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The Mountain Goats Book Club

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February

5: John Darnielle's Anti-Tragedy: "The Recognition Scene" by the Mountain Goats

6: Romance of the Useless Key: "Third Snow Song" by the Mountain Goats

8: The Fire of Love: "Sept 19 Triple X Love! Love!" by the Mountain Goats

12: Religious Stubbornness: "Pure Gold" by the Mountain Goats

14: Where Is My Mind: "Going to Port Washington" by the Mountain Goats

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Confined to all of it

Pseudonoma has some very good questions in response to yesterday's contextualization of the Wittgensteinian mantra, "The limits of my language are the limits of my world." You may recall that I referred this statement back to the opening statement of the work in which it appears: "The world is all that is the case." Here's part of Pseudonoma's response: How can a whole be MERELY that which divides into parts? Are we not somehow obliged to account for this prior unity as such? And if, at bottom, propositions are (or even merely signify ---feel free to clarify which--) "what is the case, that is, parts of the world", then what are we to call that "language" which refers to the world and which would otherwise SEEM identical in form to the proposition? Or in other words, how are we to define a proposition if the assertion "The world is not something 'about which' propositions are formed" is not a proposition. And finall...

[In religious rituals and in the proclamation of the Word in preaching], "being present" means genuine participation in the redemptive event itself. No one can doubt that aesthetic differentiation--attending to how "beautiful" the ceremony was or how "well preached" the sermon--is out of place, given the kind of claim that is made on us. Now, I maintain that the same thing is basically true when we experience art. Here too the mediation must be thought of as total. Neither the being that the creating artist is for himself--call it his biography--nor that of whoever is performing the work, nor that of the spectator watching the play, has any legitimacy of its own in the face of the being of the artwork itself. As a lover of poetry and in particular of poetic drama, I am in complete accord with this saying of Gadamer in Truth and Method . But as a religious being searching for piety, I cannot understand how the anxiety does not arise for Gadamer which his r...

Introduction to Wittgenstein's Secular Demonology

Is this the sense of belief in the Devil: that not everything that comes to us as an inspiration comes from what is good? I wonder what moved Wittgenstein to venture this formulation. It seems calculated to make viable an integration of pious caution with the bold impiety of the age. The atheist who believes in demons would be like the good architect according to Wittgenstein's earlier remark: Today the difference between a good and a poor architect is that the poor architect succumbs to every temptation and the good one resists it. But what is the point of treating the moderation of a secular progressiveness as "belief in the Devil," even when the Devil has nothing to do with it? Is this a secularization theory, claiming that even hard-nosed materialists may secretly still believe in the devil? Or a theory of consequential equivalence, claiming only that we might as well say they believe? Or is there yet another possibility, that "Devil" never meant anything ot...

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