in Proust s work But like the slender skeleton of a peacock buried under a mountain of feathers this outline serves as a vague scaffold over which are draped colorful ornament and it is the ornament that attracts our attentionIn most novels any given passage will serve some dramatic purpose characterization description plot However there are times when the author will pull back from the story to make a general comment on society humanity or the world These comments are very often pungent and aphoristic the most uotable section of the whole book since they do not depend on their context Some authors like Dickens very infreuently make these sorts of remarks others like George Elliot are full of them Will not a tiny speck very close to our vision blot out the glory of the world and leave only a margin by which we see the blot I now of no speck so troublesome as self Elliot s masterpiece Middlemarch is distinguished for being simultaneously didactic and dramatic eual parts analysis and art Proust goes even further in the direction of analysis totally overwhelming every other aspect of the book with his ceaseless commentary No event however insignificant happens without being dissected the Narrator lets no observation go unobserved even at the cost of being redundant This endless exegesis circling the same themes with relentless exactitude is what swells this book to its famously vast proportions Tolstoy no laconic writer used less than half the length to tell a story that spanned years and encompassed whole nations The story Proust tells could have been told by say Jane Austen in 400 pages although this would leave out everything that makes it worth readingDifferent as the two authors are the social milieu Proust represents is oddly reminiscent of Jane Austen s world being populated by snobby aristocrats who jostle for status and who never have to work a world of elegant gatherings witty conversation and artistic dilettantism Austen and Proust also share an affinity for satirizing their worlds although they use different means for very different ends In any case both Austen s England and Proust s France are long gone and it can be very difficult for the modern reader to sympathize with these characters whose priorities manners and lifestyle are so distant from our own Why should we care about soir es and salons dukes and duchesses who do nothing but gossip pursue petty love affairs and pontificate ignorantly in their pinched worldYet this narrow social milieu though always in focus "Only Forms The Backdrop "forms the backdrop Proust s real purpose and this purpose is suitably universal to create a religion of art A new religion was needed Proust was writing at a turbulent time in European history in the aftermath of the Death of God as the fin de si cle high society of his youth was shattered by World War I as new notions of psychology overturned old verities of human behavior as every convention in art music and literature was being broken Even the physical world was becoming unrecognizable populated by uantum fields and bending space time It was the world of Freud s unconscious Einstein s relativity and Picasso s cubism when new theories about everything were embraced Granted Proust may have been only peripherally aware of these historical currents but he was no doubt responsive to them as this novel amply provesIn this book Proust sets out to show that our salvation lays in art This means showing us that our salvation does not lay in anything else Specifically Proust must demonstrate that social status and romantic love two universal human aspirations are will o the wisps He does this subtly and slowly First as a young man the Protagonist is awed by high society The names of famous actresses writers composers and most of all socialites the aristocratic Guermantes hold a mysterious allure that he finds irresistible He slowly learns how to behave in salons and to hold his own in conversation eventually meeting all the people he idolized from afar But when he finally does make the acuaintance of these elite socialites he finds that their wit is exaggerated their nowledge superficial their opinions conventional their artistic taste deficient In short the allure of status was emptyAnd not only that temporary In the final volume Proust demonstrates that status waxes and wanes with changes of fashion often in unforeseen ways By the end of the book Rachel who began as a prostitute is a celebrated actress while Berma who began as a celebrated actress ends as a broken down old women still respected but no longer fashionable The Protagonist s friend Bloch who is a flatfooted stupid and awkward man ends the book as a celebrated author despite a total lack of originality or wit The Baron de Charlus an intensely proud man ends up doffing his hat to nearly anyone he runs into in the street while the rest of society ostracizes him Status in other words being based on nothing but mass whim is liable to change whimsicallyProust s views of love are even cynical The Protagonist does have a genuine affection for his mother and grandmother but these are almost the only genuine bonds in the entire long novel When Proust looks at romantic love he sees only delusion and jealousy an inability to see another person accurately combined with a narcissistic urge to possess and a paranoia combined with a narcissistic urge to possess and a paranoia losing them The archetypical Proustian relationship is that between Swann and Odette wherein Swann a figure in high society has a casual dalliance with Odette a courtesan and despite not thinking much of Odette Swann nearly loses his mind when he begins a courtesan and despite not thinking much of Odette Swann nearly loses his mind when he begins suspect she is cheating on him He marries Odette not out of romantic passion but in order to gain some measure of peace from his paranoid jealousySummarized in this way Proust s views seem if somewhat disenchanted hardly radical But the real thrust of Proust s thinking depends on a truly radical subjectivism This book as Harold Bloom points out is wisdom literature firmly rooted in the introspective tradition of Montaigne But Proust is than introspective A true Cartesian Proust is solipsistic And much of his rejection of worldly sources of happiness and his concomitant embrace of art depends on this intensely first person view of the worldIn his emphasis on the subjective basis of reality Proust s thought is often oddly reminiscent of Buddhism Our personalities far from being stable are nothing but an endless flux that changes from moment to moment each second we die and are born again What s we perceive other people through the lens of our own desires nowledge opinions and biases and therefore never perceive accurately There are as many versions of you as there are people to perceive you Thus we never really now another person Our relationships with friends and lovers are really relationships with mental constructions that have only a tenuous connection with the real person The bonds between ourselves and another person exist only in our minds Memory as it grows. A partire dal 1913 i sette libri che compongono in un tutto unitario la Recherche esplorano una moltitudine di temi il senso del tempo la memoria il sogno l'abitudine il desiderio E poi ancora la gelosia il rapporto tra arte e realtà l'interagire di rituali ed emozioni Memorabili i personaggi che il lettore incontra tra ueste pagine dal Narratore figura dai fortissimi tratti autobiografici alle donne da lui amate Gil. Fainter loosens them and notwithstanding the illusion by which we want to be duped and with which out of love friendship politeness deference duty we dupe other people we exist alone Man is the creature who cannot escape from himself who nows other people only in himself and when he asserts the contrary he is lying You might think that this is a shockingly cynical view and it is but Proust adheres to it consistently Here he is on friendship our friends being friends only in the light of an agreeable folly which travels with us through life and to which we readily accommodate ourselves but which at the bottom of our hearts we now to be no reasonable than the delusions of the man who talks to furniture because he believes that it is alive And love of course comes off even worse than friendship Almost everyone was surprised at the marriage and that in itself is surprising No doubt very few people understand the purely subjective nature of the phenomenon we call love or how it creates so to speak a supplementary person distinct from the person whom the world nows by the same name a person most of whose constituent elements are derived from ourselves In the dissolving acid of Proust s solipsism one can see why he considers both social status and romantic love as vain pursuits since they are not and can never be based on anything but a delusion Of course status and love do bring people happiness at least temporarily But Proust is careful to show that all happiness and sadness caused by these things have nothing to do with their reality but only with our subjective understanding of that reality Depending on how we interpret a word or analyze an intention depending on whether we hold someone in esteem or in contempt depending in short on how we subjectively understand what we experience we will be happy or sad The source of all suffering and bliss is in the mind not the world but we are normally blind to this fact and thus go on mistakenly trying to alter the world I had realized before now that it is only a clumsy and erroneous perception which places everything in the object when really everything is in the mind As you can see we are moving in a strikingly mystical direction where love and success are just egotistic delusions hypostatized mental artifacts that we mistake for solid reality So what should we do Proust s answer to this predicament is also mystical in flavor Normally we are trapped by our perspective thinking that we are viewing reality when we are actually just experiencing our own warped mental apparatus To break us out of this trap we must first experience unhappiness As for happiness that is really useful only in one way only by making unhappiness possible And unhappiness results when something we mistook to be solid reputation love even life itself is shown to be fleeting and unreal that our everyday reality is based on nothing but lies mistakes and misunderstandings You might say this is Proust s version of Christian consolation For in the despair that opens up during these crises we can give up our fantasies and partake in Proustian mysticismThis mysticism consists in reconnecting with our basic sensations To do this Proust does not like the Buddhists turn to meditation on the present moment Instead he relies on art and memory Normal language is totally inadeuate to this task Our words being universally used only convey that aspect of experience that is common to everyone all the individual savor of a perception its most essential uality is lost But great artists like the fictitious Vinteuil Bergotte or Elstir can use their medium to overcome the usual limits of discourse transmitting the full power of their perspectives Even so this artistic communication can only act as a spur for our own introspective uest Shorn of illusory happiness inspired by example we can probe our own memory and experience the bliss of pure experienceMemory is essential in this for Proust thinks that it is only by juxtaposing one experience with another that we can see the perception in its pure form without any reference to our conventional reality This is why moments of involuntary memory like the madeleine episode are so important for Proust it is in these moments when a present experience triggers a long buried memory that we can re visit the experiences of our past free from delusion as a pure impartial spectator The final Proustian wisdom is essentially contemplative passive aesthetic able to see the ironies of human life and to appreciate the recurring patterns of human existenceProust s goal then is to do for the reader what Bergotte Elstir and Vinteuil did for his Narrator to create art that acts as a window to the self And his style is exactly suited to this purpose In my review of a book on meditation I noted what I called the novelistic imagination which is our tendency to see the world as a setting and ourselves as the Protagonist beset by trials and tribulations Meditation aims to break world as a setting and ourselves as the Protagonist beset by trials and tribulations Meditation aims to break of this rather unrealistic mindset by focusing on the present moment Proust s aim is similar but his method is different He takes the narrative tendency of the novelistic imagination and stretches and stretches pulling each sentence apart twisting it around itself extending the form and padding the structure until the narration is hardly narration at all until you are simply swimming in a sea of soundsBy doing so Proust allows you to feel the passage of time to make time palpable and real and to feel our memory processing and being activated over and over again in response to passing sensations This way Proust hopes to bring us in contact with reality An hour is not merely an hour it is a vase full of scents and sounds and projects and climates and what we call reality is a certain connection between these immediate sensations and the memories which envelop us simultaneously with them This is my attempt to elucidate Proust s aesthetic religion Of course like any religion of art it is objectionable for manifold reasons it lacks any moral compass it is elitist it is purely passive Not only that but Proust connects with his religion a solipsism that is uestionable on philosophic grounds not to mention cynical in the extreme It is a cold antisocial unsympathetic doctrine with appeal only to disenchanted aesthetes But of course this is ultimately a work of art and not of philosophy and so In Search of Lost Time must be judged on literary grounds When it comes to the criteria by which we judge a usual novelist characterization dialogue plot I think Proust is somewhat weak There is of course little plot to speak of And although Harold Bloom thought that Proust was a rival of Shakespeare when it came to characterization a judgment that baffles me I felt very little for any of the people in this novel They all speak in Proust s longwinded voice and so never came alive for me It always seems as if I am overhearing Proust describe someone rather than meeting them myselfBut of course one cannot appraise Proust using these standards This novel is above all audacious It is a modernist tour de force which turns nearly every novelistic convention on its head More than that it is a novel of ideas which puts forward a radical view of the human predicament and its own answers to the perennial uestions of life It is wisdom literature rooted deeply in tradition while being absolutely original and uncompromising in its newness It is both intensely beautiful and intensely ugly hideously sublime For anyone who can pull themselves through all its pages it will leave them deeply marked I now I have been When you read Proust and learn to appreciate his extraordinary dreamy hypnotic truly inimitable style this review is a mere shadow on the wall of a Platonic cave which succeeds in making the syntax of language usually as invisible as air into a tangible element so that like literary yogis we may into a tangible element so that like literary yogis we may for the first time how enjoyable the simple activity of reading like breathing can be and discover the delights of sentences which took the author days to construct and us an hour to read unpacking layers of subordinate clauses to discover nestling inside their crisp folds a simile as unexpected and delicious as a Swiss chocolate rabbit wearing a yellow marzipan waistcoat and carrying an edible rake found in its cocoon of tissue paper under a lilac bush during a childhood Easter egg hunt or steaming across the calm waters of a limpid grammatical lake in the capable hands of Captain Marcel and his crew confident that they now the route from generations of experience and will in due time exactly on schedule arrive at the main verb pointing us tourists to it with justifiable understated pride then you will gradually come to identify with the alchemical author spending twenty years sitting propped up by pillows in his velvet dressing gown transmuting the lead of his accumulated experience into gold surrounded by galley proofs which he constantly rereads and revises pasting in a parenthesis in the middle of this sentence an apposition in that so that the papers are gradually festooned like bizarre Christmas decorations with loops and curlicues of afterthoughts and waiting for life his unfaithful mistress to leave him simultaneously nowing that it is inevitable and also that she will never do so at least as long as this the greatest and strangest of all novels is still not uite finished. Berte e Albertine fino a Odette e Swann Bloch Françoise il barone di Charlus e la duchessa di Guermantes Attorno al tema della memoria involontaria le cosiddette intermittenze del cuore della celeberrima scena della madeleine vive tutta la società francese dei decenni a cavallo del Novecento uelli della vita di Proust dalla sconfitta di Sedan agli anni delle avanguardie passando per l'affaire Dreyfus e la Grande Guer. ,

I read the whole damn thing for which I feel like demanding a medal A famous uote about this work goes I may be thicker skinned than most but I just can t understand why anyone should take thirty pages to describe how he tosses about in bed because he can t get to sleep I clutched my headI heartily agree Nor do I like din We do not receive wisdom we must discover it for ourselves after a journey through the wilderness which no one else can make for us which no one can spare us for our wisdom is the point of view from which we come at last to regard the world The lives that you admire the attitudes that seem noble to you have not been shaped by a paterfamilias or a schoolmaster they have sprung from very different beginnings having been influenced by evil or commonplace that prevailed round them They represent a struggle and a victory Proust is a great teacher This may sound embarrassingly platitudinous and yet I find that it is a fact altogether too easily overlooked in our incessant praise or bemoaning of his technical achievements as a stylistic innovator Setting aside for a while the whole issue of innovative narrative techniue which is nonetheless essential to the realization of his thought through literary art we can appreciate that he has something important to teach us about what it means to be wise or in short a fully realized human being He does so by bodying forth through narrative a model I d even say a paradigm of the process of self nowledge In so doing he becomes an indispensable companion to our own most personal and intimate developmental struggle to compass the manifold disjointed flux of experience into a coherent meaningful whole that we can point to as our self As psychologists now recognize a series of narrative acts or acts of meaning as Jerome Bruner put it weave together one by one the fabric of our identity What we are fundamentally is a narrative identity a carefully demarcated world of meaning to which we cling in the face of the flux notice Proust s recurring focus of description thresholds and borders doorways and windows walls and fences The slow construction of this most fundamental narrative unity that constitutes the real ground of our most mundane awareness is Proust s chosen theme This fundamental understanding of the self making self is paradoxically the culmination of the pursuit of self What a Lass Wants knowledge And in this Proust puts his finger on the very pulse of what identity means and can mean in our historical epoch As Charles Taylor points out in Sources of the Self the fundamental understanding of an ineradicable and refractory to the theoretical understanding and its search for pure transparency poietic element that lies at the heart of all our acts ofnowing is foundational for modern thought in general In short we make the self we strive to now necessarily Deliberations about meanings to entertain and construct form the very ground we stand on in our attempts to reflect and to now Self In this Proust s narrative art implicitly critiues the foundational move of Western philosophy and intellectual history alike namely Plato s separation between narrative and Mexican Hooker knowledge theoria and poiesis art and philosophy Proust seems to say that theoria is poietic and poiesis is theoretical and reminds us the primal etymological sense of narrative gno tonow In this he elevates the modern novel to the status of a privileged epistemic instrument and redefines the aim of wisdom The artist stakes out for himself his own wisdom path distinct from that of the philosopher The The League for the Suppression of Celery knowing to be sought is theind of nowing we live by His narrative re enacts those acts of nowing by which we structure a life story and come to affirm a self and then later transcend itThe mainstream of modern thought has of course led in the opposite direction Reductionist mechanism aspires to corner the mind into some ultimate system a self made cage of thought a Theory of Everything from which it may never again emerge to see the light of day Any access to immediate experience must be mediated by said totalizing System any experience that does not fit therein is to be explained away While we managed to eep at bay political totalitarianism as a civilization intellectual totalitarianism still rules the day as an ever appetizing lodestar If we could but persuade ourselves to stay in the box we made we might buy ourselves some semblance of certainty provided we forget we ourselves have fabricated it William Barrett in The Illusion of Techniue outlines this totalizing aspect of modern thought well when he shows how time and again the great thinkers of modernity are subject to the irresistible temptation to reify the objects of their symbolism thereby becoming victims of their own language Proust s approach to the whole uestion of how we may become wise differs from this mainstream in two ways first he avoids becoming a victim of his symbolism by adopting a meta stance vis a vis his own cognitive framings and second he validates the adeuacy to experience of his methodology by continually touching base with where we actually stand in our most intimate dealings with the world through a close description of detail I already touched on the first but essentially the critical decision here lies in his not assuming transparency and instead foregrounding and scrutinizing the constructive process of nowing a life as it foregrounding and scrutinizing the constructive process of nowing a life as it There is wisdom in this for by pretending that our mental filters are transparent to reality we risk mistaking the specks of dirt on our windowpane for features in the landscape The fundamental working metaphor Proust operates with here is the magic lantern of the mind This is introduced early on in the context of one of those childhood revelations that seems to suddenly make clear for us the sense of this strange shadowy life The young narrator lying in his bed awaiting sleep while struggling with separation anxiety from his mother watched the projected fairytale images of the magic lantern gliding across his walls furniture doorknob The reference to Plato s Cave is unmistakable and yet the wisdom to be found here lies not in peering through to the substantial origin of these shadowy fairytale forms that float over the surface of our awareness The umbilical chord to such cosmic orders is severed for Proust as for so many moderns We are left floating in a sea of images that strange in between realm where mind approaches nature but never uite rests in a secure grasp of it The best lucidity we can hope for comes from an acceptance of the free floating uality of the magic lantern of our minds it touches reality only when as the projected fairytale images the form is distorted as it glides over an obtruding object such as the doorknob The entire rest of the narrative is like a grand cartography of the magic lantern of the mind and of the unshakable unsettling yet poignant sense of irreality that it brings to the heart of even our most lucid daylight experience In this Proust has a lot in common with the stripping down of layer upon layer of formal illusion that characterizes Zen meditation The work is indeed much like a guided meditation manual The hard earned lucidity to be found at the culmination of the gathering back together act at the end of the narrative in Time Regained is one not of seeing through to some architectonic world structure which must always in the end be a cognitive artifact endlessly referencing us even as we struggle to wipe ourselves out of our picture it is instead a lucidity that comes from a comprehensive grasp of the ineradicable stain our filtration systems leave on even the most intimate seemingly immediate moments We never stand in the light of day It is a scary realization but an unshakable one and one that peers at the very heart of the human condition We always stand in the shadow of our own form and of our limited capacity for realization Our relation to reality must be understood and fully realized by incrementally beating against our walls at last coming to make peace with them and in so doing finding our only possible transcendence And second we come to the crucial revelation detailed description allows and that theoretical systems by their nature must overlook Detailed description while making lazy readers cringe is the writer s best friend as well as hisher greatest advantage over the philosophical systematizer It is how the modern novel becomes a philosophically significant epistemic instrument In my review of Kant s Critiue of Pure Reason I noted that Kant and Proust can be understood as complementary opposites of the phenomenological spectrum and that a fully realized self understanding must encompass both the stances that they represent Kant offers the phenomenology of logical principles Proust the sketch of phenomenological form by which we gain a hold of lived experience I d add here that there s simply no philosophical substitute for Proust and for the ind of world disclosure his narrative techniue enables he is a better cartographer of Heidegger s Clearing and Husserl s Lifeworld than they ever could be although I deeply admire both And this is because His Literary Methodology Allows literary methodology allows to scrutinize and lay bare the workings of that fundamental act of reflective thought description It goes right to the heart of our moment to moment encounter with reality in re enacting the constructive framing. La ualità di Proust scriveva Virginia Woolf è l'unione dell'estrema sensibilità con l'estrema tenacia E resistente come il filo per suture ed evanescente come la polvere d'oro di una farfalla Su uesta sensibilità e su uesta tenacia e su molto altro ancora è costruito il fascino della Recherche colossale romanzo mondo l'unico che l'autore abbia dato alle stampe frutto di uindici anni di tormentata gestazione Usciti. ,