Joshua Kates

The Silence of the Concepts (in Meillassoux’s

After Finitude and Gottlob Frege)
The confidence that truth can be found
through thinking is the inevitable precondition for
all investigating. (Hermann Lotze)

The call for the conference on which the present volume is based invites reflection on
poetic critique ‒ on criticism that would also be poetic. Citing Schlegel, it advances
the notion that such critique might also be art, that criticism would add its own art to
the work of art. Without wishing to disavow this possibility, a book project I have just
finished suggests that the relation between criticism and art is a two-way street: not
only may criticism be poetic, roughly in Schlegel’s sense, but, as Schlegel himself al-
ready suggested, literature, including poetry, would already be critical – by which I
intend that literature, too, would have a subject matter, be about something, and
strive for insight, understanding, or truth, albeit not always on the assertoric terms
that usually frame these accomplishments.¹
To be clear, so changing the equation and reinflecting our conception of what
literature and criticism are would not entail that literature ceases to be fanciful
and becomes a sequence of veiled assertions or statements; nor, however, has this
ever really been true of interpretation, criticism, or thinking. In fact, “the silence
of the concepts” names a new view concerning what happens when we read or
write any text. On this account, the understanding of what we say, our expressions’
meaningfulness and references, comes to pass in an operation that unfolds across
time, taking in stretches of discourse necessarily larger than the word and even
the isolated sentence. Such an event of understanding is not graspable in terms of
any pre-existing frameworks ‒ givens, such as words, language, signifiers, forms, ge-
neric rules. Instead, what is at issue in writing and speech ‒ what they have to say,
and what they talk about, as well as how they say it ‒ would recur to a single, every-
where identical operation, occupying a heretofore neglected middle ground: a region
greater than the word or single sentence, yet smaller than those formations thought
to combine discourse and its objects en bloc, such as, on some views, genres, or Witt-
genstein’s language games. To be sure, open-ended habits or practices, informed by
what I call traditionalities or historicities, would still shape our expectations when

 For this project, see my A New Philosophy of Discourse: Language Unbound (Kates 2020). Moreover,
see Yi-Ping Ong’s “Poetic Criticism and the Work of Fiction: Goethe, Joyce, and Coetzee” in this vol-
ume for a nice exploration of the possibility indicated by Schlegel of literary works commenting on
(or “critiquing”) other works.

OpenAccess. © 2021 Joshua Kates, published by De Gruyter. This work is licensed under the
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.
https://doi.org/10.1515/9783110688719-009
106 Joshua Kates

approaching different sorts of discourse, or “talk!,” as I term it.² Confronting shop-

ping lists, for instance, different uses are anticipated than when regarding the peri-
odic table. Nevertheless, nothing fundamental or structural separates any of these
instances; hybrids or variants are always possible, specimens such as “shopping
lists of the stars” ‒ shopping lists not thrown away, but preserved, like the periodic
table ‒ or Ben Lerner’s novel, 10:04, which is also an exercise in art criticism.
In the present essay, this middle ground will be fleshed out, and what is at stake
in it indicated, by using Quentin Meillassoux’s work as springboard and provocation.
Meillassoux’s speculative realism, and other recent initiatives with which it is often
allied (such as Graham Harman’s, Bruno Latour’s or Karen Barad’s) share a concern
that animates the present work, while being marked by a major difference in how
that concern is addressed. An anxiety about science, which may also take the
form of a fascination with it, arguably motivates these programs. The resurgence
of humanistic (geisteswissenschaftliche) practices afforded by the New Criticism,
structuralism, poststructuralism, and deconstruction in the post-WWII era having
collapsed, what this moment had held at bay – namely, the apparently unparalleled
power and authority of modern scientific discourse with its power to reshape exis-
tence – now returns to the fore.
The approach I am mapping here, to be clear, also entails the rejection of godlike
structures of knowledge, arguably pushing still further that ontological flattening
that marks Action Network Theory (ANT) or Barad’s work, as well as surface reading,
though seemingly not Meillassoux’s endeavor.³ The denial of scientific discourse’s
exceptionality, however, by no means discredits its claims to truth, which, often,
though not always, are compelling when examined in their specificity. Truth’s pur-
view is instead broadened and diversified. Truth, on my account, pertains to all
talk!, to all discourse, including criticism and literature, as well as political theory,
law and, at moments, philosophy. Every discourse, as discourse, speaks, comments,
describes, articulates, or in some other manner latches on to something other than
itself and articulates something concerning it, albeit on different terms and often
with respect to different types of subject matters.
To propose that all discourse touches on the world and may be capable of insight
necessitates that all talk!, every discourse, has reference points, topics, and subjects,
concerning which it tenders such apprehensions. In respect to this possibility, the
present project registers its most significant difference from the ones previously men-
tioned, although this difference, too, varies in degree. The above-named endeavors,
especially when it comes to theorizing their matters of concern, but also more gen-
erally, devalue, even while incorporating, a hermeneutic dimension. Their own dis-
course, both in respect to how they present their subject matter, as well as how

 I prefer the neologism “talk!” to “discourse,” since the latter is too associated with the program of
expanding language’s rule-bound character to language in use, as in “discourse theory” or John
Searle’s version of speech-act theory.
 On such “flattening” as a general trend in the contemporary humanities, see Bennett 2010, 254.
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 107

that matter takes shape, recurs to a relatively straightforward style of theorizing and
argumentation, of which Meillassoux offers perhaps the most extreme example. In
contrast to some phases of poststructuralism, the hermeneutic and the theoretical
moment come asunder in these works.
By contrast, in the present undertaking, because this middle ground’s operation
entails the appurtenance of even a single sentence to others in implicit series, it re-
tains both insight into some subject matter and a hermeneutic axis. The interpretative
register, implicitly everywhere at work, but explicitly so in humanistic contexts, is
foregrounded in the present instance, though this by no means cancels these or
the present undertakings’ ability to refer and to render insights or truths. Indeed,
in every instance, along with our expressions or related stretches of talk!, ultimately
something non-verbal, different from talk!, remains up for grabs, which can come to
the fore on different terms than talk! or discourse, in part because terms themselves
here are never fixed once and for all nor function in isolation. Instead, both what
talk! says and the disclosure of those non-talk!-matters it engages take shape as
events, along a continuum of familiarity and novelty, with some topics and some ex-
pressions ‒ for example, in certain contexts, “pass the salt” ‒ being more readily
parsed than others, such as the first chapter of Das Kapital. Yet, all instances remain
eventful, both in their production and their reception; their expression and under-
standing take place on occasions and in contexts and are never preprogrammed
nor signify autonomously.
Nevertheless, at this moment, “in walks Quentin,” as jazz aficionados might put
it, since for Meillassoux and many of his readers any retention of a hermeneutic di-
mension will seem a version of his great bugbear, “correlationism,” the term with
which his thinking today is most often associated, albeit for his attack on it. Accord-
ingly, for the remainder of the present discussion what I propose to do is to sketch
Meillassoux’s positioning in After Finitude, with one eye on the thinking of Gottlob
Frege, to clarify correlationism both in my own work and in Meillassoux’s. So pro-
ceeding, I will set out the middle ground here in question, contrasting it with Meil-
lassoux’s way of working, while also exemplifying this region’s operation in practice.
The consequences of this middle ground for literary studies then will be briefly dis-
cussed by way of conclusion.

1 The Middle Ground’s Lower Bound

The middle ground here conceived operates neither on the great scale of genres nor
the more minute one of words. The former, genres and other such totalities that
would at once prescribe what talk! says, and the objects it talks about, such as Fou-
cault’s epistemes or Niklas Luhmann’s systems, instantiate the upper reach of this
middle region. Words, concepts, signs, and other subsentential units, furnish the
middle ground’s lower bound. Neither of these, I am about to suggest, function as
their proponents imagine; neither close on themselves and neither can be effectively
108 Joshua Kates

traced nor affirmed, as supplying conditions for expression, understanding, and in-
sight. Revealing Meillassoux’s thought’s limits in light of Frege, and then Frege’s
theory’s own shortcomings, exhibits why this is so, and thus how this middle ground
actually takes shape, as well as ultimately how this middle ground avoids correla-
tionism, by dint of the real’s role in it. The real as here understood, in turn, grants
leeway for literature, criticism, and the other humanities to consort with truth on
their own terms.
Why the lower bounds of this middle zone lack closure, and thus why words or
signs as such effectively play no role in literary or any other expression and their un-
derstanding, may be grasped by examining correlationism itself ‒ the term, or word,
or sign “correlationism” ‒ and its fate in Meillassoux’s own thinking. As we are about
to see, one striking paradox or irony in Meillassoux’s writing is that while his specific
arguments, of which there are many in After Finitude, conform to Aristotle’s older syl-
logistic logic of subject and predicate, Meillassoux’s presentation as a whole deviates
markedly from this format. His is not an extended deductive exposition even in the
very loose style of Kant’s first Critique. Instead, Meillassoux’s aims repeatedly alter,
and, with that, what each of his terms say or mean changes, especially “correlation-
ism.” What befalls “correlationism,” upon its introduction in After Finitude, thus it-
self, perhaps unintentionally, exhibits this middle ground’s functioning.
That logic, essentially Aristotle’s, to which Meillassoux has recourse, is likely fa-
miliar to most. For it, words or terms and their definition are key. This logic’s unit,
more specifically, is the syllogism, such things as: “All women are mortal; Cleopatra
is a woman; Cleopatra is mortal.” The crucial moment in this figure of the syllogism,
called Barbara ‒ there are others ‒ is the second clause, where the grammatical sub-
ject Cleopatra turns out to have a property and fall under a predicate, treated univer-
sally in the first: here, “being a woman.” This second step, the so-called “minor
premise,” lets the other property and predicate in question, mortality, be transferred
on to Cleopatra, thereby arriving at the assertion expressed in the conclusion: “Cleo-
patra is mortal.”
In Aristotelian logic, consequently, terms and their definitions are decisive. What
women are; their definition; whether being mortal is part of it; who or what Cleopatra
is ‒ all must be clear and previously known for this or any instance of syllogistic rea-
soning to operate.
Meillassoux, who also proceeds syllogistically or, as it is sometimes put, deduc-
tively, early on in After Finitude offers the following definition of correlationism. Cor-
relationism consists in the claim that “we only ever have access to the correlation
between thinking and being, and never to either term apart from the other” (Meillas-
soux 2008, 5). Correlationists assert no being without thinking, no thinking without
being. Shortly, at what more this definition aims will become clearer. At the moment,
it can be noted that this formulation arguably is already controversial, since it ap-
pears to be a version of Parmenides’ famous saying about thinking and being,
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 109

voein and einai, being the same, to auto. Yet Meillassoux deems correlationism a spe-
cifically modern development.⁴
Meillassoux, in any case, almost immediately transforms this notion in a manner
that, though not in line with Aristotle’s template, is at least not excluded by Frege’s.
Frege’s logic, it must be underscored, is not syllogistic but propositional. For Frege,
the statement or assertion ‒ the judgment, not the term ‒ is the unit of expression
and of whatever truth it may access. Hence, early on in his career, Frege counseled
against seeking definitions and advised instead to look toward the use of words in
statements, where alone what the words express may be grasped. This injunction,
“never to ask for the meaning of a word in isolation, but only in the context of a prop-
osition,” came to be known as Frege’s context principle (Frege 1980, x).
Owing to Frege’s context principle, concepts, terms, and words begin to slough
off their grammatical, but also their ontological and categorial, identities. Concepts
are neither properties nor predicates; they cannot be identified with any single word,
nor can they even be defined directly or grasped as such. Concepts are essentially
incomplete or unsaturated portions of statements and may be identified only by
way of their extension: the different objects to which any given concept applies or
that the concept “takes.”
Frege, more specifically, came to understand concepts as functions, which per-
form operations on arguments, the objects that fill them in. Their definition by
way of their extensions entails that the concept or function, as, for example, ex-
pressed by “…is a horse” is identified thanks to all the different instances when “x
is a horse” turns out to be true: “Secretariat is a horse,” “Bucephalus is a horse,”
and on so on. Yet, even the workaround just employed is not really satisfactory; a
different concept, for Frege, would be expressed in the lyrics from the old TV
show Mr. Ed, which seems to possess the same verbal schema: “a horse is a
horse…of course of course.” Here “…is a horse,” despite possessing what seem to
be the same words and format, expresses a different concept owing to the different
work it performs in the context of the present sentence, namely, that of expressing
an identity.
Frege’s scheme, it should be noted, harbors the profound possibility that there
can be both speech and truth about a given subject matter ‒ “Secretariat is a
horse” ‒ without that subject matter, or the terms that capture this truth, being trans-
parent or known in any final way. Talk! in this respect operates in precise contrast to

 Moreover, as so expressed, it actually does not apply to Kant’s program in his first Critique, though
this is Meillassoux’s primary instance of this failing (Meillassoux 2008, 4, among others). What Kant
calls transcendental knowledge, that is, knowledge of the conditions of genuine empirical knowl-
edge, is itself a priori. Hence, for Kant there can be knowledge on the part of thinking or reason of
itself, apart from knowledge of what is. This misprision of Kant, it should be noted, is in line with
Meillassoux’s understanding of Kant’s categories as factical, here later discussed, and his assignment
to Kant of what he calls Hume’s problem. Kant’s categories, though indeed otherwise unexplained,
for this same reason cannot be “factical,” being a priori.
110 Joshua Kates

its presentation in Aristotle’s logic. For Frege, one can say, “heat is found in bodies,”
without really knowing what heat is or what a body is, how the two interact, or the
precise notions these words purport to express. This fact, as well as the concepts’ in-
ability to be directly named, are two ways in which concepts prove to be silent in
Frege’s treatment. Others will emerge, albeit not always in a manner Frege himself
would have expected.
Hence, when approached from a Fregean perspective, rather than Meillassoux’s
definition of correlationism being decisive, what Meillassoux does with this term in
other sentences and parts of his discourse is of primary importance. Moreover, this
is fortunate, since Meillassoux’s exposition, as already remarked, rings a rather diz-
zying set of changes on his leading notion. Meillassoux initially highlights correla-
tionism’s abandonment of realism, of the ability to grasp things, indeed nature, in
itself, without filters of any sort ‒ in the wild, so to speak. To be against correlation-
ism, consequently, is to insist that knowledge grasps nature raw, if not necessarily
red in tooth and claw.⁵ Through a series of steps, Meillassoux’s program, however,
morphs quite considerably. It turns into the project that his text’s subtitle presents:
the affirmation or establishment of “the necessity of contingency.” Meillassoux’s cru-
sade against correlationism culminates in the imputation to nature of a radical and
unprecedented style of contingency or chance (yet one somehow still necessary) that
Meillassoux in part employs set theory to sketch, here being inspired by Alain Bad-
iou.
Neither such contingency nor its necessity, of course, on their face immediately
answer to what correlationism as first defined aims at: a radical realism, or nature in
the wild, which Meillassoux exemplifies by what he ironically refers to as the “arche-
fossil” (Meillassoux 2008, 10).⁶ The problem, however, of which Meillassoux himself
is aware, is that, as so conceived, his embrace of nature as non-correlated, as in the
wild, yet as still known, runs the risk of returning us to that natural light or sovereign
reason said to hold sway in the early moderns, such as Descartes, as well as their
predecessors.⁷ With nature in the wild, being itself absolute, as Meillassoux has it,

 Meillassoux speaks of “a great outdoors” that he fears contemporary philosophy has lost in respect
to nature (Meillassoux 2008, 17). Christian Thorne also cites this remark in his “Outward Bound: On
Quentin Meillassoux’s After Finitude” (Thorne 2012, 274). Thorne’s concerns and mine at times over-
lap, though, of course, he makes no reference to Frege nor does he move toward that middle ground
ultimately here set forth.
 The existence of the fossil, according to Meillassoux, embodies a time before human being and
before thought (Meillassoux 2008, 14); thereby, the fossil, by his lights, directly refutes the correla-
tionist affirmation of thinking and being’s mutual dependence, although neither Kant, who gave
an early account of planetary genesis, nor any other philosopher Meillassoux cites, actually doubts
the existence of a pre-human past.
 In fact, Meillassoux initially illustrates the difference between the correlationist and non-correla-
tionist standpoints in terms of Descartes’ separation of so-called secondary from primary qualities.
The difference between secondary qualities, like taste and color, and primary ones, like extension
and shape ‒ the latter being mathematizable, the former not ‒ for Meillassoux exhibits the difference
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 111

yet also an object of knowledge, the knower and her knowledge themselves must
possess a similarly absolute status. (This problem, by the way, seems to me to affect
almost all of the new materialisms insofar as they appeal to metaphysics.) Hence, in
Meillassoux’s case, the terms on which he initially set forth his project will change;
in the place of that initial and ultimately “naïve realism” in respect to nature that he
first depicts, Meillassoux, correspondingly, next affirms a contingency that invests
nature as an object of scientific knowledge (Meillassoux 2008, 27).
As suggested above, a fundamental anxiety about science and its achievements
may, then, subtend Meillassoux’s program in After Finitude, though this worry takes
the form of restoring science’s absolute authority at almost any cost. Indeed, the high
price Meillassoux’s endeavor pays may already be plain, since the conundrum he
faces initially appears insoluble on the terms that he takes up. Meillassoux, to be
clear, will try to reason his way out of this impasse, to find in argument, and thus
in reason itself, a flight from reason’s hegemony. Only in this manner can he hope
to maintain some approximation of realism alongside knowledge in the modern sci-
entific style of laws expressed in mathematical formalisms, without making the ca-
pacity for knowing itself absolute.
To balance what would otherwise mark a return to reason’s traditional sover-
eignty and presumption to know the in-itself, Meillassoux, accordingly, asserts a dif-
ferent absolute on the side of the object: a supposed absolute randomness, a radical
chance or contingency, somehow also still necessary, and also still purportedly com-
patible with modern scientific knowing.⁸ At this moment, moreover, in the service of
this first detour or transformation of his project, Meillassoux’s Aristotelianism re-
turns full throttle, bringing a number of fairly obvious fallacies in its wake, some
of which would be recognized in Aristotle’s idiom, though they are much clearer
in Frege’s. Indeed, to square this circle, to accomplish his embrace of an absolute,
wild, object that nevertheless does not reinstate a sovereign reason, Meillassoux
turns again to Kant, formerly the poster child for correlationism, now in a positive
vein. Meillassoux himself avows a version of Kant’s transcendental turn, launched
against the early modern vantage point, despite its correlationist tendencies. Specif-
ically, Meillassoux embraces what he calls, anachronistically, and arguably wrongly,
a “facticity” that Kant’s twelve categories in the first Critique purportedly exemplify
(Meillassoux 2008, 53‒54).
Meillassoux thus returns to Kant, but also to Kant’s successors, to mount his ar-
gument for radical contingency. Meillassoux would follow both Kant and those ab-

between an anthropomorphized and correlationist access to nature, and that tapping into wild na-
ture, nature in itself, that he wants to defend (Meillassoux 2008, 3).
 It should be noted that Meillassoux himself by his lights never fully accomplishes this task; he
never explains how the mathematization of nature and his new contingency are related, why knowl-
edge of such a radically contingent nature should take the form of mathematically expressed laws.
After posing this problem at the end of his penultimate chapter (Meillassoux 2008, 111), he recurs
to it again on the last page of his work, asserting that it is an issue yet to be resolved (124).
112 Joshua Kates

solutists who followed after Kant, the idealists. Like them, Meillassoux will raise an
aspect of Kant’s thinking to the absolute; Meillassoux’s own absolute, however,
bears on the object, not the subject. Meillassoux chooses to absolutize the so-called
“facticity” of Kant’s categories, a facticity which he claims withstands the idealist
turn. Facticity, on Meillassoux’s view, harbors an otherness, an absolute “absence
of reason,” one which he assigns, not like Kant, to the understanding, but to its ob-
jects (Meillassoux 2008, 53).⁹ Fixing on the seemingly unmotivated status of Kant’s
categories, to which Hegel and the other idealists of course also attended, Meillas-
soux’s aim at this moment, accordingly, becomes to “convert facticity into the real
property whereby everything and every world is without reason, and is thereby ca-
pable of actually becoming otherwise without reason” (53). In this way, Meillassoux
would substitute for the realism earlier sought, now lost sight of in all but name, a
novel and entirely speculative, yet somehow still necessary, contingency.
Whatever else may be said about this new aim, where Meillassoux’s own dis-
course only momentarily rests, reason by itself clearly is presented as accessing
such a radically contingent nature ultimately devoid of reason; a world so determined
can appear in no actual science, nor even, as we shall soon see, in any actual object.
Meillassoux’s stance at this moment is in fact still more contorted than it may seem,
in that what results from this imputation to nature of a version of a radical facticity,
yielding what he himself at one point labels “chaos,” even in this form must remain
consistent with modern science and its findings (Meillassoux 2008, 63). Accordingly,
Meillassoux conjures not only a non-correlationist real, now such solely insofar as it
is absolutely contingent; moreover, this absolutely contingent real, this chaos is also
non-contradictory, and thus still knowable by modern knowledge.
To square this seeming circle, then, Meillassoux argues both syllogistically and
counterfactually, thereby allowing for the fate of concepts, terms, and words in his
own exposition to be grasped, and, with that, the sketch of this middle ground’s
lower bounds to be completed. In particular, Meillassoux claims that were a being
inconsistent in itself, a contradictory nature, to exist, such a being would be incapa-
ble of change, and, since unchangeable, it would not be contingent or random.
Hence, his chaos, his purportedly wild nature, since it must be alterable, subject
to change, must also be consistent, non-contradictory. Accordingly, nature can, in-
deed must both be a chaos and consistent, thereby remaining available to scientific
inquiry.
The sophistry of this argument, which Meillassoux himself seems to acknowl-
edge at one moment, is perhaps not blindingly self-evident, only owing to its syllo-
gistic form; this form and its implications, in any case, are here finally more of inter-

 “Thought, far from experiencing its intrinsic limits through facticity, experiences rather its knowl-
edge of the absolute through facticity,” he writes (Meillassoux 2008, 52).
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 113

est than the sophistry as such.¹⁰ As regards the latter, however, it may be quickly
noted that it is axiomatic in both Aristotle’s and Frege’s logic that any and every con-
sequence follows from a contradictory premise (or condition); all outcomes are pos-
sible, none prohibited. Thus were nature in contradiction with itself, as Meillassoux
posits, it follows that nature so determined could as well not change as that it could.
Both consequences are similarly and equally entailed; Meillassoux’s argumentation,
accordingly, by no means establishes his chaos’ necessary consistency.¹¹
More importantly, however, is why the type of logic Meillassoux employs may
somewhat mask this fallacy. For Frege, rather than being a predicate or a property
of some being, existence is always a second-order concept or function. To say some-
thing exists is to affirm that some first-order concept possesses at least one object
that a given concept ranges over ‒ that the lower order concept in question yields
the value true in at least one statement in which it is used. For example, to say a
horse exists, for Frege, is to claim that there is at least one true judgement that some-
thing, Secretariat or Bucephalus, is a horse. If this is so, that a horse exists is true. On
Frege’s template, then, before reasoning can occur about what follows from a contra-
dictory nature, it would have to be determined whether in the first place there is such
a nature, or indeed any contradictory objects, anything answering to “x is a contra-
dictory being.”
Not so proceeding, Meillassoux instead argues in a manner that effectively ren-
ders him the St. Anselm of contemporary philosophy. In both Anselm and Meillas-
soux, argument proceeds from definitions, and existence is taken as but one possible
predicate among others. For Anselm, God by definition exists, since, owing to God’s
definition as the most perfect being, the predicate existence cannot be denied to him,
existing, after all, being more perfect than non-existing.¹² For Meillassoux, similarly,
an object the existence of which is assumed to be possible, thanks to its possessing
the predicate “contradictory” could not be changeable, and thus must be consistent
with scientific knowledge, its actual existence apparently being simply another pred-
icate it may happen to bear or not. The definition alone in both instances yields con-
clusions about what must be the case, any acquaintance with such entities and their
genuine being rendered beside the point.
The lower reaches of the middle ground here in question, then, are reached with
this brief survey of the logic of subject, predicate, and existence, in Aristotelian log-

 “Philosophy is the invention of strange forms of argumentation, necessarily bordering on soph-

istry,” Meillassoux at one point states, presumably commenting on his own practice (Meillassoux
2008, 76).
 In syllogistic logic this can be shown through the disjunctive syllogism; in Frege’s, through the
conditional, where, if the premise is false, the consequent is always true. In the former, if I say
“whales are either mammals or fish,” and “if they are fish I will eat them,” if the premise embodies
a contradiction (whales are fish and whales are mammals), then both my eating them and not eating
them follows.
 For a very different view of Anselm, see Levene 2017, especially chapter five.
114 Joshua Kates

ical garb, though their instability in Frege himself has yet to be addressed.¹³ Never-
theless, in contrast to Anselm’s and Meillassoux’s reasoning that begins from terms
or names and their meanings, it can now be seen why it matters that Frege ap-
proaches concepts through their appearance in entire statements, ultimately giving
pride of place to reference or significance (Bedeutung), not sense or meaning
(Sinn) ‒ albeit as becomes clearer below, Frege also, of course, has a doctrine
about the latter. Correspondingly, what is, and even what can be said, finally derives
from apprehensions of the world ‒ Secretariat is a horse ‒ rather than what is true
about the world and our knowledge of such truths deriving from our ideas and no-
tions, as in Meillassoux’s treatment of nature or Anselm’s speculations on the idea of
God. At the lowest level of this middle ground thus stand statements, sentences and
the references that in part make up their understanding.

2 The Middle Ground’s Upper Bound

Frege’s logic thus represents an advance on the Aristotelian one, at least as the latter
is employed by Meillassoux; in a Fregean context, the argument Meillassoux makes
for the consistency of a radically contingent nature could not be countenanced. Frege
himself, however, in his own fashion, attempted to stabilize his logic’s lower bound,
to fix such references and thus his concepts’ identities, through a higher order regi-
mentation of these concepts’ objects.¹⁴ By attending to this facet of his project, the
limits of the upper reach of this middle ground emerge, and, with them, ultimately
the instability of both bounds. Frege’s attempt indeed fails; in its wake, it leaves mul-
tiple conceptualizations and a promiscuity of references that neither can be fixed
once and for all, nor have need of being such in order to operate. Instead, what is
being said (“is a horse”) ultimately can only be grasped in relation to what is
being talked about ‒ Secretariat, this part of a carousel, Mr. Ed ‒ by way of implicit
prior histories of talk! and of commerce with things, permitting them, talk! and
things, to emerge. Things, talk!, and their history, functioning together, allow all dis-
course, all talk!, ultimately from poetry to physics, to refer and to mean, with no sin-
gle aspect ever being stabilized or fixed on its own distinct terms.

 In Aristotle’s own thinking, it should be noted, these issues are more complicated, in part owing
to his categories, which have a different function than Kant’s, and his treatment there and elsewhere
of the upokeimenon (subject) and the todi ti (sometimes translated as the individual), as well as ul-
timately his handling of the notion of ousia (beingness or essence). For the former two, see Aristotle
1962, 15‒31.
 As discussed below, Frege also thought that the senses of sentences or propositions had their in-
herent stability as senses, or thoughts, as he came to term it. Nevertheless, his attempt to identify
concepts by way of their extensions proceeds without calling on this register and thus can be fol-
lowed out in its own right.
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 115

A more profound, because more modern correlationism, it should be noted, un-

derpins Meillassoux’s stance in After Finitude, in effect identical with that he criti-
cized above, in addition to the more classical correlationism Meillassoux evinces
when he reasons his way to his chaotic nature’s consistency as just sketched. This
second instance of correlationism is critical, since the limits of Frege’s thinking ap-
pear in it, as well as those of Meillassoux’s own. Meillassoux’s version of a more
modern correlationism ultimately exhibits why no upper bound to discourse or
talk! can be maintained, no decisive regimentation of talk! and its subject matters
promulgated, now that the fate of the lower, the word or the concept, has begun
to appear. Accordingly, its treatment completes the presentation of the middle
ground here in question by further depicting the concept’s silence.
In the wake of the foregoing, Meillassoux’s discussion of nature takes a still
more unexpected turn. Not only must that absolute chaos, radically contingent na-
ture, be consistent ‒ non-contradictory enough to be known. Nature must also not
appear to be actually changing, since genuine change would not just damage, but en-
tirely undermine, science’s claim to knowledge. Were nature actually to be evident
“becoming otherwise without reason,” to use Meillassoux’s words, obviously no
knowledge of nature in itself would be possible, assuming such a turn of events is
even conceivable (Meillassoux 2008, 53). Accordingly, to resolve this tension, after
arguing for radical chaos’s self-consistency, Meillassoux takes another step along
his presentation’s careening axis; this twist involves fending off what Meillassoux
calls Hume’s problem, albeit Hume does not make use of this consideration in the
manner Meillassoux indicates, and it has nothing to do with Kant, to whom Meillas-
soux also imputes it.
What Meillassoux dubs “Hume’s problem” asserts that were nature contingent
this fact must necessarily have revealed itself within a finite time (Meillassoux
2008, 85). Non-lawfulness would have had to become evident in the course of the
nearly innumerable experiences of nature had by human beings, based on a proba-
bilistic calculation. Hence, the argument as stated affirms nature’s conformity to law.
The supposition that nature’s inconsistency, did it exist, would stand forth, is
turned round by Meillassoux, then, to accomplish two goals. First, he uses it to ex-
hibit the character of his own notion of contingency, which will be more radical than
any randomness probability can calculate. Secondly, Meillassoux turns to Hume’s
framework to defuse the worry that nature might actually be encountered as varying
and thereby elude knowledge. Meillassoux, in engaging with Hume’s hypothesis,
thus will coin a contingency supposedly so radical that, when assigned to nature,
the latter has no need, nor even chance, of appearing as contingent at all.
To capture both characteristics of his absolute, which in every other context
would seemingly be in tension, Meillassoux turns to Cantor and set theory. Probabil-
ity, as Meillassoux points out, insofar as it is quantified, clearly makes reference to a
totality of possible instances: one out of a hundred, two out of ten thousand and so
on ‒ including in the thought experiment upon which Hume and Kant purportedly
rely. Accordingly, Meillassoux appeals to Cantor’s theorem, specifically as it yields
116 Joshua Kates

a transfinite number as the power set ‒ or number of subsets ‒ of the first order in-
finity of the rationals. Cantor famously showed that the set of the reals so derived
(including numbers such as pi, the decimals of which expand without repeating)
consists in a higher-order infinity than the infinity of the integers, one that he
deemed “transfinite.” Meillassoux suggests that the randomness of nature would
be of this second, uncountable, non-totalizable order.¹⁵ Nature’s contingency thus
corresponds not to any possible count, not even the first order infinite of the integers,
but to the next infinity up, a transfinite infinity, on the order of the real numbers,
themselves intrinsically uncountable.
With contingency conceived in this fashion, as answering to the transfinite, it
then becomes thoroughly possible, in effect necessary, that the randomness applica-
ble to nature would never appear. Numerous, paradoxical results, after all, can be
derived from the transfinite, such as the ability to construct from a single sphere
two spheres of the exact same size with nothing missing from either.¹⁶ Natural events
for Meillassoux would be similarly transfinitely random, and thus would have noth-
ing missing from their consistent appearances. Their randomness, conceived in terms
of the transfinite, would not appear even within the sum of things and events belong-
ing to the knowable spatio-temporal known universe, since the latter is at most
countably infinite like the rationals.
Now the most important feature of Meillassoux’s argument, in the present con-
text, is that his entire construction hinges on an historical divergence between set
theory and Frege’s project, in which the limits of Frege’s project, as well as set theo-
ry’s, make themselves felt. That difference also lets Meillassoux’s own correlation-
ism, identical to that he otherwise denounces, be grasped.
The ability of set theory, of mathematical logic to build on itself, to spawn these
infinities upon infinities of different orders, in the manner Meillassoux exploits, in-
deed stands in contrast to the fate of Frege’s logic and his nascent philosophy of lan-
guage. As is well-known, Frege’s program, his attempt to forge a logical formalism
able to generate the totality of modern mathematics with the exception of geometry,
ran into what become known as Russell’s paradox. In the face of Frege’s regimenta-
tion of functions, his attempt to move from first to second-order functions and their
corresponding extensions, and consistently on up, Russell invented a novel higher-
order function, or concept, ranging over lower-order extensions: that of extensions
that do not include themselves as members. The extension of this same function
would fall under this concept, then, only if it did not fall under it, and vice versa ‒
an outcome obviously not sustainable within a logical deductive system. Though
seemingly technical and even contrived, Russell’s paradox showed that extensions

 “We will retain the following translation of Cantor’s transfinite: the (quantifiable) totality of the
thinkable is unthinkable. Accordingly, the strategy for resolving Hume’s problem can now be stated”
(Meillassoux 2008, 104).
 For a relatively deep, yet accessible “dive” on this possibility known as the Banach-Tarski para-
dox, see Kaseorg 2007.
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 117

could not always be made into objects, into arguments of other functions, as Frege
had supposed, nor could one, then, freely generate new higher-level functions and
“move up the ladder,” in the way Frege envisioned to lay the basis for his definition
of the numbers.¹⁷
Now what tends not to be recognized in contemporary philosophical appropria-
tions of set theory, in particular Meillassoux’s, is that the very same paradox that
Frege confronted and failed to resolve, as well as some others, also affected the
first versions of set theory that Cantor framed. Russell in fact had studied Cantor’s
work, and initially established his paradox with an eye to his theory. Moreover,
Ernst Zermelo, of Zermelo-Frankel (or ZF, the now standard formalization of set theo-
ry), discovered virtually the same issue as Russell in his own examination of Cantor’s
early writings. Zermelo’s axiomatization of set theory, later fine-tuned by Frankel,
was thus designed to avoid precisely the same paradoxes to which Frege’s logicism
fell prey. Though Zermelo’s attempt is widely considered successful, nevertheless, to
achieve his goals, Zermelo had to pay a price. To avoid the issues Frege and Russell
confronted, Zermelo’s axiomatization of set theory made it impossible to generate
sets in some situations where that possibility intuitively should be available (for ex-
ample, when all the members in question, originally found in different sets’ subsets,
fall under a single function, thus disallowing sets, such as Russell’s, composed of
sets not members of themselves).¹⁸ Similarly, it is impossible in Zermelo’s theory
to speak of all sets, the set of all sets or the so-called universal set. There is not
one function or concept under which all set theory’s sets fall. Accordingly, the set
as such cannot be defined within set theory itself (which was also true of Russell’s
formalism in his Principia, as Gödel noted). Axiomatized set theory indeed by design
cannot provide a univocal notion of a set. Instead, its axioms define what counts as a
set and what does not by way of the operations that can be performed upon it, re-
maining silent about what this notion everywhere designates, as well as the original
collections, afforded by broader domains of discourse, from which sets are first gen-
erated.
With an eye to these stipulations and restrictions, Meillassoux’s way of proceed-
ing at the moment he turns to Cantor and set theory is, then, correlationist in his own
original sense. In the formalism on which Meillassoux depends, “set” itself has no

 Russell’s own revision of Frege’s project, in his Principia Mathematica, written with Whitehead,
used what was called the theory of types to avoid these difficulties ‒ types being assigned to concepts
and to value-ranges to restrict them to their own levels. This strategy, in turn, encountered Gödel’s
proof, based on the Principia’s formalism, that both consistency and completeness were never attain-
able in complexly ordered logical systems, thereby bringing the logicist program in mathematics to its
end. Chapter seven of Joan Weiner’s Frege Explained gives a strong and accessible account of the
problems Frege’s philosophy of arithmetic encountered (Weiner 2004, 115‒126). See also chapters
five and six of Hans Sluga’s Frege: The Arguments of the Philosophers (Sluga 1999, 102‒148).
 This feature follows from Zermelo’s Axiom of Separation; for a discussion of it and the following
claim, the paradoxes attendant upon the positing of a “universal set,” see Hallett 2013.
118 Joshua Kates

isolatable semantic value, no single meaning, concept, or function belonging to it. At

the same time, nature in itself as purportedly transfinitely contingent can only be
spoken about at all thanks to this otherwise empty scheme. The nature Meillassoux
has in mind cannot be designated as such apart from this formalization. Accordingly,
neither nature (being) nor thought (the set) at this moment have any standing apart
from one another. Neither access to radically contingent nature in itself nor to the set
as such is available in Meillassoux’s account, only to their correlation ‒ in conform-
ity with the definition of correlationism Meillassoux himself initially gives.
Meillassoux at this moment in After Finitude, then, practices correlationism ex-
actly as he defines it, something which I would argue is also true of Alain Badiou’s
work.¹⁹ Accordingly, the question posed of whether correlationism can be imputed to
the present paper’s stance returns. If Meillassoux cannot avoid correlationism, both
of a pre-Kantian variety (as in the first, syllogistic, instance) and a post-Kantian one
(as just reviewed), no alternative to some version of this position may exist. At the
same time, a different arrangement may perhaps better retain Meillassoux’s original
commitment to realism than Meillassoux’s own thinking, and to this extent no longer
deserve the correlationist label.
To sketch this alternative possibility, the limits of Frege’s project that have begun
to be glimpsed must be further set forth and this middle ground more fully laid bare.
The paradox that Frege stumbled over, and that set theory subsequently found ingen-
ious ways to circumvent, shows how this middle region is open-ended on its upper,
as well as its lower bound. In fact, neither extreme being possessed of stable, defin-
able elements, the two openings ultimately are one.
Concepts or functions, inherently incomplete and unsaturated, are to be identi-
fied for Frege, as has been noted, by their extensions, through all those instances
that fall under them, all the arguments that make them true. This confidence,
which implies a vertical construction of higher-order functions and value-ranges,
cannot be wholly sustained, as has just been witnessed. The inherent instability of
functions and concepts, in turn, ripples back on to the statements wherein they op-
erate, ultimately leading to the demand that something other than expression, some
thing or worlded subject matter, buttress each sentence’s operation.
Statements are all the more unstable, and some sort of worldly factor are thus
required to support them, moreover, since statements encounter problems of their
own with maintaining their identity as construed by Frege. Frege deems statements
closed, complete, and autonomous, as he also does the names found in them. For

 Badiou’s Being and Event, of course, rests on a sustained appropriation of set theory. That work
never appears to me to aim at genuinely mathematical, set-theoretical rigor, but to use set-theory in-
stead as a kind of philosophical allegory, as attested by Badiou’s unorthodox treatment of the null
set, and it is thus correlationist from the ground up. (On the null set, see Badiou 2005, 68 and
90). Ricardo L. Nirenberg and David Nirenberg have, in any case, contested Being and Event’s claims
to rigor, were it to make them, in their “Badiou’s Number: A Critique of Mathematics as Ontology”
(Nirenberg and Nirenberg 2011).
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 119

Frege, both the statement and the name possess reference (what would make the
statement true, and in the case of the name, the object named) and a sense
(which Frege later called the “thought”). Frege could treat concepts as he did in
part because the statements in which they function are understood in terms of
these supposedly autonomous meanings and senses, and thereby viewed, to this ex-
tent, as independent.²⁰
Statements and names possess self-subsistent ideal senses for Frege, a notion
Meillassoux surprisingly at one moment himself credits.²¹ This construal, which
later is overtaken in analytic philosophy by the attempt simply to formalize the se-
mantics of statements, in both versions ultimately proves unsuccessful, however.
For one thing, indexicals, such as “I” or “here” or “now,” with their inherent seman-
tic incompleteness, their lack of stable meaning in respect to what they designate,
are never able to be entirely subtracted from the equation; no construal of the state-
ment can wholly factor out their operation, especially when it comes to naming and
names.²² “I” or “this” always involves an expression’s context and thus provides no
meanings that can simply be lifted out of it and stand alone, even if there may be
rules for generating other sorts of significations (turning “I” into “Josh,” for exam-
ple). In addition, statements may appear in what are called indirect contexts, within
reports about a speaker’s beliefs or other attitudes. The truth of the latter, however,
vary from the truth or falsity of the statement when it stands alone, thus raising the
question of how their own semantics are to be understood.
“Johnny believes Flipper is a fish,” to take an example, obviously may be true
even when “Flipper is a fish” is false. Frege, accordingly, attempts to distinguish ref-
erences and senses in the two cases. Specifically, he claims that the embedded state-
ment (“Flipper is a fish” appearing in “Johnny believes that Flipper is a fish”) has for
its reference the meaning of this same statement when it stands alone. In this case,
when embedded, the reference of “Flipper is a fish” is not Flipper and his possible
fishiness, but the meaning of the statement that speaks of such. But if this is so, what
this statement’s own new meaning is in this context (what “Flipper is a fish” means
when it appears in “Johnny believes that Flipper is a fish”) seems inexplicable. If its
old meaning becomes its new reference, what meaning can this expression now em-
bedded in the new statement have? Alternatively, if it has no meaning, as some com-
mentators suggest that Frege came to believe, how can a statement contain referen-
ces without meaning, yet still be capable of independently being adjudicated true or
false?²³

 For the relationship between sense, reference, and “thought,” see, respectively, Frege 1997a and
Frege 1997b.
 Meillassoux affirms that “generally speaking, statements are ideal insofar as their reality is one of
signification” (Meillassoux 2008, 12).
 On indexicals and these issues more broadly, see Kates 2015.
 Sluga somewhere suggests that Frege eventually came to believe that they lacked all meaning ‒
how that suggestion would work, however, clearly presents a conundrum (Sluga 1999).
120 Joshua Kates

In Frege’s account, then, the instability of concepts ultimately combines with the
instability of statements, the latter being the contexts in which concepts themselves
are found. As a result, statements do not close on themselves, nor can names be as-
signed fixed senses and references. No regimentation can organize once and for all
concepts, extensions, and their various levels. Accordingly, the project of treating
what is said, discourse, in separation from its background, from the actual contexts
it operates in, including those things and subject matters talked about, cannot itself
be maintained. Frege’s model at both its upper and its lower reaches frays, yielding a
continuum of understanding and insight, wherein not just concepts, but sentences
and names must recur to other instances of their use to articulate what they say
and mean, in a fashion that also requires attention to the referents in question, to
these expressions’ subject matters.
Indeed, it follows from Frege’s failure that ultimately neither what a statement
says nor whether it may be true can be known without acquaintance with other in-
stances of talk!, as well as with what is being talked about, instances which neces-
sarily in part recur to the speaker’s and the hearer’s history. Once Frege’s stipulations
cease to hold sway, to understand both what “Flipper is a fish” expresses, as well as
whether it is true or false, attention must be paid at once to the fact that it is little
Johnny who says it, and to the matter being talked about (“Flipper” in context
could be the name of his dog who has just jumped in a fountain), as well as other
related expressions (“sushi is fish”) and topics (whales, porpoises, tuna, their habits
and habitats), yielding not an intentionalism, but a triangulation across differing di-
mensions, all of which are in motion. In a similar vein, at the present juncture, phys-
icists can identify and generate new subatomic particles on the basis of particle
physics’ current theorizations, though these theories include problems, the resolu-
tion of which may change the contents and character of these observations them-
selves. Both aspects, what is observed and what is theorized, are correlated with con-
texts, and hence also with where researchers stand within this discursive middle
ground. What Frege would call the concept and the world are both in play, and
with them come what is said and what is being talked about and their history.
Leeway, to be clear, remains for truth, ultimately construed as an irruption from
elsewhere, since these statements’ very articulations, their ability to express any-
thing at all, are deemed impossible in isolation from referents and the world.
Hence, no construction of what exists by thought or speech is here in question. As
a result, the present conception, unlike his own, avoids what Meillassoux calls cor-
relationism, at least to this extent. While no “view from nowhere” here takes hold ‒
that pre-Kantian correlationism toward which Meillassoux at times backslides being
rejected, indeed owing to understanding’s finitude ‒ on the present account things
and their determinations can and do meet us from unexpected directions of their
own devising. Thinking and being follow different careers, even as they also inter-
sect.
Having arrived at this middle ground, some of its implications for literary stud-
ies, finally, may be briefly unfolded. This ground and its corresponding hermeneutic
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 121

view of truth (hermeneutic solely in that things’ unfoldings and their understanding
and expression are always preceded by prior episodes of each), both imply facticity,
not in some perhaps fanciful Kantian sense, but in Heidegger’s. Facticity indicates
that world ‒ understood as a pre-existing nexus of things and understanding ‒ pre-
cedes each individual instance of expression and any encounter with specific exis-
tents. On existence and existents holistically conceived, a genuinely wild, because
never fully apparent, real, in turn, will have already left its mark. Owing to facticity,
persons have always already been handed over to a world already there in a way that
entails that the finitude of understanding has a supra-finite, or indeed in a different
sense than Cantor’s, transfinite real as its correlate. While thought has always been
tethered to a world in Heidegger’s holistic and practical sense, a transfinite real ‒ the
ultimate reference of what Frege called the true ‒ has also previously left its mark on
this arrangement. Facticity thus pertains not just to the individual persons who come
upon the scene, but to this entire matrix. The backgrounding thereby afforded, in
which the real has always already been taken up, in turn, lets the difference between
what is and what is said be maintained, while honoring their mutual yet differing
intelligibility, yielding at once a confluence and divergence of thought and things.
Facticity, in short, on the present account, enables a (non-naïve) realism.²⁴ In
turn, as so conceived, reality and the real prove capacious enough for literature, lit-
erary criticism, the arts, and the humanities to field insights and truths on their own
terms. Any final, stable one-to-one correspondence between statements and their
subject matters having ceased to be in question, while the statement as such is no
longer privileged, multiple modes of expression and their corresponding insights
can now be seen to operate. In these instances, too, the real precedes any given ar-
ticulation, it overflows every context, while also giving itself in them. Accordingly,
literature and criticism, as well as the arts and humanistic disciplines can have an
eye to their subject matters and pursue their concerns with an aim at some sort of
truth, while drawing on their own various traditionalities or historicities, articulating
understandings in their specific fashions, albeit these are never determinative in ad-
vance of what transpires in any given instance.
Indeed, statements, descriptions, and reports never speak apart from their im-
mersion in larger contexts of utterance and understanding, owing to their appurte-
nance to the middle ground here in question. Literature, criticism, and the human-
ities, however, regularly bring just such larger contexts forward and explicitly make
them parts of their own talk! The complex dimensionality inherent in this middle
ground, which allows for, rather than checking, insight (without feigning to escape
its own temporally conditioned existence) in our disciplines explicitly enters into un-
derstanding texts, posing problems, disclosing truths, and/or generating new feel-

 Hence on the present view, fossils, to take Meillassoux’s example, can be, and also can be fossils.
That fossils would have existed had human beings not sprung up hundreds of millions of years or
even billions of years after their formation, no one actually doubts. The understanding that fossils
exist, however, would not, of course, itself exist under these same circumstances.
122 Joshua Kates

ings and sensibilities. Humanistic instances and their understanding uniquely fore-
ground their own embeddedness and implicit traditionality, though the possibility
for this sort of scrutiny inheres in all discourse or talk!
On the present account, inquiry and truth, are not only broadened, then, extend-
ed to the arts and humanities, but turn out to be filiated, funiculated, organized in
strings, temporal and historical. This middle ground’s lack of closure entails that
every insight or problem or achievement emerges in a discourse already begun, mak-
ing possible going back over its articulations, in respect to its subject matters and its
expressions.
Accordingly, in question can never be “science,” or “nature,” but some develop-
ment (information theory, gene splicing) broached from out of an ultimately tempo-
ral aggregate of sayings, texts, and subject matters that can be gone over with an eye
to a question and a future understanding. Similarly, what is necessary for the sorts of
truths the humanities and literary criticism usually convey are not considerations
pertaining to structures and forms (as surface reading and other contemporary crit-
ical moments also suggest), nor even networks or zones of interpenetration and in-
determinacy.²⁵ Instead, attention must be paid to the relevant historicities, by way of
discursive threads themselves convened on occasion and oriented by situated prob-
lems, questions, affects, and other styles of understanding. Literature and criticism
and other humanistic disciplines must pursue questions and discoveries (as here
concerning the relation of set theory to semantics, or in other instances, evolving
types of narration or the formation and understanding of race or gender) by giving
due weight to the different traditions of understanding at play in such talk! In
these contexts, themselves reconvened with reference to the questions at issue,
and thus in their own fashion in part always novel and unprecedented, such prob-
lems and subject matters, as well as others, can be explored; only there and then
can insights about our situation, and perhaps also at times remedies for it, be dis-
cerned.
Inquiry and insight always occur at concrete crossroads, at once both not, and
of, the critic’s own making. Discovery/invention of this type, moreover, operates
alike in poetry and science, philosophy and literary criticism, mathematics and
legal scholarship, where researchers at once understand and innovate from within
a situation both intellectual and worldly that they must also in part project, owing
to their work’s ultimately futural orientation. Of course, the view here on offer of
such achievements is not necessarily the one found in such sayings themselves:
poems, theories, theorems, literary criticism and so on. This middle ground, entailing
the historicity of all understanding, nevertheless can be traced at work in all of these
and other discursive achievements, and thus the silence of their concepts.

 On surface reading, see Best and Marcus 2009; Latour, of course, is the prime progenitor of actor-
network theory, or ANT. For an interrogation of his program, see Kates 2017.
 The Silence of the Concepts (in Meillassoux’s After Finitude and Gottlob Frege) 123

What does all this concretely imply for literature and literary studies, then? Nei-
ther the upper nor the lower bound holding, the middle ground here sketched being
all there is, in the end, it is fair to say that all speech effectively is literary speech: all
talk! involves a new sighting, an attention to some, as in part still undetermined,
subject matter, along with inviting, if not always necessitating, an eye to the
means and medium of that subject matter’s articulation on a given occasion. Other-
wise stated, judgement, critique, is poetic; it inevitably involves poeisis, a kind of
making, not of its subjects, but their understanding. The reverse, however, also is
the case. To affirm that all speech is literary, after all, equally implies that none is,
that neither literature nor literary criticism ultimately stand apart from any other
sort of talk!
Schlegel himself perhaps had in mind a similar collapse of these distinctions
when he spoke of poetic critique. At the very least, Schlegel indicates that literary
speech may comment on other speech. The context of his remark concerns the ca-
pacity of one work (in this case Goethe’s Wilhelm Meister) to speak about another ‒
here Shakespeare’s Hamlet (a discussion and then production of which is presented
in Books III and V respectively of Goethe’s novel). For Schlegel, however, unlike in
the present instance, such retroactive potentiating of one work by another, ultimately
gives access to the aesthetic in its specificity, in its purported difference from the re-
mainder of understanding. It makes available a so-called literary absolute descended
from, but not identical to Kant’s setting out of the free play of our faculties in his Cri-
tique of Judgement.
In the present instance, however, aesthetic experience is no more subjective or
objective than any other; correspondingly, the distinction between that experience
and other sorts, and thus between literature and other discourses is not structural
or fundamental in Schlegel’s sense nor an alternative one. The difference between
literary talk! and other sorts is instead a matter of quantity, pertaining to the degree,
not to the kind, of attention paid to how what is said is said and to who is speaking,
alongside what is being talked about and the insertion of all three into an ongoing
sequence or tradition or historicity.
Accordingly, for the present approach, innovations in media (in lyric poetry,
drama, or the novel), which Kant took to be the work of genius, can never be sepa-
rated from their subject matters. As is readily evident in Thomas Pynchon’s early
works or in some of Gerhard Richter’s paintings, new views of a subject and new
means of presenting it mutually enable one another. The medium draws attention
to some phase of existence and presents it anew, in Pynchon’s and Richter’s case
this aspect often being an historical occurrence (in fact sometimes the same one,
the second world war). In turn, concern with grasping that occurrence or some
other subject matter permits innovations to be forged within their respective artistic
traditions ‒ as in Richter’s blurred paint, or Pynchon’s discovering in the molecule
responsible for a banana’s aroma a new model for his prose.
Poets, literature, the literary and the aesthetic are thus neither the antennae of
the race, nor a transcendental clue to human existence and its self-understanding.
124 Joshua Kates

They do not accede to a realm apart, whether painted paradise or hell. These dis-
courses and endeavors instead work with the same tools of which the rest of us dis-
pose. This fact has never, nor does now, however, prevent literature and the other
arts from unearthing valuable nuggets, providing flashes of illumination at once
on what is and how we understand it ‒ insights that critics, thinkers, readers, and
society must both potentiate and heed.

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