Do literary conditions have their own forms of entitlement? Would such conditions—say, Wittgenstein’s particular scene-setting, thought experiments, aphorisms, and dialogues—amount to an alternative form of justification? Could a tactful or artful (or beguiling or captivating or worrisome) ordering of words—what we might simply call a style—itself generate the criteria for claiming? How exactly can, as Cavell puts it, “an ordering of words [be] its own bottom line, [and] see to its own ground?”
Welcome to the opening of the Tank, into which we drop a published work or a work-in-progress (or some piece of one or the other) and see what happens when the water starts churning. In our first installment, Oren Izenberg steps into the water.