This concluding chapter offers some reflections on the nature of nihilism in the works explored. An overview is given of the different versions of the problem of nihilism that the thinkers and writers examined here have sketched. This is followed by another comparative overview of their different proposals for solutions to nihilism. A section is also dedicated to showing the many ways in which the thinkers of the nineteenth century anticipated key elements of twentieth-century existentialism. Among the elements discussed are the realization of the nothingness, authenticity, existential freedom, rebellion, the existentialist hero, and the absurd. The chapter concludes with some reflections on the relevance of nihilism in the twenty-first century.

Beckett’s works are built around the paradoxical notion of the still life. Suspended between motion and standstill, destruction and creation, a still life conveys the state of a being that is simultaneously lifeless and alive. Still lifes are located at the intersection of life and death, of presence and absence, of the material and the immaterial dimension of a work of art. Beckett, above all in his later prose and drama, uses the still life as a reflection on the creation of a work of art while simultaneously performing this creative process as it were in vivo. This chapter discusses the relation between visual, textual, musical and dramatic still lifes. It analyses the tableaux vivants and nature mortes in works such as A Piece of Monologue, Stirrings Still and What Where in relation to Hamlet, and investigates the notion of ghostly doppelgangers by way of Franz Schubert’s Winterreise that informed Beckett’s late plays. Journeys of dispossession and shrinking, moments frozen in time that approach the condition of a still life will be analysed in Timon of Athens, The End, King Lear, Texts for Nothing, Sonnets 55, 18 and 81, and finally in Breath.

Traditional logic dominates Western thinking by centering thinking on propositions and thereby restricting the meaning of "being" to its derivative, categorial meaning. In Heidegger’s view, it fails in this way to realize the promise of a philosophical logic, one that is capable of tracing traditional logic and thinking generally back to their foundation, i.e., the being/unconcealment of the logos from which they are derived. This chapter examines how, as a first step toward realizing that promise, Heidegger questions the supremacy of logic in Western thinking through a “critical deconstruction” of four theses underlying it: the thesis that judgment is the place of truth rather than vice versa, that the copula exhausts the meaning of "being," that nothingness originates from negation rather than vice versa, and that the predicative structure of propositions constitutes the essence of language. In conclusion, the chapter suggests that the construction ultimately accompanying Heidegger’s deconstruction is to be found, not in language as Dasein’s comportment, but in the revealing capacity of tautology to which he appeals in his final seminar (1973).

Chapter 5 inquires with Augustine into the origins and metaphysics of humility and pride, and how we may come to know them. In books XI–XII of The City of God, Augustine explores this theme by reflecting on biblical and Platonic accounts of creation, especially of angels and human beings, and of the birth of Augustine’s famous “two cities” among them.

Borges came to know Buddhism from a European perspective filtered through Schopenhauer and other philosophers, and his interest in it was ultimately concerned with the extent to which it coincided with Western ways of thinking. Together with Alicia Jurado, he co-authored What is Buddhism?, and he wrote with clarity of understanding about karma, nirvana, suffering, and nothingness, concepts that find their way into stories and essays such as ’The Garden of Forking Paths’, ’The Library of Babel’, ’The Cult of the Phoenix’, and ’The Writing of the God’. Borges showed greater enthusiasm for the fables and legends of Buddhism than for the spiritual truths of its doctrine. The chapter proposes a Buddhist-inflected reading of ’Tlon, Uqbar, Orbis Tertius’ and a more fully developed one of ’The Circular Ruins’, which it concludes is Borges’s consummate ’Buddhist fiction’.