Abstract

The power of literature to resist "totalization," to divide and oppose whole meaning, to separate Being from the word, or to name Being as itself divided—this is de Man's oldest and best-defended idea. Behind its deconstructionist and semiological variations in the recent work is a long genealogy of such insistence.6 This "genealogy" contains instructive continuities and aberrations. The continuities tend to show de Man to an extraordinary degree the captive of his beginnings. The aberrations pose a threat to the very criterion of rigor which he makes the touchstone of his position. I will restrict myself here to an account of what is coherent and what is incoherent in de Man's treatment of the category of error.[…]Error is not mistake. The concept of the mistake is usable, perhaps, within the restricted teleology of pragmatic acts or within the quasi-rigorous language of scientific description. Mistakes are without true value: trivial, in principle corrigible according to a norm already known. But the skew of error implies a truth. Furthermore, the concept of error supplies to the categories of blindness and insight as much coherence as they are able to achieve. As we shall see, it brings together the constituents of the essential ambivalence of all literary and at least some philosophical language .6. In 1956, for instance, in a review of Nathalie Sarraute's L'Ère du Soupçon, de Man offered his reading of "the central moment of Ulysses, the carefully prepared encounter between Bloom and Stephan Dedalus": it "indicates, surely, the total impossiblity of any contact, of any human communication, even in the most disinterested love" .Stanley Corngold, professor of German and comparative literature at Princeton University, is the author of books and articles on Kafka, including The Commentator's Despair and an annotated translation of The Metamorphosis. A volume of his essays on the question of the self in Hölderlin, Dilthey, Nietzsche, Freud, Kafka, Mann, and Heidegger is forthcoming