These are the Aquinas Lectures for 1993 given at Marquette University by Jesuit priest W. Norris Clarke. There is an Introduction, two main sections, and ten chapters, including "The Meaning of Person" and "The Problem of Evil".

Part I: Reprinted articles -- Twenty-fourth award of Aquinas medal by the American Catholic Philosophical Association to W. Norris Clarke, SJ -- Interpersonal dialogue : key to realism -- Causality and time -- System : a new category of being -- A curious blind spot in the Anglo American tradition of antitheistic argument -- The problem of the reality and multiplicity of divine ideas in Christian neoplatonism -- Is the ethical eudaimonism of Saint Thomas too self-centered? -- Conscience and (...) the person -- Democracy, ethics, religion : an intrinsic connection -- What cannot be said in Saint Thomas's essence-existence doctrine -- Living on the edge : the human person as frontier being and microcosm -- The metaphysics of religious art : reflections on a text of Saint Thomas -- Part II: New articles -- The immediate creation of the human soul by God and some contemporary -- Challenges -- The creative imagination : unique expression of our soul-body unity -- The creative imagination as treated in western thought -- The integration of personalism and thomistic metaphysics in twenty-first-century Thomism. (shrink)

This book is a revised and expanded edition of three lectures delivered by the author as the centerpiece of a symposium on the philosophy of God at Wake Forest University in 1979. Long out of print, in its new edition it should be a valuable resource for scholars and teachers of the philosophy of religion. The first two lectures, after a critique of the incompleteness of St. Thomas Aquinas's famous Five Ways of arguing for the existence of God, explores two (...) lesser-known resources of Aquinas's philosophical ascent of the mind to God. The first is the unrestricted dynamism of the human spirit, both intellect and will, reaching toward the fullness of being as both true (i.e., intelligible) and good. The second is the strictly metaphysical ascent to God from finite to infinite, in the line of Aquinas's later, more Neoplatonically inspired, metaphysics of participation. The third lecture is a critique of Whitehead's process philosophy. It asks: Is process philosophy compatible with Christian theism? This article is heavily revised from its earlier version, distinguishing Aquinas more sharply and critically from Whitehead than in the first edition. (shrink)

What is law? How is legal responsibility defined? How does law reflect moral judgment? Why are law's definitions uncertain and conflicted? Basic questions for liberal law and criminal justice - what could they have to do with the forgotten historical figure of the Beautiful Soul? Starting from concrete legal issues, Alan Norrie develops a critical vision of law in its relation to morality and socio-historical context. Liberal law, he argues, is marked by splits and contradictions (antinomies), signs of something missed. (...) Traced historically, such conflicts can be read today in law's treatment of legality and justice, judgment and responsibility. A critical understanding must also be self-critical. From splits in law, Norrie moves to the split in critique: between its socio-historical and ethical forms. Drawing on critical realism and deconstruction, on the dialectics of Hegel, Adorno and Bhaskar, he argues for a form of critical thought that is at once historical and ethical. Thinking critically about critique finally leads to the Beautiful Soul, and its unexpected relation to law. These essays will be of interest to academics and advanced students of legal theory; criminal law, criminology and criminal justice; law and social theory; and critical legal studies. (shrink)

This book addresses the retributive and "orthodox subjectivist" theories that dominate criminal justice theory alongside recent "revisionist" and "postmodern" approaches. Norrie argues that all these approaches, together with their faults and contradictions, stem from their orientation to themes in Kantian moral philosophy. He explores an alternative relational or dialectical approach; examines the work of Ashworth, Duff, Fletcher, Moore, Smith, and Williams; and considers key doctrinal issues.

Introduction: Natural necessity, being, and becoming -- Accentuate the negative -- Diffracting dialectic -- Opening totality -- Constellating ethics -- Metacritique I : philosophy's primordial failing -- Metacritique II : dialectic and difference -- Conclusion: Natural necessity and the grounds of justice : natural necessity as material meshwork.

With the advent of the newest technologies, it is necessary for engineering to incorporate the integration of social responsibility and technical integrity. A possible approach to accomplishing this integration is by expanding the culture of the engineering profession so that it is more congruent with the complex nature of the technologies that are now being developed. Furthermore, in order to achieve this expansion, a shift in thinking is required from a linear or reductionist paradigm (atomistic, deterministic and dualistic) to a (...) nonlinear paradigm (holistic, chaotic and subjective). Three aspects of such a nonlinear paradigm (holism, transparency and responsiveness) enable an engineer to shift from “applying ethics” to “being ethical”. This culture change can be a basis for developing new curricula to satisfy the ABET-2000 requirements as well as for the practice of engineering in the 21st Century. (shrink)

William Norris Clarke, S.J., one of the leading Thomist scholars in the United States, came to the Philippines recently and delivered a series of lectures in the Ateneo de Manila University and the University of Santo Tomas on various philosophical topics inspired by the thought of St. Thomas. Fr. Clarke is now a Professor Emeritus of Philosophy in Fordham University. He was co-founder and editor (l961-85) of the International Philosophical Quarterly and is the author of some 60 articles, (...) plus the following books: The Philosophical Approach to God, The Universe as Journey, Person and Being, Explorations in Metaphysics: Being—God—Person, and The One and the Many: A Contemporary Thomistic Metaphysics (Fall, 2000).He continues to fulfill his mission of propagating the thoughts of St. Thomas—-the “creative retrieval of St. Thomas,” as he puts it—-in and out of the U.S.An brief excerpt from this interview was originally published in Budhi: A Journal of Ideas and Culture1/3, 1997. (shrink)

This book was written with a view to sorting our some of the muddles and misreadings - especially misreadings of Kant - that have charaterized recent postmodernist and post-structuralist thought. For these issues have a relevance, as Norris argues, far beyond the academic enclaves of philosophy, literary theory, and cultural criticism. Thus he makes large claims for the importance of getting Kant right on the relation between epistemology, ethics and aesthetics; for pursuing the Kantian question 'What is Enlightenment?' as (...) raised in Foucault's late essays; or again, for recalling William Empson's spirited attempt to reassert the values of reason and truth against the orthodox 'lit crit' wisdom of his time. These are specialized concerns. But for better or worse it has been largely in the context of 'theory'- that capacious though ill-defined genre- that such issues have received their most scrutiny over the past two decades. As its title suggests, The Truth About Postmodernism disputes a good deal of what currently passes for advance theoretical wisdom. Above all it mounts a challenge to those fashionable doctrines - variants of the 'end-of-ideology' theme - that assimilate truth to some existing range of language-games, discourses, or in-place consensus beliefs. Norris's book will be welcomed for its clarity of style, its depth of philosophical engagement, and its refusal to endorse the more facile varieties of present-day textualist thought. It will also serve as a timely reminder that the 'politics of theory' cannot be practised in safe isolation from the politics of activist social concern. (shrink)

In this essay I provide a reading of Ridley Scott's Blade Runner that focuses upon the question of the kind of creatures the Replicants are depicted as being, and the meaning that depiction should have for us. I draw upon Stanley Cavell's account of the problem of other minds to argue that the empathy test is in fact a mode of resisting the acknowledgment of others. And I draw upon Martin Heidegger's account of authenticity and mortality to argue that this (...) acknowledgment is crucial if one would become human. The film does not so much suggest that Replicants are, as such, human, but rather that humanity is won through the encounter with the inauthentic. (shrink)

An account is given of Roy Bhaskar's conception of causal necessity in order to provide an objective measure for Williams' criticisms of critical realism. In light of this account, Williams' criticisms are found to fail. The reply finishes with an alternative, critical realist account of the ontological basis of probability.

How does the human animal who thinks and loves relate to criminal justice? This essay takes up the idea of a moral psychology of guilt promoted by Bernard Williams and Herbert Morris. Against modern liberal society’s ‘peculiar’ legal morality of voluntary responsibility, it pursues Morris’s ethical account of guilt as involving atonement and identification with others. Thinking of guilt in line with Morris, and linking it with the idea of moral psychology, takes the essay to Freud’s metapsychology in Civilization and (...) Its Discontents. Two conflicting routes to guilt are noted in Freud, one involving internalisation of external anger to suppress destructive instincts, the other loving identification with others in the process of self-formation. This second route is developed through the psychoanalytic thought of Hans Loewald and Jonathan Lear. Following Loewald, the moral psychology of self-formation makes loving identification with others the root of responsibility, guilt and atonement. Following Lear, the moral psychology of guilt developed on these lines renders psychoanalysis part of a broadly understood philosophical project following Aristotelian and Socratic principles. Underlying Morris’s account of guilt is the possibility of ‘prospective identification’, understood as the moral and psychological ground of guilt and reconciliation. This is the rational core of criminal justice, which maintains an uneasy relationship with law’s ‘peculiar’ morality. (shrink)

Christopher Norris DERRIDA AT YALE: THE "DECONSTRUCTIVE MOMENT" IN MODERNIST POETICS IN seven types of ambiguity, William Empson breezily remarked of his critical method that it was "either all nonsense or all very startling and new." The reactions went very much as Empson predicted, with a whole new school of criticism eagerly latching on to the idea of multiple meanings in poetry, while the sober-sided scholars indignantly attacked his wayward "misreadings" and flagrant anachronisms. At present, there is a (...) similar controversy raging around the figure of Jacques Derrida, whose influence on literary critics—mainly the Yale school of Geoffrey Hartman, Harold Bloom and J. Hillis Miller— occupies the forefront of debate in current theoretical exchange. Apart from all the sideshow of polemics, this parallel with Empson is a useful jumping-off point for an approach to Derrida and the implications of his writing. Empson opened up the literary text to a practice of reading which released as many ambiguities, overtones, and hints of recondite meaning as the analyst could reasonably claim to find in it. Reason, or commonsense judgment, still played an arbitrating role, since Empson wanted his readings at least to match something in the credible intention—at whatever "unconscious" level—of the author concerned. Subsequently, Empson has taken issue with the American New Critics on precisely this ground of authorial intention. Where they have dismissed all such considerations as outside the critic's proper interest or competence—treating the text as a "verbal icon," detached from any speculative background of motive or intent—Empson has come out in sturdy defense of "intentionalist" readings, based on available evidence of what the poet was trying to express. In other words, Empson, for all his dazzling inventiveness, held to a notion of the author as (implicitly) a self-possessed creator of meanings, one whose intentions demand critical respect, however broadly that requirement is to be interpreted in practice. Anglo-American criticism 242 Christopher Norris243 has lately been much preoccupied with the question of whether—or exactly how far—an author's original "meaning" can be recovered by close attention to his text. E. D. Hirsch's Validity in Interpretation is a classic if long-winded statement of the conservative view: that the critic's obligation is to come as close as possible to establishing what an author most probably meant in using language as. he did.3 The discipline involved is partly a matter of historical semantics (drawing a limit or "horizon" of possible meanings in context), and partly a matter of interpretative tact and sympathy. Hirsch grounds his argument on the Kantian premise that a text is in some sense the surrogate voice of its author, and that texts must therefore be treated, like people, as ends in themselves, and not means toward the critic's display of self-advertising brilliance. All the same, Hirsch has to acknowledge that authorial intention, as such, is beyond the grasp of this reconstructive program, which offers at best a kind of inferential yardstick for narrowing down the range of semantic potential. The problem which Hirsch never quite gets to grips with, despite his elaborate argumentation, is the fact that texts come across to us always from a distance of time, of experience or culture, which makes their meaning more or less opaque and problematic. The author is not simply there in the text, a self-authenticating "voice" of intent, as Hirsch (in his more sanguine moments) would have us believe. One might expect some such assurance from the homely narrative address of a novelist like Fielding, or the intimate soul-baring style of Wordsworth's poetry. Yet Fielding is as cunning a narrative tactician as any, his "voice" a shifting multitude of ironies and ploys; while Wordsworth manages a complex and selective rhetoric of memory which (as recent critics have shown) by no means communicates the "unmediated vision" of purely personal address. Hirsch yields a hostage to the relativist case by proposing a distinction between "meaning" (that which inheres in the text, and which the critic is duty-bound to preserve), and "significance" (the purely associative values which change with the passage of time and make room for rival or updated interpretations... (shrink)

Here I look at sundry aspects of the current controversy about Generative AI and, in particular, the implications of this new and rapidly evolving technology for poetry, the arts, and human creativity in general. My essay looks at earlier episodes in the history of thought, from Descartes on, that I take to have prefigured this latest debate around 'the human' in relation to its various physical, 'artificial,' or (presumptively) prosthetic means of extension and refinement. I also discuss its bearing on (...) literary-critical issues concerning the formal or structural aspects of poetry, the role (if any) of authorial intent, and the extent to which criticism enters into– and might lay claim to a stake in–what counts as human creativity. A central point of reference is William Empson's 1930 book, Seven Types of Ambiguity, where these issues are raised in a strikingly prescient way through his practice of close-focused textual analysis allied to great philosophical acuity. I conclude that a priori attitudinizing, pro or con, is not much use in this context, but that poets, critics, philosophers, cognitive scientists, and AI researchers need to cooperate in the reexamination of many long-standing but now highly contestable distinctions. (shrink)

Social Epistemology, Volume 25, Issue 2, Page 167-172, April 2011.

In this paper we will discuss the issue of environmental advocacy in science education in light of William Hare’s concept of open-mindedness. Although we shall assume that science teaching and learning must go beyond the scientific facts and theories and deal with the implications of science for society, we shall argue that science education should also demand an open-mindedness about environmental concerns such that all proposals for sustainability and the like are weighed against the alternatives using the best scientific (...) knowledge available. Our approach will be to describe two examples of environmental education that recommend insufficiently open-minded forms of teaching and a third example that avoids this shortcoming yet provides a sound basis in environmental education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Norris IMAGE AND PARABLE: READINGS OF WALTER BENJAMIN Marxist literary criticism is a house with many mansions, most of diem claiming a privileged access to the great central chamber of history and truth. Only the most blinkered polemicist could nowadays attack "Marxist criticism" as if it presented a uniform front or even a clearly delineated target. Differences of oudook have developed to a point where debates within (...) Marxism are often more highly charged and polarized man anything brought to bear by its downright opponents. These differences will seem a crippling liability only from the viewpoint of a hard-line determinist creed which insists both on the rightness of its own reductive methodology and on a one-track notion of historical necessity and reason. The alternative, as New Left theorists have argued, is to examine the diversity of present-day Marxist thinking and show how its manifold traditions take rise from various backgrounds of political and cultural development. Perry Anderson's Considerations on Western Marxism is one such attempt to "situate" the work of thinkers like Sartre, Almusser, and Adorno in terms of their beleaguered position as left intellectuals outside the active mainstream of any revolutionary movement.1 Another example is Terry Eagleton's Criticism and Ideology, a book which sets out to rethink the bases of a Marxist-theoretical approach to English literary history.2 Eagleton, like Anderson, takes it as axiomatic that no such critique can get underway without first coming to terms with the problems and dilemmas which others have faced in trying to make new sense of a communal enterprise. For Eagleton this means a diagnostic treatment of the gaps and significant sUences which have marked the texts of those — like Arnold or Leavis — engaged in a class-based mystification ofliterary history and values. The critique extends to what Eagleton sees as the inbuilt problems of a homespun British Marxism, whedier of the crudely determinist variety (Caudwell) or the "left-Leavisite" amalgam of radical mêmes and traditionalist assumptions represented by Raymond Williams. Eagleton's approach lays claim to a power of unmasking die 15 16Philosophy and Literature latent ideology at work both in literary and critical texts. Ramer than simply collapse that distinction — as desired by the current post-structuralists, with whom he is wholly out of sympadiy — Eagleton strives to articulate the different structures and relations of discourse which situate criticism vis-à-vis literary history. He proposes a Marxist "science of the text" which would bring out its ideological modes of production, inscribed in the twists and unconscious blind-spots of meaning where a project comes up against its own impossibility. Criticism "deconstructs" the literary text, but not (like the Yale deconstructors) with a view to breaking down all possible distinctions between literature and commentary, merging both in the infinite freeplay of signs. For Eagleton there is indeed a knowledge of die text which stands at a definite remove from its object, just as literature itself"works" and transforms the raw stuffoflived ideology, mus offering it up to critical knowledge. Eagleton's theory of literary production was worked out in response to a powerful new current of Marxist thought, associated mainly with the French philosopher Louis Akhusser. What mis program involved, very briefly, was a rigorous re-reading of Marx's texts, aimed at defining their precise theoretical structure and die place within mem of such concepts as "knowledge," "ideology," and "structure" itself. Only thus could Marxist science attain the clarity and grasp of its own first principles which would set it apart from other, deviant or "ideological" discourses. This meant drawing a firm critical line (or "epistemological break") between the early, humanist Marx and the later productions —including Das Kapital— where his thought took on the full rigor of its scientific basis. Such a theory, in Althusser^ words, "makes it possible to distinguish a word from a concept, to distinguish the existence or non-existence of a concept behind a word, to discern the existence of a concept by a word's function in the dieoretical discourse...." 3 This structuralist reading of the Marxist text is intended as an immanent critique, a means of salvaging the essential Marx from fhose elements in his... (shrink)

This book is concerned chiefly with issues in epistemology, philosophical semantics and philosophy of science. It defends a causal-realist approach to theories and explanations in the natural sciences and a truth-based propositional semantics for natural language derived from various sources, among them unusually in this context the work of William Empson. It argues against various forms of anti-realist doctrine with regard to both the truth-claims of science and the construal of intentions, meanings and beliefs in the process of linguistic (...) understanding. His book will be welcomed for its vigorous arguments and notable clarity of style. It will be of particular interest to teachers and students in philosophy, critical theory, science studies and the history of ideas. (shrink)

Norris et al. argue against using evidence from phonetic decision making to support top-down feedback in lexical access on the grounds that phonetic decision relies on processes outside the normal access sequence. This leaves open the possibility that bottom-up connectionist models, with some contextual constraints built into the access process, are still preferred models of spoken-word recognition.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructive Criticism: The Human Sciences in the Age of TheoryWilliam BywaterConstructive Criticism: The Human Sciences in the Age of Theory, by Martin Kreiswirth and Thomas Carmichael; 223 pp. Toronto: University of Toronto Press, 1995, $45.00 cloth, $17.95 paper.This book contains twelve essays based on papers presented at “The Human Sciences in the Age of Theory” conference sponsored by the Center for the Study of Theory and Criticism at (...) the University of Western Ontario and held at the University in 1993. Versions of six of the essays are published elsewhere.In After Virtue Alasdair MacIntyre offers the choice of Nietzsche or Aristotle. Authors in these essays offer a far greater variety. For Christopher Norris it’s Nietzsche or (late) Foucault, for Tilottama Rajan its Nietzsche and Lacan or Hegel, for Martin Kreiswirth and Gary Wihl (in separate essays) its Nietzsche or narrative, and for L. M. Findlay its Nietzsche or Ricoeur and narrative. This range of options reveals the extent to which these authors are attempting to escape the cul-de-sac created by the skeptical and nihilistic dimensions of Nietzsche which appear in deconstruction and postmodernism. “Constructive criticism” is an apt title for these essays. As a group they struggle to offer a way of understanding the complexities involved in resisting dominating discourses, while not giving in to despair or skepticism or nihilism.Diane Elam observes that “the age of theory begins when theories fail, when no single theoretical discourse is possible any longer.” The variety of alternatives to Nietzsche listed above is one manifestation of the truth of Elam’s claim. A second is the fact that none of these authors proposes wholesale adoption of the thinker who is being contrasted with Nietzsche. Each is selecting certain specific dimensions of the thinker’s position to be used to maintain contact with the complexity which they sense in the world around them.A third and more profound recognition is that these authors are not proposing their choices in the same spirit as MacIntyre [End Page 268] proposed his. The meaning of “either/or” is shifting. MacIntyre’s opposition between Nietzsche and Aristotle opposes two systems the latter of which represents a way to keep safe from the danger of moral chaos contained in the former. MacIntyre’s either/or contains this sense of opposition which is also a sense of salvation, of protection from having to grapple with things that are confusing, messy, dangerous. In the age of theory when theoretical discourse becomes impossible we can no longer be protected. “Either/or” shifts polarity. It no longer means my position will trump yours: it now means “either closed theoretical discourse or complexity and multiplicity.” The authors in Constructive Criticism choose complexity and multiplicity because to choose closed theoretical discourse is to choose insensitivity to all sorts of injustice.Heterogeneity is the watchword of all the authors in this volume and many of them see narrative as the mode of access to multiplicity. Kreiswirth argues that the meaningfulness of narrative depends on overdetermination and “complex accumulations and conjunctions of desire.” Little narratives, not master ones, are best able to show complexity. Findlay urges the use of metaphor to keep us in a place between the center and the margin. Wihl uses Rorty, Kundera and Nussbaum to underline “the moral significance of detailed, richly descriptive vocabularies” in contrast to the ascetic language of philosophy which does not permit the irony required for “perspicuity in the areas of ethical conflict and competing social agendas.” However, Victor Li is not at all happy about Rorty (or Habermas) both of whom, in criticizing others, appeal to “modernity’s own totalizing view of itself” instead of possessing, as they should, a sense of “the complex cultural logic of the in-between, of cultural hybridity and exchange.”However, there are two authors who—happily, I must say—make it clear that they do not want to throw theory out with the bath water. They are willing, it seems, to take the risk of both preserving what they do (theory) and maintaining a sense of the complexity of competing social agendas, overdetermination and cultural “hybridity.” John Fekete advocates both “utopia (radical... (shrink)

(No abstract is available for this citation).

The ambition of this book is a noble one: to provide a counter to the assumption, taken for granted made by many postmodernists, that quantum mechanics lends support to the view that scienti® c realism is nothing more than an outmoded fad. It is especially gratifying that this book comes from a literary theorist, author of a well-respected book on Derrida (Norris, 1987), who, by his own admission, has ª previously published several books on literary theory that might be (...) construed ¼ as going along with the emergent trend towards anti-realism and cultural relativism in various quarters of `advanced’ theoretical debateº (Introduction, p. 1). One wishes, however, that Norris had taken more time to familiarize himself with issues that he writes about, and that he had taken more care in constructing his arguments. Although ª there will be more joy in heaven over one sinner who repents than over ninety-nine righteous persons who need no repentanceº (Luke 15: 7, RSV), we should not let jubilation blind us to the book’ s shortcomings. Among these is a lack of clarity in its central notion, that of realism. Early on, Norris quotes with approval William Alston’ s characterization of the alethic conception of realism, which is the conception advocated by Norris; the alethic conception ª implies that (almost always) what confers a truth-value on a statement is something independent of the cognitive-linguistic goings-on that issued in that statement, including any epistemic status of those goings-onº (p. 41). As the book progresses, however, additional conditions on what is to count as a realist interpretation of quantum mechanics emerge. Realism apparently becomes synonymous with ª causal-explanatoryº theories, and in one passage, Norris goes so far as to suggest that realism entails a commitment to synthetic a priori knowledge of the physical world: Bell’ s calculations and those applied in interpreting the Aspect results are themselves dependentÐ no less than EPRÐ on a range of distinctly ª classicalº assumptions, among them the existence of a physical object-domain which, however puzzling its details, permits such experiments to be carried out and conclusions to be drawn from them.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Partial Truth (Poems 2015–19) by Christopher NorrisNiall GildeaNorris, Christopher. A Partial Truth (Poems 2015–19). The Seventh Quarry Press, 2019. 133pp.“No interval but some event takes place.”(Norris, “Freeze-Frame,” A Partial Truth)A Partial Truth, a collection of thirty-seven pieces, is the seventh volume of poetry by philosopher and literary theorist Christopher Norris. Nobody familiar with Norris’s distinguished career will be surprised to learn that his recent (...) turn to versification is not a repudiation of intellectual and rhetorical seriousness, but a re-emphasis of the same using resources not typically found in academic prose. Norris, an interdisciplinarian long before that term became a slogan, has in his work clocked up considerable epistemological mileage across diverse terrain, his critical friendship with deconstruction leading him to important interventions in analytic and Continental philosophy, institutional critique, philosophy of science and mathematics, legal studies, music, politics and, after all, creative criticism.Creative criticism is a relatively embryonic genre, until recently typified generally by a prose that owes a debt to Jacques Derrida’s Cir-confession, Glas and La carte postale. This is a style that foregrounds the philosophical unsaid – the repressed autobiographical, desirous, and otherwise messy constituents of that canon. It does so in part by jettisoning the academic politesse, and let’s say timidity, which help maintain such statutes of limitation. In a more specific way, creative criticism may be understood as a Romantic development set in train by the “Yale School” of deconstruction and its fellow travelers, straining in their own ways against the subordinate role of the reader and critic instituted by the likes of Matthew Arnold and T. S. Eliot.In the foreword to his 2017 volume The Winnowing Fan, Norris at once compliments this “strong” critical rebelliousness (xii), and critiques its ecstatic, quasi-apocalyptic hubris, provisionally aligning his own creative criticism with the “poetic diction” (xxi) of eighteenth-century figures such as Dryden and Pope. It is an analogy with caveats – not least Norris’s stated allergy to the “air of arrogance” (Tempus-Fugitives ix) of [End Page 122] their heavily end-stopped tendentiousness – but one which schematizes a poetics that both carries a definite argument and could not make this argument otherwise than in a manner reliant on verse’s formal properties.Note, however, the fact that Norris takes his distance from both strong criticism and those eighteenth-century essayists on the grounds of their shared self-assurance. A steadier presiding influence is William Empson, whose enmity towards Eliotic New Criticism, which “fixes a prescriptive gulf between poetry and other kinds of discourse,” makes him a political forebear, dissenting from modern forms of literary historical doctrinalism, specifically “that whole anti-rationalist complex of ideas that made the discontinuity between poetic and non-poetic language into a shibboleth of aesthetic, ethical, and (though rarely advertised as such) socio-political principle” (Tempus-Fugitives xix–xx). Norris is no straightforward disciple of Empson – who regarded Derrida, and the other “horrible Frenchmen” Norris used to invite him to read, as “so very disgusting, in a simple moral or social way, that I cannot stomach them” (qtd. in Haffenden 52). And yet, one constant quality of both Norris’s verse and prose criticism is a welcome sobriety of explication when it comes to the more recondite or outright flamboyant enclaves of modern European thought.A Partial Truth, and Norris’s books of verse generally, are explicit in outlining the ways in which his poetry functions as a reaction to the diaristic, mumbling slackness of much contemporary poetry; but does his turn to verse also indicate some reaction to contemporary theory? A Partial Truth’s “Foreword,” with modesty, states that “[i]f these poems have any distinctive merit then it lies in the treatment of interesting ideas in a way that deploys certain formal means to draw out complexities and further implications that would lie beyond the reach of a prose rendition” (14). We will specify some of the relations between form and discursive complexity presently, but for now, it is worth suggesting that Norris’s commitment to verse forms of historically recognizable kinds forecloses from him the mealy-mouthed, argumentatively fugitive character of... (shrink)