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xiii Acknowledgments I am greatly indebted to the many friends and colleagues without whose support I never would have been able to elaborate, let alone complete, this project. Especial thanks are due to Ruth Abbott, Vincent Broqua, Olivier Brossard, Virgil Brower, Jamie Castell, Nick Chapin, Lizzy Coles, Jonathan Culler, Peter De Bolla, Rosalind Delmar, Amanda Dennis, Alexander García Düttmann, Daniel Jean, Abigail Lang, Drew Milne, Cecily Nowell-Smith, Geoffrey Nowell-Smith, Ian Patterson, Neil Pattison, Liz Pender, Seth Perlow, Paul Volsik, Lola Wilhelm, Ross Wilson, and Jarad Zimbler. My thanks also to the president and fellows of Queens’ College, Cambridge, and to the Institut Charles V, Université Paris VII—Denis Diderot , for the many years during which they provided me with intellectual and financial sustenance. This book and the thinking out of which it has arisen have benefitted immeasurably from the conversation with and friendship of Ben Etherington and Ewan Jones over a period of many years now, as well as from the attentive and patient reading of Christopher Fynsk and Paul Hamilton at an early stage, and later on from my anonymous readers at Fordham. I should also like to thank Thomas Lay at Fordham University Press and Michael Koch for the great meticulousness they have shown in making the manuscript presentable for general consumption. My greatest debt, however , goes to Simon Jarvis, whose guidance and generosity pervades each of the following pages. xiv ■ Acknowledgments This vast array has made Sounding/Silence a better book than it would otherwise possibly have been; the failings that remain are, needless to say, my own. Elements of Chapters  and  appear in “The Art of Fugue: Heidegger on Rhythm,” Gatherings: The Heidegger Circle Annual  (): –; a programmatic summary of some of the book’s major claims appeared as “Sounding/Silence” in Gatherings  (): –. An early and abridged incarnation of Chapter , entitled, like the chapter itself, “Heidegger’s Figures,” appears in Textual Practice , no.  (): –; material reused in the introduction was first published in “The Poetry-Verse Distinction Reconsidered,” Thinking Verse I (): –. I would like to thank the editors of these journals for allowing me to republish this work here. Similarly, I would like to thank Pierre Joris for the permission to reproduce his translation of Paul Celan’s “Schieferäugige” (Slate-eyed One), from Breathturn (New York: Sun and Moon Books, ), –. ...

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