Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-27T07:20:54.440Z Has data issue: false hasContentIssue false
  • English
  • Français

The Last Night of All

Published online by Cambridge University Press:  23 October 2020

Michael Wood
Get access Rights & Permissions [Opens in a new window]

Extract

This is a brief essay about a long or perhaps interminable subject, about what I am (for the moment) calling the genre of the unfinishable work, as distinct from works that are unfinished or open-ended—the work whose themes and style involve what comes last and then what comes after that, if there is anything after that. I thought at first there might be too few of these works to form a genre. Now I am inclined to think there may be too many, but the shift or increase does give us a contrasting term and may help us consider more closely the possibility that lies between insufficiency and excess.

Type
Special Topic: Remapping Genre Coordinated by Wai Chee Dimock and Bruce Robbins
Information
PMLA , Volume 122 , Issue 5: Special Topic Remapping Genre , October 2007 , pp. 1394 - 1402
Copyright
Copyright © 2007 by The Modern Language Association of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Adorno, T. W. “Late Style in Beethoven.” Essays on Music. Ed. Leppert, Richard. Berkeley: U of California P, 2002. 564–67.Google Scholar
Giorgio, Agamben. The End of the Poem: Studies in Poetics. Trans. Daniel Heller-Roazen. Stanford: Stanford UP, 1999.Google Scholar
Albaret, Céleste. Monsieur Proust. Paris: Laffont, 1973.Google Scholar
The Arabian Nights. Trans. Husain Haddawy. New York: Everyman's Lib., 1992.Google Scholar
Burton, Richard F. “Terminal Essay.” Arabian Nights. Vol. 10. London: Burton Club, 1910. 1–274.Google Scholar
Ronald, Bush. The Genesis of Ezra Pound's Cantos. Princeton: Princeton UP, 1976.Google Scholar
Coetzee, J. M. “The Poet in the Tower.” New York Review of Books 19 Oct. 2006: 69–76.Google Scholar
Henry, James. Preface to Roderick Hudson. The Art of the Novel. New York: Scribner's, 1962.Google Scholar
Franz, Kafka. Hochzeitsvorbereitungen auf dem Lande. Frankfurt: Fischer, 1991.Google Scholar
Franz, Kafka. The Man Who Disappeared. Trans. Michael Hoffmann. London: Penguin, 1996.Google Scholar
Franz, Kafka. Der Proceβ. Frankfurt: Fischer, 1993.Google Scholar
Franz, Kafka. Das Schloβ. Frankfurt: Fischer, 1958.Google Scholar
Franz, Kafka. The Trial. Trans. Breon Mitchell. New York: Schocken, 1998.Google Scholar
Franz, Kafka. Der Verschollene. Frankfurt: Fischer, 1993.Google Scholar
Frank, Kermode. The Sense of an Ending. New York: Oxford UP, 2000.Google Scholar
Abdelfattah, Kilito. L'œil et l'aiguille. Paris: À la découverte, 1992.Google Scholar
Lévi-Strauss, Claude. “La structure du mythe.” Anthropologie structurale. Paris: Plon, 1958. 227–55. Manovich, Lev. The Language of New Media. Cambridge: MIT P, 2001.Google Scholar
Paul, Muldoon. The End of the Poem. New York: Farrar, 2006.Google Scholar
Robert, Musil. Diaries. Trans. Philip Payne. New York: Basic, 1998.Google Scholar
Adam, Phillips. “Someone Else.” London Review of Books 4 Jan. 2007: 35–36.Google Scholar
Ezra, Pound. The Cantos. New York: New Directions, 1970.Google Scholar
Richard, Powers. Galatea 2.2. New York: Farrar, 1995.Google Scholar
Marcel, Proust. À la recherche du temps perdu. Vol. 4. Paris: Gallimard, 1989.Google Scholar
Robinson, F. N., ed. The Complete Works of Geoffrey Chaucer. Oxford: Oxford UP, 1974.Google Scholar
Said, Edward W. On Late Style. New York: Pantheon, 2006.Google Scholar
Tadié, Jean-Yves. Marcel Proust. Paris: Gallimard, 1996.Google Scholar