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with Derrida, too, criticism and creation are intertwined. This is most evident in his masterpiece, Glas, a work that needs to be seen rather than summarized. Though supposedly a commentary on Hegel and Jean Genet (an outrageous juxtaposition if there ever was one), it says nothing--in the usual sense of commentary--about these two writers.

Foucault's histories,then, are fictions. They are explicitly not representations of the literal truth concerning the past. They do not aim to portray the past 'as it actually was.' On the contrary, they have a myth-making function.

Heidegger had become a herald of absolute crisis, a prophet of extremity. [...] In Heidegger's universe, there is a rift, a fissure, an abyss. Out of the rift comes art, conceived as a Stiftung, as an entirely new founding or establishing. Negative and positive go together. The complete degradation of the extant world--its Nichtigkeit--prepares the ground for an aesthetic creation ex nihilo.

between unheimlichkeit on the one hand and, on the other, the tranquilized condition that characterizes Dasein in its everydayness, the 'not at home' must, from 'an existential-ontological point of view,' be regarded as 'the more primordial phenomenon.'

The jargon-ridden ponderousness of so much of Heidegger's work contrasts sharply with the lightness, ease, and spontaneity that we so often find in Nietzsche. 'As Heidegger wittily remarks in the fifth chapter of Being and Time...' is a sentence that will never appear in print.

we [operate on] Apollonian illusion, accepting 'image' or 'discourse' as adequately conveying reality without pursuing them down to their real ground. The problem with Nietzsche's position is that this tends to become a permanent condition, unchecked by critical effort of thought or by any attempt to measure image against reality (hence the failure of latter day Nietzscheans to explain [the] 'death of God').

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