It may seem that Ulysses violates the techniques of the novel beyond all limit, but Finnegans Wake passes even this limit. It may seem that Ulysses demonstrates all the possibilities of language, but Finnegans Wake takes language beyond any boundary of communicability. It may seem that Ulysses represents the most arduous attempt to give a physiognomy to chaos, but Finnegans Wake defines itself as Chaosmos and Microchasm and constitutes the most terrifying document of formal instability and semantic ambiguity that we possess.

Eco, Umberto: The Aesthetics of Chaosmos (1962)

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