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           52. Context (or Scene) can perhaps be viewed from three different perspectives. First, and perhaps most obvious, we can take it as "present for conversation." The ski-lift, in the above, gives the two characters something to talk about. The ski-lift, as specific thing, avoids the abstraction of general things and increases the possibility of the audience picturing the scene. Secondly, the scene depends on the ski-lift stalling. Consequently a space opens up for the couple to work on certain differences. We see this as an instrumental function of Context. Finally, we might advance the claim that an object like a ski-lift can function as a Character? In the case of Yielding a third character?

               Let us take a minute to consider this possibility. The argument starts from the assumption (more like a soft claim) that language has the ability to "animate the inanimate." In the Barbara Johnson way of thinking about apostrophe, the authorial intent is to humanize an “absent, abstract or inanimate” subject. In this there is always an “I” (addressor) and a “you” (the addressee). The “I” “calls” the “you” into the text as a “mute” responder. Such a presence “informs without speech” [56]

            Two perspectives come to mind. X can inform Y of Z with or without speech. Humans can inform with speech or, in the case of gestures, without it. Inanimate objects, like a ski-lift, can only inform without it. They inform because we "animate" them. Without us there would be no informing by means of a Middle.

            For Chekhov, the seagull (The Seagull) and the cherry orchard (The Cherry Orchard) are objects that inform without speaking. Here Chekhov seems to make this implicit with Trigorin describing a story he is writing. The dead seagull is there with him in the scene:

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            In the Cherry Orchard the loss of the orchard not only brings grief to Liubov, and other members of the family, but it also serves as a symptom of Lopakhin's ruthlessness (who brought the orchard) and the (sometimes) inhumanity of capitalism:

            The play ends with the sound of axes cutting the cherry trees down. It too informs without speaking—informs from the orchard as Middle.

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            53. Convergence of the Extremes: In "Water," Eiko and Koma, at the Paul Milstein Pool at Lincoln Center's Hearst Plaza, begin their performance by wading from opposite directions to meet in the middle of the pool. There, in the words of the reviewer, begins a "narrative…[that takes ] the two performers through what looked like a hazardous ford, a fraught meeting, drowning, attempts at rescue, a raft, corpses borne on a current and a funeral bier at sea. At times the two artists were as motionless and supine in the water as waiting crocodiles or floating logs. But the drama seemed always heroic, even epic." [58]

            We have characterized the Middle as a "space" of novelty. Something new comes into being. Is this consistent with the reviewer's representation as Eiko and Koma enact a "narrative"? If so, then we can submit that different positions of he performers, new items in their space, heavenward gestures and the like, sustain the narrative. It ends when they separate and return to their start positions.

            Should we be reminded here of Hardy's "The Convergence of the Twain?" (1912). Like "Water," the action takes place in water (the Atlantic Ocean). The two "performers," an iceberg and the liner Titanic, meet to create a singular, novel, narrative.

            Other literary examples of Convergence as meeting are Michael Frayn's play, Copenhagen and Dava Sobel A More Perfcct Heaven: How Copernicus Revolutionized the Cosmos.. In Copenhagen the action arises from a presumed meeting between the physicists Heisenberg and Niels Bohr; Sobel's book raises from an alleged meeting between Copernicus and Georg Joachim von Lauchen, a young mathematician.

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            We might infer from these examples that convergence, while it represents novelty, also presupposes Inertia. That is, Eiko and Koma, the iceberg and the Titanic, Copenhagen and A More Perfect Heaven start the narrative of each by a disruption in their Inertia, the tendency of any object to resist any change in its motion. To present a Middle in the Game of Between one has to disrupt (change, modify) the Inertia of the Extremes (please see Inertia, p. 97).

            54. Vortex: Vortices, ss seen in whirlpools, maelstroms, tornadoes, spiral columns of insects (gnats or firefires) leaves caught in a spiraling updraft have a center. Can we justify ourselves in calling the center the Middle of a Between? If so, does this make the circumference of a Vortex into something like the Extremes of a Between?

            With the Vortex is nature playing the Game of Between? Within a Vortex things are caught in a cycle of creation, transformation and destruction. Is this cycle something we would like the Game of Between to represent? .

            Recently (December 6, 2011) scientists report detecting two of the largest black holes found so far. One, thought to weigh as much as 21 billion suns, is known to lie in the center of the galaxy NGC 4889 which is about 6 million light years from us in the Coma Constellation. The other black hole, in the galaxy NGC 3842, is equivalent in mass to 9.7 billion suns. It's about 1 million light-years in the constellation of Leo.

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            Scientists believe that a black hole rotates about 1,150 times a second. [59]

            Nowadays we think that nature has no purpose—at least no intelligible one. Still, we might hazard the guess that the purpose of a black hole, or any land, sea and air one, has a transformational function? Specifically, one to restore order or to keep the universe in balance around some gigantic center? That the whirling Extremes of the outer rims of a vortex, like a black hole, or whirlwind, stabilize and re-stabilize, a center that finds itself in a state of disequilibrium?

            Can we say the same for an Between? That its Extremes have the function of keeping the Center stabilize—where stabilization implies existence?

            55. Thesis and Emergence of the Middle. A thesis statement can be defined in different ways. It may inform the audience how the subject will be interpreted; or it may be a short description of the "roadmap" of what follows. It may contain a response to a question about the subject, a rebuttal of another claim about the subject or a new claim about the subject—one that presents new evidence about the subject.

            Perhaps the most succinct way to state a thesis is by Emergence of Novelty from the Convergence of Extremes on a Middle—the "names" of the Extremes being, in the following example, "the ancient" and "the modern": "The World Wide Web…signals the emergence of a new way of being and thinking to rival the ancient and the modern, even as it draws elements of both.  [60]

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            56. Conflict and Violence: The Game of Between seems to be particularly appropriate for storytellers interested in conflict and violence. Class warfare, and its possible effects, is one example. War is another, love triangles another (please see Triangles, p. 78). In these we might hazard the guess that the Extremes of a Between represent the warring parties and the Middle the effects of their "war."

            The Middle as effect seems to be the reasoning behind Fukuyama's "Game" of state formation. Violent acts, he claims, is a principal cause in bringing new states into being. Creation of new states, with new forms of bureaucracy and centralization, has a direct correlation with the persistence, quantity and quality of warfare. A salient example of this were the Qin Dynasty (221-226 B.C.) and the Han Dynasty (206 B.C.-220 A.D) of China. [61]  Persistent warfare helped to lay the ground for the creation of their "modern" states.

           57. Justification: What justifies telling a story? What justifies how you tell a story? Does success alone justify storytelling or simply what persons accept as storytelling?

            Telling stories about failure seem common today (6:10 AM, 25 July 2011). If one writes, or recites, a successful story about failure can we say that some version of failure justifies telling the story?

            That was an odd way of putting it.

            58. Self-Similarity: We imagine, think, dream, and create and destroy Betweening. We imagine true, false and no-meaning Betweens. In all of this we are, in a sense, Betweening Betweens, cognitive behavior suggestive of being conscious of our consciousness.

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            Metaphysics is the "study of what exists…(including) "the limit case where nothing exists"   [62]

            Should we stop here or attempt to find a way to go on? We might start by asking who the players in this Game are? Let us assume that they are two minds reflecting on one another. In order to keep going they have to share information about X. X can be either present and actual or absent and possible and the relationship between the minds is reciprocal. Information flows back and forth between them.

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 One mind of my friend raises the question the other mind answers it with a Between, "between two poles…."

        X stands for the mountain.

        59. My Version: I am tempted to say that telling a story by means of the Game of Between is my version of telling a story just as my life is a version of a possible kind of life. By having lived this possible life I have, at the same time, excluded every other possible life. Living a life is bounded and irreversible.

            We might analogize from this that every Game of Between begins and ends as my version of a possible Game. At the end of the Game all other possible Games have disappeared as an option for me—but not for other players of the Game.

            Here we seem to have a transition from my version of the Game to your version.

            60. Triplets: Ice:water:steam; three-cushion billiards; a puzzle wrapped in a mystery within an enigma.

            Suggested exercise: How would you use them to structure a text? Or at least a comment about X?

           61. Note on Notation Please be aware that the author is using the notation, X and Y, and sometimes Z, A, B, and C, in the same way he is using Thirdness; that is, as part of the invariable infrastructure of the Game of Between.

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            By terms like "I," "one," "you," "we," "use," "my" "h/s" I mean, broadly, the "mind," and by extension, "meaning." "Mind" and "meaning," I hasten to add, have the same general etymology—from the Indo-European "*-men."

            Following Buck we are allowed to say that "mind" can also (sometimes) encompass "emotion," "soul" and activities of the mind, thinking, perceiving, understanding and the like. [64]

            Notations like the above, in the manner of chess pieces, delimit the space in which the Game of Between can begin

            How the Game ends is unpredictable.

            62. Food: "Middle" stands as the pater familia of the Between family. Members of his family are words already mentioned and many more unrecorded. One that now appears in the family is "mean"

            In one of its derivations it comes from the Latin communis in the sense of "vulgar" or "unpleasant": "A mean spirit." In another descent from Latin, from medianus, it has the sense of "the mean between X & Y" or "halfway between extremes."

            In "mean's" transition to a plural form, "means," it took on an instrumental use: "X by means of Y." Here we have a sense of movement, of time passing and the transformation of X by means of Y.

            We have, in short, a way to represent Food.

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            Please consider Lebensmittel. German for "the means of living."

            63. Assumption of the Existence of X. All knowing, according to Aristotle, proceeds from "pre-existing (or) old knowledge." (Posterior Analytics 71a 1-5). What we can know starts from what we do know. If we can't know it, then it may be sign either it doesn't exist or we have no knowledge of its existence.

            Should we assume then that there are persons who cannot play the Game of Between? Perhaps such persons live in a culture that has no name for either "Game" or "Between?" Or perhaps their language has the words as names but the would-be player has to be taught the words before he can become a player?

            Is there any difference between the word "player" and "gamer"? Do we change contexts when we change from one to the other?

            To know the existence of X we have to experience X.

            64. Metrical Representations. In mathematics a matrix typically appears as "entries" arranged in rows (horizontal) and columns (vertical) numbers. The general purpose is to allow the mind to predict what holds a system together and allow it to function a certain way. Like many other linguistic and quantitative representations, including the Game of Between, matrices are presumably reductive.

           A real world representation of a matrix is a machine, a fire-truck, a printer, a pair of scissors, something composed of parts linked to other parts—the purpose of the whole being to do a certain kind of work.

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On my university campus, for example, there is an apparatus called an Environmental Observatory. The Observatory, as one may surmise, measures ten different weather conditions: temperature (air, or "it feels like X"); wind (speed, direction); relative humidity; solar radiation; barometric pressure; and atmospheric visibility

            Can we say that anything we perceive as a matrix has a Middle? One that can be found and, accordingly, can qualify as a nascent Game of Between? If so, does the Middle correspond (roughly) to what literary folks call a "thesis," "a point," or even a "genre?"

            (Please see The Fractal Character of Between, p. 103).

            65. Difference: Above I quoted this passage about the poetry of Elizabeth Bishop:

            As in so many of her poems, (Elizabeth) Bishop brings us to such a place of utter poise, balancing between the real and the ideal…between the dreamt-of and the impossible, between love and loss; between sleep and waking, between solitude and communion.

            The repetition of "between" seems to indicate we are witnessing different Games of Between with different subjects. But it is possible to find examples of one Game played with different subjects. Here is a writer describing Beckett's Malone as a work "devoid of definitional boundaries":

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            In such cases, we wonder about authorial intentions. Does anything nameable lie between, for example, "subjective and objective"? If so, can it be described or understood? Or is the reader left looking into a void?

            66. Suppressing the Why (die Frage 'warum' unterdrucken). Wittgenstein advises us to avoid asking "why" if we want to become "aware of the important facts…[that can] lead us to an answer" (die wichtigen Tatsachen gewahr…zu Antwort fuhren) (PI #471). In this context we might take this to mean "look at many examples of a Between  before you start theorizing about the nature, function, presence or absence of Between. Or Wittgenstein might be inviting us to picture "why" as a detraction, a way of "missing the point" of the facts of a particular Between—what brought it into being, where does it occur in the text, what does it represent, or not represent, what are its effects on the text as a whole and the like. .

            Likely literary examples of not suppressing the "why" are Walter (Tristram Shandy's father) and Toby, Tristram's uncle. Walter's "whying" has mainly to do with marriage, child-bearing and child-rearing. Toby's focus is on warfare, fortifications and the Battle of Namur.

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            The result of this is a certain kind of existential tunnel vision, of not observing, and understanding, of what is going on around them with the household women, Tristram's mother, Susannah, the Widow Wadman and so on. Tristram, the narrator, summarizes the mental process of his two relatives in the following way:

       Can everything we see, hear, read or understand be reduced to a Between? That would be of great use.

            67. Suppressing the Possibility of Failure: An important question for Wittgenstein is knowing (finding out) how "to go on" (weiss ich weiter, PI 323)—going on, for example, by seeing a pattern in a series of numbers or an algebraic expression (PI 151, 185).

           The capacity to go on seems related to the capacity to imagine failure and success. —not so much as actualities but more as possibilities. Should the player of the Game of Between, in order to sustain going on, always suppress the possibility of failure and enlarge the possibility of success? Or at least entertain the possibility of enlarging success?

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            Or should h/s go on by suppressing both the possibilities of success and failure?

            Wouldn't that leave us in the awkward position of trying to annihilate the possibility of possibilities?

            One is reminded of Benjamin "angel of history" that flies toward the future while looking backwards.

            68. Hedonic Ethology: (Or animal, include human, pleasure). Seeking pleasure, basking in the sun, listening to music, writing fiction, sex, or eating are adaptive behaviors. Pleasure, like pain, means evolutionary strategies of avoiding danger (pain) and seeking something pleasant.

            Does playing the Game of Between give us pleasure? And by so doing give us an edge, in the game of evolution, over those who do not play the Game?

            How would you go on from here?

            69. That Static and the Moving Between: We are tempted to say that every Between can represent its subject as either static or moving—somewhat in the way that trigonometry represents static nature while calculus represents it as moving. Here one can envision counting both a moving "now" and a non-moving one. A moving "now" makes the duration of X both moving and non-moving. Moving "nows" make duration. The time it takes to process a Between plus understanding what such duration represents. Non-moving "nows" represent time as co-existence, X and Y in the same place at the same time.

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The "now" is always in reference to the Middle of an Between. It can either "stand still" or "move" between the Extremes of a Between. In most prose, the non-moving Middle is the case. In the performing arts, it is usually the moving Middle. The character that represents the Middle comes and goes on stage.

            70. Una trinitas et trina unitas (One in trinity and three in unity). The existence of a writer's muse is problematic today. But if one should ask me if something like a muse was at work in this text, then I would have to say that it is related to St. Augustine's (paradoxical?) remark about God. [67]  My muse spoke (and continues to speak) to me of Betweenness as opening up the possibility of looking at the subject from three different perspectives; from the point of view of a creator (the mind that creates a Between); from the perspective of a unity formed of three parts and as a thirdness that creates a unity. Taken together, we have the possibility of something like a mind working in both a top-down and a bottom-up way.

            71. Asymmetry: An assumption about the relationship between the three parts of a Between is asymmetry. They exhibit three-way differences while still maintaining a common purpose. But why do we assume this? Why not assume the opposite? That they have a symmetrical relationship? Or that they have a equal amount of substance and purpose?

            Modern cosmology assumes that there is an asymmetrical relationship between matter and anti-matter. Otherwise, they would have destroyed each other. If they were perfect opposites, equal amounts of the two would have been made in the Big Bang, and they would have annihilated each other long since, leaving only light and other forms of electromagnetic radiation to fill the cosmos.

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            On the face of it, this seems to be a sort of answer to Heidegger's question, "Why is there actually something and not rather nothing?" ("Warum ist überhaupt etwas und nicht vielmehr Nichts").[68]

           We have something because there is "more" matter than anti-matter. We suppress the why.

            But what does this "more" mean? An analogy here might be the Christian Trinity, Father, Son and Holy Spirit. As in Heidegger's formulation ("nicht….Nichts") we might go on and distinguish them by means of double negation as something missing leading to something present.. God lacks movement. The Holy Spirit moves in the cosmos in place of God. God lacks worldly peculiarity. Jesus, God made manifest, exhibits the perfection of particulars. Jesus touches us and is, in return, touchable.

            What one lacks the other makes up. Together, what is made up is perfect in three ways. Can we not take this as a good example of Plenitude? (please see p. 29).

            Should we then expect to find double negation in every instance of a Between? Is it, like Thirdness, a permanent infrastructure of the Game of Between?

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            72. Is/Ought: Mapping what is and what ought to be into a Between (or a Between into an Is/Ought) might take the following form. Suppose you want to "bring fun back to golf." The reason you give for thinking it's not fun anymore, at least for the average (non-tour or recreational, player), is that the latter wants to tee off from the pro tees.. Since the average drive of a pro is 280 yards (to the 200-220 of the recreational player) frustration with one's driving skills is bound to occur—or so the theory goes. .

            So what you want to see happen, to bring the fun back, is "to tee forward," or shorten the distance between tee and the pin.

               So you form a campaign called Tee It Forward and set out to educate recreational golfers to adopt the concept. You gather statistics about length of drives from the tee and those with irons from the fairway. You calculate that a pro would have to play a course measuring 8,100 yards in order to use the same clubs on approaches as an amateur who drives the 230 yards on 6,700 yard course. You claim that even with the most expensive clubs nothing will close the gap between length of a pro and a recreational player.

            Are we justified then in calling this a Between situation? Between the Is and the Ought of recreational golf lies a Middle one must traverse in order to get from the Extremes of Is and Ought?

            The Middle, in short, is essentially the stuff of persuasion based both on evidence (statistics) and an argument about what makes golf "fun" for the recreational player. [69]

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            73. Patterning. Does a Between correspond to any of these traditional elements of rhetoric? Does it have a family resemblance, in structure or function, with traditional forms like metaphor, topic, motif or trope? Following hints from Aristotle's Rhetoric and Quintilian's Institutes do we have warrant for advising a student of rhetoric (oratory) to include Betweens in h/h bag of tricks along with metaphor and the like?

            Again, this would imply that h/s look closely at examples like the following—look closely before classifying them either one way or another:

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            With #3 the writer seems to be following Aristotle's advice to "put the scene before the eyes" which he associates with the effect of metaphor (Rhetoric (1410b 33). It is far more imageable than #1 and #2 and a sort of Google map of the area.

             #1 and #2 function much like a promise by the writer to specify later what "between" refers to. In this it has a family resemblance to what I call Preparation for a future, complete, Between —or, in more technical terms, a cataphoric structure formed by later terms co-referring with earlier ones. (See Preparation, p. 81).

            So, are we justified in classifying a Between as a figure of speech like a trope or topic? Can a Between be, like a trope or topic, ready made, off the rack? Or does it have to be custom made? It would seem that it is more like the latter than the former. Unlike a trope or topic, one can only create a Between by way of two Extremes that converge on a Middle, even an indefinite (cataphoric) Middle like #1 and #2 (above). Tropes and topics, in other words, have no discernible Middle.

            In the Game of Between one has to reach the Middle in order to win the Game.—or at least complete it.

            74. Collocations: Linguists often classify groups of words on the basis of their "tightness." Idioms and clichés are perhaps the best example. They are the "tightest." They are easy to remember and speakers repeat them often. Typically one learns them as one would an individual word early in life: "only two things are certain in life, death and taxes"; "He has bats in the belfry"; "You can't judge a book by its cover" and so on.

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            Midway between an idiom and a new expression, are expressions that lack such "tightness." These are Collocations. Of these, some are formed from "between" and "middle.": "He was torn between X & Y": "The difference between X and Y"; "Halfway between X and Y"; "Caught in the middle," "Gray zone" and many more.

            75. Judging: To what extent can Between represent the judging (evaluating) mind? Since judging seems to represent a mind in motion, the Between would be the context for such motion. This suggests that X, Y, and Z (parts of a Between) can represent different "minds" judging the same thing, the publishability of a MS, an alleged criminal act, the constitutionality of a law and so on.

            In this case judging could potentially go from X to Y to Z for a final judgment. This allows for three outcomes. If X and Y agree then judging would stop. If they disagree than it would proceed to Z Z would then either agree or disagree with X and Y's judgment The judgments of X and Y are necessary ones, that of Z a possible (contingent) one.

            In this example X and Y might stand for the Extremes of Between and Z for the Middle. Z stops the process only if the behavior of the player Game "times" the process out at Z.

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            Here is an example the X, Y, Z judging process from the editor of a journal  about my submission:

            "Between four and eight months" describes what I referred to above as "timed out."

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            76. Triangles: Here are some examples of character "triangles" in two movies and dance routine, the last being one borrowed from the movie Rashomon:

         
            Do we need, with these examples, further criteria? Such as the context in which the Triangles as Betweens come into being? How physical positions and gestures correlate with Dialogue?

            As script and playwrights are we always concerned with seeing that dialogue, action and motive point to one end? Isn't that what the writer of Genesis accomplished with great skill with Eve, the Snake and God?

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            Typically, such triangles are formed by first two characters coming (or appearing) together, through marriage, friendship or common interest, to form a stable, and relatively simple, relationship. So why a third character?

            Most playwrights and short story writers, such as myself, will tell you a two character play or story typically generates less interest to an audience than a three character one. The reason seems to be related to what Wittgenstein calls "going on." A two character story does not allow the storyteller to go "as far" as a three character one.

            So what do we mean by "as far as?" Let us, using the example of Don Quixote .In the first book the knight sets out in the early morning and ends up at an inn, which he believes to be a castle. He asks the innkeeper, who he thinks to be the lord of the castle, to dub him a knight. He becomes involved in a fight with mule drivers. Eventually, the innkeeper dubs Quixote a knight, and sends him on his way.

            The story, that is, builds from one to two to three characters, from the knight, to the innkeeper to the muleteers. In subsequent quests the knight picks up a squire, Sancho, and the pattern of meeting-the-third character continues, with types like priests, prostitutes, escaped prisoners, lovesick couples and so on.

            Please note the "fractal" nature of these quests. These nest in each other and they replicate the way each one ends, in the defeat of the knight. (See The Fractal Character of a Between, p. 103)

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            Note also that the adversaries the knight frequently encountered, for example, the mule drivers, lovesick couples, townspeople, seem to illustrate the three in one unity and a one in three unity of every Between. (Please see again Una trinitas et trina unitas, p.73 )

            And what about a third quest of the knight, alluded to at the end of Book One?

            Does Book Two represent that? Or is it a hiatus in the text? Or is it a space, deliberately left open by Cervantes, for the reader to compose his own quest-story?

            So have we answered the "as far as" question? Perhaps. To some degree. But let us go on to the three-generation play or story, the one with the "I," the grandparents and the children. Examples include Lost in Yonkers, On Golden Pond and Flannery O'Connor's A Good Man Is Hard to Find.. All of these involve conflict, of one sort or another, between the generations. But in all of them the "rules" of the Game of Between require that the middle generation, the generation between grandparents and their own children, play the major role in the conflict. (Please see Kinship Relations, p. 120)

            Here we might claim that the question "as far as" is answered by "as far as we can go with the middle generation."

            77. Self-Reference. Can we use Betweens to represent Between? Can we pretend that without Betweens there would be no possibility of representation on the order of "if X and Y can have meaning as use then it is because of the prior existence of Z where Z has the capacity to take on the nature of such things as the goal of X and Y, their ideal, their DNA and the like?

            Let us then go on to pretend that it is possible. But let's not pretend that we have succeeded in our pretence. Between the idea and the act many shoes are worn out (Italian proverb).

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            78. Preparation. There seem to be many singular terms that presuppose what can be called a preparation for a Game of Between:

            Suggestion: Pick one item from this list and build a story around it. Start with the term, say "Twilight," as a Middle and then go on to creates two Extremes for it. What foundation elements of the Extremes are contained, or presupposed, in "Twilight?"

            Preparing for a Game of Between, however, involves working out the details. A merger, of banks, social networks and the like takes time and mistakes (seen in hindsight) are often made. An example from The New York Times is a report on the merger of Delta and Northwest Airlines.  [73] 

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The merger took 18 months and 1,200 systems had to be integrated. Agreements with unions had to be worked out. Planes had to be repainted. Questions such as these arose: "How many chimes should pilots ring to signal the plane is about to land—two or four? Should flight attendants first pour drinks into a cup or just hand over the can?" The custom at Delta was to pour the drinks into a cup. At Northwest one was handed the can.

            79. Between Versus In-Between: One would like to say that there is a difference between Between and In-Between. The latter seems richer than the former. But where does the richness lie? With the prefix "In" we seem to be taken into something underlying Between. An additional movement of the mind is involved. (Is this because more syllables are at work in In-Between. In-Between sounds richer, more dynamic, than Between).

            Compare the German "zwischen" with "dazwischen." Does the latter seem to take you deeper, into something more fundamental, than the former? Is that because, in part, that "dazwischen" sounds more fundamental—and this is because it takes longer to pronounce? The mind is held in one place longer? The movement of the breathe is longer, more complex?

            80. The Joy of In-Betweeness: Michael Murphy quotes a remark about Shivas Irons on walking between golf holes as an "in-between" Shivas tells Murphy, his pupil, what a "rotten shame" it is that Murphy is so occupied with the next hole that he doesn't "enjoy the walkin'":

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            Are we, as Shivas says, "in between…most of the time"? If so, then does this condition presuppose being in a state of double consciousness? Being conscious of being conscious of at least two other things, the Extremes, and being conscious of having some relationship with them?

         In Murphy's representation being conscious of the Extremes (the tee and the hole) becomes a detraction from the joy of "walkin in between" them.

            81. The Middle as Evidence: What did Z do between X and Y? How did h/s play the Game of Between? Say Z has been accused of committing a crime. Suppose further he went from the alleged crime scene (X) to a possible point of escape, an airport, a train station or bus depot (Y). Finally, suppose h/s was observed at lunch between X and Y. Did h/s's behavior give evidence that he committed the crime at X? Or it is evidence of h/s's innocence?

            Please see "Behavior at Lunch May Play Key Role in Strauss-Kahn's Abuse Trial."   [74]

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            82. The Dharmic Middle Way" In eastern philosophy, Anicca (Sanskrit anitya) or "impermanence" describes existence. It refers to the fact that all conditioned things (sankhara) are in a constant state of flux. In reality there is no thing that ultimately ceases to exist; only the appearance of a thing ceases as it changes from one form to another. Imagine a leaf that falls to the ground and decomposes. While the appearance and relative existence of the leaf ceases, the components that formed the leaf become particulate material that goes on to form new plants. Buddhism teaches a middle way, avoiding the extreme views of eternalism and nihilism. The middle way recognizes there are vast differences between the way things are perceived to exist and the way things really exist. The differences are reconciled in the concept of Shunyata by addressing the existing object's served purpose for the subject's identity in being. What exists is in non-existence, because the subject changes."  [75]

            83. Flat Versus Three-Dimensional Figures: "It seems queer that with some drawings our impression should be a flat thing, and with some a three-dimensional thing" (Wittgenstein PI # 202e). Can a Between be a "drawing?" Certainly with three lines, three squares and the like we can represent one as lying between two others. (Perhaps we would want to color, or some other notation, to mark the Middle line or square).

            But how would this help our understanding of the use of a Between?

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              Between as Expression. It seems likely that a Between can both express something, new or given, or express nothing. This reason for this may be because, as Beckett has it, there is an "obligation to express": "The expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express."  [76]

            Expressing nothing seems straightforward enough. Lord Rochester does exactly that in his great poem, "Upon Nothing" (1679). Here he presumably felt the obligation to express nothing in six or seven ways, as lying, as political speech, as the principal narrative of Genesis and so on.

            But wait a minute. Shouldn't we make a distinction between "nothing" as word and "nothing" as concept? The crux seems to be perception. Can I perceive nothing? Or only imagine perceiving it? We might look at a river running between its banks and think "a bridge needs to be built here." The bridge is imageable but materially non-existent. The river as a Between (between two banks) goes on unbridged. Because it cannot be perceived by means of certain perceptual qualities, its supports, its location on the river, its colors, and so on,. One cannot use a non-existent bridge to cross the river without getting wet. Suppose then we decide to swim across.

            Isn't it possible to imagine that swimming across the river is the effect of there not being a bridge? That nothingness has causal force? That the nothingness of the bridge can have consequences?: "Rien n’est plus reél que rien" ("Nothing is more real than nothing") (Beckett).

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            Suppose we need to express our take on the human condition. Might we want to begin our representation with the two Extremes of finitude and infinity. Then we put mankind in the Middle conscious of their finiteness (conscious of death). Now what? Mankind has consciousness. They are conscious that they have consciousness. The question then becomes, not what they should do with such consciousness, but rather should they do anything with it?

            Here playing the Game of Between seems to shuttle the mind back and forth between finiteness and infinity.

            84. Separating, Combining, Novelty: Does preparing to play the Game of Between begin with a picture of separating and combining Extremes? With the preparatory word "merger" we seem to see the Extremes come to together to form a new thing. Here the rule of the Game is "combine X with Y to form Z." With "reconciliation" the rule is essentially the same but with the added notion of "re-combine." That is, to bring together what (the Extremes) were once together but are now separated. "Reconciliation" implies a state, "conciliation," prior to "reconciliation." It has a "history" lacking in "merger."

            Both "merger" and "reconciliation" involve working out the details. This too can be seen as a Game with certain rules.

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            85. At Stake: What's at stake in completing a Between like a merger? Customer loyalty in the case of airlines or banks? What's at stake in sustaining an Between like a marriage? The possibility of divorce? What's at stake in not dissolving a relationship, a connection or a contract?

            Here the image of crossing a threshold comes to mind. One might say to oneself: should I continue over and beyond it? Should I turn and go back? Should I pause on the threshold and think about which way to go?

            What if an abyss (Abgrund) yawns beyond this threshold? (Wittgenstein PI #84). (Please see Crossing a Threshold, p. 118).

            What image do I see when I use the phrase "there is the difference between….?" Is it an attempt to foreground, bring to front and center stage, what has hitherto occupied the background?

            86. Interstellar Travel (Or Going From Here to There): Should we take any conceivable "Here" and "There" as the Extremes of a Between? What if "Here" is earth and "There" is Alpha Centauri, a star 4.4 light years from earth? What if the journey would take, in a spaceship traveling 38,000 miles an hour, 70,000 years to traverse the distance between the earth and Alpha Centauri?

            Who ever goes on such a journey would never come back. Whoever goes won't be born for 200 years from now (19 August 2011). Whoever plans a journey of 70,000 years in 200 years time manages to think of things deep in the past that are far in the future.

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            We can imagine Middles traversable in a finite length of time. This is because we can count? Can we imagine an uncountable, indivisible< Middle? (For more details on interstellar travel please see Darpa [Defense Advanced Research Projects Agency]). [77]

            87. The Middle as Modes of Time: Sometimes time seems to "go fast"; at other times to "creep by." The Middle between now-here and then-there can expand or contract. In the movie "One Day" (2011), starring Jim Sturgess and Anne Hathaway, the action starts and stops on one day, July 15, 1988. Between the beginning and the end of the movie the character go from early adulthood to middle age.

            Here we seem to be invited to think about action viewed by creatures with abnormal conceptions of time. For one, going from an early adult to middle age is normal. For the other it is impossible.

            But wait a minute. July 15 is the feast day of St. Swithin, a bishop of Winchester in the 9th century. So what? I'll tell you what. What ever the weather is on the feast day, rain or shine, it will continue same for the next 40 days.

             88. The Problem of "Between" as a Word: The familiarity and apparent clarity of the word "between," makes, for some, a word hard to grasp. Usually, when we are told that Z is happening between X and Y we know how it is supposed to be true, but that depends on a ground (conceptual or theoretical) that is not conveyed by the "between" alone. We may know how both Y and Z" refer, and the kinds of things to which they refer; and we may have a rough idea how the two referential paths might converge on a single thing, an object, a person, or process. But when the two terms of the identification are different it may not be so clear how the convergence might be true.

            We would like to say that every Game of Between adds new life to X, the subject of the Game. Here we have in mind a picture of X taking on new life by becoming Y, Z….

            89. Anomalous Middles (Middles Without Names): If there is a place to start here, it might be with nameless, or un-nameable, Middles. Are we, in our imagination, one with Adam observing objects he can't "call" or teach Eve how to call? Perhaps the word "animal," as a candidate for a name, isn't available to Adam. Consequently, reports to God and us about the animals cannot be named or categorized.

            Still, we suppose he could point at the animals and engage in a primitive form of naming with Eve and God, "this one," "that one," "those over there." If we want to be generous with him we might grant him a certain number of color terms as names, "roan," "brindle," "tawny" and the like.

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            Perhaps "nameless" is the wrong word here. Perhaps we should say that any word can name something but in so doing it tends to reveal different states of being of the thing named? Perhaps we should say that some names, especially proper names, strive to reveal the perfect, or complete, nature of things while other reveal, in various degrees, their imperfect, or incomplete nature? Is "shadow," say, the name of an imperfect being? Was that what Eliot was driving at with "Between the motion and the act/Falls the shadow"? Insofar as shadows presuppose a casting body (a bird) and a light source (the sun) then we might want to say that imperfect being is parasitic on complete being.

            But don't we often have an inkling that something ought to lie between two other known things (Extremes)? Perhaps we feel the need to fill a gap between them and by so doing bring into being something new? How, for example, would you feel about yourself if you are a star athlete but have never played on a championship team? Would you feel stuck in a kind of no-man's land between winning and losing? Being a star makes you a sort of winner. But your team failing to win a championship might make your career seem incomplete. [78]

                        Between failure and success lies a space of unnamed possibilities

                        Possibilities are what lie just around the corner.

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            90. The Sorenson Reduction: If I say to myself I am neither this nor that, neither a winner nor a loser (a success or a failure), then I have executed what can be called a Sorenson Reduction. I have, that is, employed double negation to "exhaust" the possibilities of "this" and "that." I have robbed them of life and meaning without robbing them of existence. But have I, in the process, discovered something new? Or created a space for something new?   [79]

             91. The Mystery of Meaning: What does it all mean? Life, the cosmos, my being here? Everyone, it seems fair to say, have been distracted by those questions at one time or another. Trying to answer them tends to produce more distractions: "distracted from distraction by distraction" (T. S. Eliot). We respond to the questions with literature, philosophy, theology, music and art. In his review of "The Tree of Life," a movie that deals with questions about cosmic matters ("where did it all come from? Where is it going") as well as mundane ones ("should I eat now or wait?" "Should I answer the phone?") A.O Scott comes to the weary conclusion that our answers are always "provisional."

     Yet there is the expectation that it 'will all make sense…sometime between now and Judgment Day." [80]

            Scott's use of "between" comes at the end of the review. It dams the stream of words. It takes us beyond the movie and its unanswerable questions to the future where the questions "make sense," become answerable. For some of us, it might open a space where we search for answers.

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              Between now and then will time end and a space of infinite possibilities open up? But will we be conscious of them?

             92. Pure Between: Can we imagine a "pure" Between. One without empirical content (Kant). One not anchored in space, intention and time? Certainly, on an analogy with a Venn Diagram we can draw, in succession, three overlapping circles. In themselves the circle represent nothing but themselves. But, as such, they represent the possibility of any empirical content or operation. We can go on with them to calculate probabilities, predator:prey ratios, surface to volume relationships and the like.

            Are we then lead to the conclusion that "pure" is an imaginary place to start doing sums, going on to something, attempting to make the implicit explicit? Or is it a tacit admittance of "I don't know what comes first when I imagine X?"

            93. Gaming: I said above I would like to create an explanatory context for Between (and possibly In-Between) by means of a game analogy. The analogy is not to any particular game, for example, golf, tennis, or any board game. Rather it is to what seems common to them all, a network of relationships between the moves of the game, its rules, its purpose, instruments used in the game and the like.

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            Should we take the Game of Between as a leisure activity? Here we are tempted to say that our relationship with the Game, although always possible, and frequently actual, is always contingent? Or are we faced here more with the causes of contingency.?

            What seems important with the game analogy is what follows the mention of analogy. Please allow your mind to follow what follows from this chess analogy:

          Movies that use a chess as a metaphor include "The Chess Player" (Le Joueur d'Echecs 1927) and "Queen to Play" (2010).



            Every game, it seems fair to say, can be used as a metaphor for any human behavior, actual or virtual. But chess seems to be the most often used with golf a close second. Why is this the case?

            Suppress the "why" and look at how chess and golf are used as metaphors.

            94. Seeing Things From The Middle: Playing the Game of Between seems to involve seeing things from a Middle. Here the analogy to a real world game might be to chess. Novice chess players, playing against experts, sometimes think that they are playing in a different game. The reason, supplied by recent research, is that the experts, employing both parts of the brain, use information about the chessboard in a unique gaming strategy. Whereas the novice chess player "looked directly at the pieces to recognize them, the experts looked on the middle of the boards."  [82]   In other words, the experts were taking in everything on the board by combining information supplied by peripheral vision with a strategic next move.

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            It would appear that Wittgenstein had something like this in mind in his comments on the lack of a clear view of "the use of our words." "Our grammar (lacks) perspicuous representation…which consists in 'seeing connexions'. Hence the importance of finding and inventing intermediate cases" (PI, #122.). In other words, using words and moving chess pieces effectively depends on finding the interrelationships between them—their intermediate cases.

           95. "A" Versus "The": Should we take note of the difference between "a Between" and "the Between?" Should we inform our audience, that is, that "a" signifies a new Between (not mentioned before) and "the" a given one?

            But how would we inform the audience? Isn't it enough to assume that they know the difference?

            Are we ever certain what our audience is thinking about? Are we communicating with the audience or disrupting its thinking?

            96. Hierarchy: Can a hierarchy exist among the three parts of a Between? One might imagine this happening if we think of a Between as we do the solar system; as a system in which planets rotate around a central sun. With this analogy we might go on and say that the Middle, as the "sun" of the whole system, supplies energy and direction to at least two of its satellites, the Extremes of a Between.

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            This might draw attention to the importance of the Middle. But where does this lead us? It might motivate us to look more closely at the Middle as a composite of qualities one can associate with life, light, heat, movement (tides, the circulation of water through its various stages, creation of new elements for the periodic table and so on).

            Planets, comets and asteroids rotates around a central sun. The sun, in turn, rotates around the Milky Way which does it own rotating around a mega black hole.

            Does this line of reasoning lead to a clearer understanding of the complexity of a Between?

            97. Fear of the Infinite Does a Between, by putting sides on a sequence of words, show a fear of the unlimited? Do writers (and speakers) fear what language can do to thinking? Can one employ Betweenness to allay such fear? For Wittgenstein thinking involves fighting against the "bewitching of our intelligence by means of language" (verhexung Sprache, PI, #109),   [83]  for T. S. Eliot language always threatens to break the levies of cognitive control: "the intolerable wrestle/With words and meanings" (The Four Quartets).

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            On the other hand, it seems that language has the potential to allay fear, especially of what the Greeks call "fear of the infinite," or "all-ness" (apeirophobia). Horace, recall, characterizes the all-ness of death as "un-house-broken" (indomitaeque morti, Odes, Liber Alter XIV). Milton shows us hell as a fiery space with no boundaries (Paradise Lost bk 7). Aristotle, in his unemotional way, demotes infinity (apeiron) from an actuality to a harmless potentiality (Physics 7.5).

            I am tempted to say this suggests an All-ness into something less than All, a domesticated Nothingness as Something.

            Every statement about fear is an attempt to allay fear?

            Does playing the Game of Between give us comfort in the face of death, of time as destroyer? With time we can easily imagine it as an arrow carrying all of us, along with the cosmos, to a future heat death. Following Gilead (who perhaps follows Aristotle's footprints into the wilderness of future truth)   [84]  we might want to call this a "pure possibility. Or is it? Can a heat death be inferred from Newtonian physics? Isn't it true that Chaos Theory questions that assumption?

             Time, leading a train of death, decay and destruction, has no intention. We argue with it, plead with it, and ask for its forgiveness—to no effect. But we can, with a thought experiment, remove it temporally from the actual to the virtual realm. —assuming, with Ryan, that fiction is essentially about the virtual.  [85]

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            98. Tragedy and Comedy: "The un-resolvable antinomy in the human subject between the infinite and finite produces tragedy; every claim to resolve the antinomy can, in the end, be seen as comic."  [86]

            Can this definition be the basis for an extending discussion of the difference between tragedy and comedy?

            99. Mute responder (Speaking Absence): Everyone talks at some point about the dead or the unborn. In so doing we make an imagined present of a material absence. Can we then say that talking about them makes them "mutely respond." Here we might want to say that mute voices, as a third agent between us, sustain our talk. In the Nicomachean Ethics Aristotle raises the question, do the actions of the living affect the dead? (Bk 1, chps 10 and 11). His conclusion? Yes, but in a weak way. In Hemingway's The Hills Like White Elephants the unborn child of Jig affects the relationship between her and the American. The male character wants to abort the child. The woman doesn't.

            They have "taken sides" on the issue of abortion.

           Isn't all this referring to absences a way of going on? Please consider this bit of dialogue between the two characters of Hills:

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            The woman's child is yet unborn. Her abortion is only a possibility. Yet the child is present, as Middle, in a story of extreme attitudes. Its presence is heavier, one might say, than the hills of the title.

            Is this something more than double deixis? How far, in the interest of going on, can a author take this? Is there a limit to an author making the absent present?

            Making the absent present. Isn't this what every epitaph (or elegy) attempts to do? Think of Yeats' poem on Swift's, self-composed, epitaph or Gray's Elegy In A Country Church Yard.

            100. Bracketing Punctuation: Enclosing words in structures like parenthesis, dashes, brackets and the like seems to invite us to pause and focus on what lies between the enclosing forms. In some texts, for example, Gulliver's Travels, many parentheses are signs of revision, of something added on or replaced, In other cases parenthetical comments seem to be sideway movements of authorial thinking—like a traveler noticing something off to the side of the road (path, walk) s/he is on.

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            What's in our mind when we write (think about) parenthesis? Creating digressions in the text? Revealing a hitherto secret about ourselves? A sign that, as an author, we are interested in covering all bases?

            Can we then say that the overall purpose of parenthetical forms is to reduce uncertainty as to where the author is taking the reader?

            Are we, with this Thought Run, digressing from digressions with digressing?

            101. Inertia. "The vis insita, or innate force of matter, is a power of resisting by which every body, as much as in it lies, endeavors to preserve its present state, whether it be of rest or of moving uniformly forward in a straight line." (Isacc Newton, the first law of motion, Principia Mathematica)

            Can we state, as our first "law" of a Between, that its Middle always "endeavors to preserve its present state?" We might take this to mean that the present state of a Middle is timeless because it is changeless. Time, according to Aristotle, follows change (Physics IV, 10-14). But isn't it more plausible to say that the present state of a Middle of the Between is a thing of the past? Like every form of life its present state is always being disrupted, its course changed?

            More intuitively, we might conclude that it is the Middle of a Between that is more likely to be inert. That the Extremes are always in a state of agitation? A person walking from A to B to C can be said to pass from one Extreme through a Middle to another Extreme. Does h/s pass from a state of inertia to a kinetic state? If h/s dies along the way, should we say h/s has passed into a final present state?

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            102. Play the Game of Between as Actual and Virtual. Let us take one step back and consider a possible "problem" of writing (and thinking). Roughly speaking, it is the problem of "using up the actual," of some completed act conditioned by the senses at a particular moment. This phenomenon occurs at many levels of life. Once we have finishing building our house and furnishing it, we have used up one kind of actuality. Similarly with completing a poem or finishing a bottle of wine. Not only are the reasons for writing and drinking used up in the act of writing and drinking but also the form and context of the act in each. One feels that the completed act cannot be revived by information from either the senses or imagination. No new information is available. One might say to oneself  "what has to be done is done. There is no more to be done on this account."

            In most cases the feeling of the used-up creates the need for reversal, a feedback loop; a way to go back to the time when the actual was in a nascent state, just coming into being, bearing its novelty. One feels the need to find a way to return to the time before the actual became used up. Not a final state of entropy, perhaps, but a gesture toward it.

            One needs, in short, a way to revive (and transform) the actual, animate the phoenix from its ashes. On way to accomplish this, it seems fair to say, is by reference to the "virtual." Aristotle was perhaps one of the first to see that much of language, the representations of "what if," is not about the actual, "what is," but about what could be—so his musings on the negative and, more to the point, invention (discovery?) of modal logic.   [88]   By employing modal verbs, "can," "should," "must," the subjunctive and the "if/then" form and the like, one could create a feedback loop between discourse controlled by verbs of actuality, "is," "was," "had been" and the discourse of virtuality.

In contemporary modal logic (building on Aristotle in the Organon) all it takes to turn a proposition about actuality, p, ("it is raining") into a virtual p ("it might be raining")  is to add the possibility operator  to p. In Aristotle, this operation is reversible, in theory, an infinite number of times: p<—>p.

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             Plato, referring to his allegory of the cave, might say that the virtual is just another name for misrepresentation; a fake, a simulacra cloaking the false. For others, the dark side of the virtual appears in the consequences of acting on "what could have been but wasn't." Our fall from Eden comes to mind. What if Eve had not believed the words of the serpent and acted on them? What if Adam had not eaten the forbidden fruit? What if God had been absent during these transactions?

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            The virtual, in other words, gives substance to the absent, the anonymous and the insubstantial and makes them present in a (possible?) infinite number of places and in an endless number of forms. In this the example of a game of chess, without end in its possible moves, comes to mind.

            103. Is Every Exit an Entrance Elsewhere? Analogous to a Between is a space, or spaces, with exits and entrances. The Extremes that bracket the Middle have "doors." With this, as a thought experiment, we can have, in Bachelard's words, "the entire story of one life in opening and closing doors…..a primal image." [89]

             With any given story authors have their characters enter and exit. Why (and when and how) they enter and leave give their actions purpose. Add dialogue to appearances and disappearances and meaning emerges. With every appearance and disappearance new information becomes available. Such information can either add to given information or subtract from it. In a play, the entrances and exits of the actors as changes in the flow of information to the audience.

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            For these, and other reasons, the game of entrances and exits are important for interpreting the story (play, narrative, plot). So we find, for example, Bachelard's meditation on these matters. In the course of a discussion of “Doors as Limina,” Claude Gandelman suggesting that scholars, by failing to deal systematically with doors in a literary text (or group of texts), often fail to understand what may be a “metaliterary tale” within the text(s). [90]  For De Sousa, entrances and exit through enclosures encapsulate how Shakespeare, in selected plays, gives individuality to his characters. In the absence of e/e nothing new can appear. Indeed nothing could happen for there would be no ground for the new to happen. [91]

            Opening the lid of a coffin to reveal a vampire (long fingernails, pale flesh, blood around the mouth) introduces us to a specific genre. How does a vampire occupy your house? Not by just walking (flying") in, but by being invited in. There is always the possibility of a vampire (or two) in or outside your door.

            In the video game, "Portals 2" (2011), we are in a virtual dungeon composed of many rooms but supposedly no way out. Deranged robots there threaten to kill us. How to escape? Fortunately, we are equipped with a "portal gun" which we can use to create a tunnel with an exit (through one door) and an entrance (through door) in another wall. Two openings in two different walls are necessary for escape. The first opening will not open until we create the second one.  [92]

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            We distinguish ourselves from every other thing, object or organism, by "living" in cyberspace. The virtual is not sensory. But we can pretend that it is real as reality. We are conscious of being conscious of the real and the non-real. Double consciousness makes the virtual, in Levy's words, "inexhaustible." We can never use it up. If we happen to use up the real, then we can always go to the virtual.

            In the game of exit and entrance we have the possibility of going into, or leaving, the virtual or being in the Middle as virtual —the dungeons of Portals 2 for example, or those in video games of the same "genre."

            (Please see Crossing a Threshold, p. 118)

            104. The Middle as No Exit: In his short parable, HE, Kafka represents the Middle as holding the protagonist captive:

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           Representing the Middle as an unending battle between the past and the future sets up a dialogue of the "we" with the "non-we" and the actual with the virtual—where the actual and the "we" are conditioned by time, space and contingency and the virtual and the "non-we" as the absence of them. Out of time, space and contingency the virtual and the "non-we" are unchanging and always necessary. They are eternal, unlimited, inexhaustible. Beckett's Godot comes to mind as a "non-we" in this sense as do the characters of Satre's No Exit and, of course, Lemuel Gulliver. There is no one around in the narrative to give them a proper name by which they can be "called" to appear.

             105. The Fractal Character of a Between. It seems reasonable to assume that a writer can nest one Between in another. An example might be a narrative in which the life of the protagonist (between birth and death; between success and failure; between divorce and marriage and the like) is embedded in other narratives with protagonists undergoing Between states. Novels that have family members as protagonists, for example, Tristram Shandy, Pride and Prejudice or War and Peace are salient examples.

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            106. The Vertical (Sacred) and the Horizontal (Secular): In works like Martin Buber's Ich-Du (I-You), St. Augustine's Confessions and Kierkegaard's Either/Or one sees duality as a preparation (or ground) for reaching a third state or conclusion. In the vertical mode the third can be God, faith, fate or a higher power. In the horizontal mode, the third is communion through dialogue with other persons and relations with real world objects.

            Let us say that a person goes to a market (say a gardeners market) on Saturday and to church on Sunday. In the market he hears the voice of common concerns, commercial, familial, political and the like. In church h/s might hear, from the parishioners similar concerns. But h/s would likely hear the voice of theological concerns, salvation, redemption, atonement and the like. .

            Are we justified in claiming that such "concerns" stand as the Middle of two different kinds of Beweens? That the concerns call the Betweens into being and ground the difference between them? This might suggest that every public space, accessible to everyone, can be the ultimate ground of all possible Betweens.

            107. Shades, Shadows, Photon Subtraction: As Sorenson shows in great detail, shadows (and silhouettes) come into being, by an object, like the leaves of a tree, subtracting photons from a light source, the sun, and the reduced photons falling on a surface (Seeing Dark Things; op. cit, pp 24-87).

            We might call this process "photon subtraction."

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            The infrastructure of a shadow, in short, is the transit of photons from sun (or some other light source) to a surface through a subtracting (filtering) intermediary. The intermediary, or Middle, then presupposes two other Extremes that initiate and close the process.

            It is risky to say what exactly writers like Plato, Shakespeare and Hemingway have in mind with their uses of shadow imagery. Even the best mind reader is bound to come up short. Do they mean for shadows to mean one thing or a plurality of different things? Are there certain unique emotions attached to shadows? Is shadow imagery a way of presenting information economically?

            Since shadows are real world phenomena should we would expect to find more shadow imagery in realistic fiction than in non-realistic fiction?

            At any rate, let us imagine how the Game of Between might be played with shadow imagery.

            Outside my north window is a beech tree. The sun is up. I look under the tree and I see its shadow. I then look out the south window and see the shadow of a linden tree. The shadow of the beech tree is much heavier and darker than that of the linden tree. This might suggest that every shadow, depending on the number and distribution of photons, has a different quality and texture than any other possible shadow.

            Should I use this visual information in character representations? How can I use it? Suppose I depict character X is sitting in the shadows while A, B and C are in the sun. Should we take this to mean that I have subtracted something from X? That something is absent from h/h? Cognitively, emotionally, physically?

            With these remarks in mind, please reflect on Hemingway's use of shadows in this passage from "A Clean Well Lighted Place":

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            Shadows cast by the leaves of a tree are typically dappled. In this case, they are also moving “slightly.”

           So what is involved in the “making” of dappled shadows? To answer that (or appreciate the difficulty of answering it) we first have to put ourselves in the position of the old man sitting in the shadows cast by the leaves. We are alone, drinking. We have lived a long time and have experienced, and observed, many “dark things,” loneliness, fear, despair and the like. Now suppose we begin, looking at the shadows around us, putting together cause and effect: what is producing the shadows and what is their effect, physically as well as emotionally? We look up and note that the wind is moving the leaves and look out toward the “electric light” (CSS 288). We conclude that the light is the source for the shadows. (We observe that there is no moon or stars).

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          The shadows, we note, are produced by blocked light.?leaves, in this case, being the blocking object. But, since the shadows cast by the leaves, are dappled, we reason that the leaves are blocking only part of the light. We don’t know what species of tree the leaves belong to, but we can hazard the guess, from their size and shape of their shadows, that the “ratio” of dark to light it takes to make a dappled shadow is roughly, 70/30. (The exact ratio would involve the [impossible?] task of counting the number of photons emitted by the street light and subtracting the number of photon that compose the light lying outside, and between, the boundaries of the shadows.)

           Can we then say that literary representations of shadows rise from a Game of Between? That it takes at least two Extremes, a light source and a light terminus plus a Middle, to create a shadow? Where the Middle is anything that comes between the Extremes as a photon-subtracting intermediary?

            In the Hemingway story the leaves of the trees serve as the intermediary.

108. Suspended Animation: As Mitchell shows in some detail this term has had many uses since the eighteenth century. [95]  The Royal Humane Society used it to refer to one might be perceived to be dead from drowning; Coleridge saw the effects of the mass media in the "morbid trance" or "suspended animation" of readers. Roger Dodsworth's "The Reanimated Englishman" (a short story) tells the tale of a man revived after having spent more than a hundred years frozen in ice.

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            Does this word and concept have a place in a Game of Between? Intuitively, we might let it lead us to a half-way point between living and being dead.

            Does it seem odd to you that we can't say in English, unlike Mandarin Chinese say, "deading"? That suspended animation is somewhere between "living" and "deading"?

            As discussed by Mitchell suspended animation is essentially "to be alive but appear dead" (109). Does this mean we are not allowed to say "to be dead but appear to be alive"; a statement that seems to indicate a state somewhat like a zombie?

            Are we then being asked here to think of time in a queer way?

            109. Liminality. In Latin, limen, has three basic uses. 1) It refers to a threshold, lintel or sill; 2) a house, or dwelling place; 3) a sign of a new beginning. The image that comes to mind with these is one crossing from one state, or place, across a dividing line, into a new, or different, state or stage. Such an image divides easily into a triad, namely, entering/exiting, crossing, entering.

            Liminality thus seems to have a family resemblance to our Game of Exit and Entrance and, more generally, to the Game of Between. Liminality, that is, seems to presuppose the possibility of visualizing a door that opens onto a different (perhaps a new) space. We might want to go on a say that the space that one comes from represents one Extreme of a Between. The space one enters is another Extreme. The space between the Extremes is the Middle.

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            What then are some of the symbolic possibilities here? One might be the expression of fear. The space beyond the door, over the threshold, is unknown and potentially threatening. Or perhaps a land of enchantment lies beyond the door? Or perhaps the space beyond is part of an initiatory rite, entrance into manhood?

            The possibilities seem endless.

            We can, however, be fairly certain that Liminality, like the Game of Between, always exhibit a temporal use:

   

            110. Between as Coordination: We often say that X and Y are coordinates. Or, more generally, "coordinate X with Y"; that is, as a directive. For example, advances in medicine is coordinate with social progress; that the temporality of a living human body correlates with smoking, being a male, eating red meat and the like.

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            Here we seem to have Extremes of a Between acting as coordinates. If so, does this speak against what we have called the (presumed) Asymmetry of the Extremes? That the Extremes are never equal in quality or quantity?

            Has the Middle disappeared here? That there is no ground of similarity between X and Y coordinates? Is the Middle, as it were, in the shadows, there but concealed from a mind not trained to uncover it?

            111. The Immediate. No mediation, no Middle of two Extremes, say of existence and non-existence. No interval between now and then, this entrance and that exit, this side and that side. Running through much of T. S. Eliot's poetry, especially The Four Quartets, is what can be called attempts to represent the "Immediate." Presumably, insofar as time figures heavily in the poems, Eliot intends for the Immediate to stand in as a replacement for time realized (since Aristotle?) as movement between a "before" and "after." For Eliot, the Immediate, in other words, is just another term for "no-time." "Time past and time future are perhaps both contained in time present" ("Burnt Norton").

           But if all time is reduced to the present moment, what does this do to representations of memory?

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            Here we seem to be faced with something like St. Augustine's paradox about time; namely, one only knows what time is as long as one doesn't ask what time is (Quid est ergo tempus? si nemo ex me quaerat; scio si quaerenti explicare velim, nescio [Confessions 11, 14]).

            How do we attempt to understand the Immediate? Only by not asking what it is? When we do ask then we seem to be surrounded by a cloud of negatives, one that exhaust not only its actuality but also its possibility. We want to say that we are in a stage of no-time before the Big Bang.

           Visual depictions of the Immediate, we may imagine, are more effective than linguistic ones. Suppose, for example, we want to show the unbridgeable gap (in status and value) between the Queen of England and her husband, the Duke of Edinburgh. Here we might want to pose them as the German photographer, Thomas Struth, does. He shows them sitting on a couch. The Duke sits to the right of the Queens. He sits in half shade, she in full light. Most of the features on the left side of the Duke's face are obscured by shadows. .He wears a dark suit. The Queen, in a bright colored dress, seems to come forward toward the viewer; the Duke does the opposite; he seems to retreat into the background.

            Their bodies don't touch. The Queen's right hand lies in her lap. Darkness half-conceals the Duke's left arm The space between them lies in heavy darkness. [97]

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            Duns Scotus, the Medieval philosophy, contrasts "intuition," or unmediated (immediate) thinking with analytic, mediated, thinking.  [98]

            112. Dry Wall Versus Wet Wall: Can we say that what makes separate parts into a whole is entitled to be called a Between? If so, then what brings parts of a dry wall together is gravity and friction. But for a wet wall we would have to say it's mortar. Does it make any difference that one is invisible (dry wall) and the other perceptual (wet wall)? If there is a difference then it has to be duration and looks. Which will last the longer? Which is the more attractive?

            Should we add "fun to make" to this mix?

            113. Between them and us: Say you have observed (or heard reports of) an atrocity, like that which occurred on June 10, 1942 when all the inhabitants of the Czech village of Lidice were killed by German troops. The act was a reprisal for the assassination of Reinhard Heydrich a chief planner of the liquidation of Jews.

            How would you record, as a writer, your outrage at the horror? The answer, according to W. H. Auden was not to luxuriate in your own guilt for not feeling horrorstruck enough, but rather to pay attention to the imponderable distance between "them" (the victims) and "us."

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            Auden's poem, "Musée des Beaux Arts" (1938) represents, according to Joanna Bourke, how this "imponderable distance between "them" and "us" can be achieved. [99]

            114. Questioning : The linguist, John Lyons, says that questions result from "the grammatalization of the feature of doubt."  [100]  He then goes on to say that the essential thing about a question is the distinction between "posing" a question and "asking" one (p.755). The difference between "posing" and "answering" a question is essentially what the questioner expects from h/h addressee. With the first, posing, we simply "externalize our doubt." We may not expect the addressee to answer the question or we may think it is unanswerable. With asking, on the other hand, we both externalize our doubt and expect the addressee to answer the question.

            If Questioning can be seen as a Game of Between then we have to make several assumptions. One is the assumption of Thirdness. Can Questioning be divided into three asymmetric, but intelligible, parts? Will this division adversely affect the ability of Questioning to express Doubt?

           All the languages I have some knowledge of (Greek, Latin, German, French, Italian, English) have a three terms (three family members) that might give some hints about how to answer the question of division. English, classical Greek and German have, for example, the following forms (It should be said that these are not the only members of the Questioning family that perform the same functions)

            (Please note we are asking, not posing, a question here.)

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            111, Asking (erotan/fragen); Question (erotensis/ Frage); Answering (antworten; antilegein). Asking, it might be said, is a Preparation for expressing Doubt. Question is the expression of Doubt and Answering is (ideally) the settling of Doubt. In the context of the Game of Between, Question would stand as the Middle, a halfway "house' between the uncertainty of Asking and the certainty of Answering.

            One analogy here to the tripartite structure of Questioning might be the problem;discussion as the problem:solution. With Asking we state the problem. With Question we discuss the details of the problem and with Answering we state (or suggest) a solution to the problem. This, at any rate, is a procedure often followed by Aristotle.

            The rules of a game can be seen as constraints on how we play the game. Constraints tell us what we must not do to keep playing the game. In golf, we must not neglect to record every intentional contact of the club with the ball as a stroke. In chess we must not move a pawn more than one space and never diagonally. We must not, in a card game, draw aces from the middle of the desk—und so weiter.

            Language gives us warrant for saying that it has three possible ways to express Doubt:

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            The main difference between a question and other utterances, commands, statements and the like is the expression of doubt. Its presence is there in every question, yes/no ("is the universe getting larger") and in wh-questions ("what," "who" and so on). The only exception is the so-called "rhetorical question," one that contains its own answer.

            Does the Game of Between play into any of this? Can playing the Game help us to understand how we express, and settle, doubt? In order for questioning to qualify as the Game it would minimally have to exhibit the triadic structure of the Game, two Extremes and a Middle. In addition the Middle would have to function as either a separating or combining space and as that of novelty.

            Can we then say that the triad, ask/question/answer, fits the bill? "Ask," we might say, stands as a Preparation to express doubt; "question" as the expression of doubt and "answer" as (sometimes) the settling of doubt. In the context of Entrances and Exits, we might want to say with asking we "open the door" to the "house of doubt"; with the question we enter the house and with the answer we leave it. But this assumes that the question is answerable. If it turns out to be unanswerable, we may enter the house of doubt but we never leave it.

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            Within the house are various kinds of rooms with different windows. Let us go on to say that each window represents a specific kind of doubt—doubt about what we sense outside the window.. In the first room are the windows that raise doubt about the existence of X. This kind of doubt grammatizes as yes/no questions, "does X exist?"; "Should I be afraid of X?" In the second room are windows that opens up gaps in our information about X: "What is X?"; Where did X come from?" "Why is X there?" Ignorance of X here grammatizes who-questions. In the third, and last room, are windows that make us curious about X: "I wonder what that is." "I wish I knew more about that." Here we grammatize indirect questions.

            We said above, following Wittgenstein, that there can be doubt only if there is non-doubt. Some things have to be exempt from doubt. In order to enter the house of doubt we first must not question that the house exists, that it can be entered and (sometimes) left.

            Have we played the Game of Questions with the "rules" of the Game of Between? That is to say, do the Extremes of the Game correspond with entering into doubt (ask) and exiting with non-doubt (answer)? Between these Extremes does doubt stand as the Middle? As rooms in the house of doubt?

            Some people live a "question driven life."  [101]

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            112. The Game of Between as an Answer to a Question: When we raise the question, "what happened between now and then"" we often lay the ground for the Game. Edward Epstein, for example, raises the question, "What Really Happened to Strauss-Kahn?" Strauss-Kahn, the erstwhile head of The International Monetary Fund, was imprisoned for a time in New York City for an alleged sexual assault.

            The operative word in "What Really Happened to Strauss-Kahn?" is the word "to," not "with" or "about." We are, presumably, dealing with accidental events that happened to the subject on May 14, 2011. Epstein's narrative goes from 10:07 AM on that day to 3:57 PM.

           113. Translation: As the saying of the Russian poet goes, "translation is like a woman. If it is beautiful, it is not faithful. If it is faithful, it is not beautiful" (Yevgeny Yevtushenko). Please notice the double negation, "not…not." This is what I called The Sorenson Reduction above (p. 90). The effect is exhaustive. It represents translation as essentially nothing, neither the language translated from nor the one translated into.

            Can we say, then, that this "neither…nor" effect constitutes a Between? That it references two different languages without joining them? Or making one the replica of the other? Or we might want to say, inasmuch as the perfect translation is impossible, that the "way" between two different language is defective—the Between impedes the perfect Flow of Information between them?

            Don't we understand "missing in action" as a "neither…nor" situation? That we are not allowed to say that the soldier is alive or dead? That we need "neither…nor" to exhausts the possibilities of dead or alive?

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            Readers of Spanish (and of course English) are invited to test the above hypotheses about my translation of Monterroso's "El Dinosauria" ("The Dinosaur"). Here is the text:

            Is there a perfect one-sentence novel? Candidates might be Vanessa Place's Dies: A Sentence or Thomas Bernhard's On The Mountain. Then there is my own When Stein Eriksen Ran Over My Skis. These last two achieve their one-sentence status by "withholding the period," mine for three pages, Bernhard's for 120. But there is, to my knowledge, no collection of one-sentence, or one-line, novels. Perhaps the closest thing to it is an anthology of very short tales edited by Jorge Borges and Bioy Casares, Cuentos Breves y Extraordinarios [Brief and Extraordinary Tales, 1955].

            My own choice for the perfect one-sentence "novel" (if such can exist) would be Augusto Monterroso's El Dinosaurio ["The Dinosaur"]: "Cuando despertó, el dinosaurio todavía estaba allí." [When h/s awoke, the dinosaur was still there]. The "novel" has been praised by such writers as Italo Calvino and Umberto Eco for its economical beauty and mystery. It is widely studied in Italy and South America and the Italian writer, Italo Calvino, took it for the standard by which all other one-sentence tales should be measured (Six Memos For The Next Millenium).

            "Dinosaur" has what I want to call here "pregnant brevity." This means, on the whole, that it gives birth to multiple meanings. First, we are not sure who woke up. It could be a "he," a "she," an "it" or the dinosaur itself. Secondly, we can't pin down what kind of "waking" it is. It could be from sleep, from a daydream, from fainting on seeing the dinosaur or from a drunken stupor?in which case the dinosaur might be a hangover. Moreover, these "meanings" are all stable under different kinds of syntactical transformations and word substitutions. For example, instead of "Cuando despertó, el dinosaurio todavía estaba allí," the original version, we can write, without changing the meaning, "Allí despertó, cuando el dinosaurio todavía estaba," "Cuando se despertó, el dinosaurio seguia allí," or "Cuando se despertó el dinosaurio, todavía estaba allí." Umberto Eco's Italian translation, "Quando si sveglio, il dinosauro era ancora lí," also preserves the original meaning.

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            Furthermore, the meaning of the "novel" can be enriched by tracing the history of some of its words. "Todavía," for example, is a compound of two Latin based words, "totus" [all or every] and "via" [way]. Similarly with "estaba." It comes from the early Latin, "sto" (or "sta"), with the general meaning of "stand." With these associations in mind, we can then propose a rougher, but perhaps richer, meaning: "the dinosaur was everywhere [in every way] standing there."

            But, it seems fair to say, "novels"?especially one-sentence ones?mean more than what they "say" to just one reader. Or, to put the matter another way, what would you have to imagine for this particular "novel" to be true in all situations? So, in conclusion, I would like to pose the question: what does the dinosaur truly represent for you? [102]

            114. Crossing a Threshold: As Susanne Hart, a 41 year old New York advertising executive, was stepping into an elevator she was caught between the door of the elevator and its shaft and crushed to death. [103]

            115. Textual In-Between Closure: How should you close your text? Please give some thought to this observation by the producer of the TV series "Homeland" on its last episode: [104]

            Your have to find the right amount of closure so the audience  feels satisfied for the time invested, but you also want the  right amount of tantalizing for next year.

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            116. Zombie:  Undead:  Walking Dead: "You see them all across the country, in shopping malls and street corners, suburban towns and city centers: zombie restaurants. Many of the undead are part of familiar chains that filed for Chapter 11 bankruptcy protection this year….The zombie restaurant, barely bringing in enough cash to cover basic expenses, always seem to be one sizzling fajita or glazed chicken skewer away from a merciful end, but some how keep hanging on….'There's a lot of walking dead,' said (a) vice present for a consulting firm." [105]

           "Zombie, "undead," "walking dead." Here we seem to have Betweenness represented as a state neither fully alive nor fully dead. Please notice, as we discussed above (under The Sorenson Reduction, p. 90) the use of double negatives to create a Middle between the Extremes (not stated) of "full" (complete) and "empty" (deficient).

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            Can we say that the effect is to "animate" the "inanimate?" Is this a common effect of language creating a Between by borrowing a term like "zombie" from a different realm, a neither…nor state?

            But is the strategy rhetorical (cognitive) effective? What is the purpose of the triad, "zombie," "undead" and "walking dead." Do they all evoke a picture of the same situation?

            Wouldn't it be better for the writer to discuss the topic in the context of bankruptcy, not in that of popular mythology?

            117. Kinship Relations. "Homo sapiens is obsessed with kinship." (Pinker op cit, p. 430). It is perhaps trite to say that one has to Between in order to think, describe, gossip about, kinship relations—who I am related to, who you are, who she is and so on. Could Shakespeare have written King Lear, Midsummer Night's Dream, the sonnets or any other work without placing the action and dialogue within the context of kith and kin? Would there be any three-generational drama, Lost in Yonkers, Upon Golden Pond or Downton Abbey, without familial relationships?

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            Kinship is a common arena for conflict, father against offspring (King Lear), brother against brother (Cain and Abel) or husband against wife (Who's Afraid of Virginia Woolf?). The conflict generally arises from different concerns. A child wants a different career from h/h parents; a wife wants a different set of friends from her husband; a sister would like to have the same parental respect given to her brother; an uncle tries to change the course of his nephew's education.

            Soap operas and TV sit-coms thrive on kinship issues. In an episode of Harry's Law (a TV show about lawyers and their cases) a recent episode (January 4, 2012) took up the issue of who should get custody of a child, its biological or adoptive parents. The judge awarded the child to the adoptive parents.

            In the Game of Between the judge always plays the Middle role. Please recall that "trial" (three parts) presents a Between as plaintiff (Extreme):judge and sometimes jury (Middle):defendant (Extreme).

            Kinship relations can, in short, be compared to a vast continent populated by innumerable conflicts. The individual writer can only hope to establish a narrow and shallow beachhead on the continent. But here, using an example of parents' conflicts with their children, are a few such preparatory "beachheads."

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           *Establish causes and conditions. Are the parents at odds with the child because h/h is spending more time with their friends than h/s is spending with them? Did a daughter marry the wrong man? Did a son choose the  wrong profession?

           *Sustain the conflict. Have relatives argue about money, the division of property, who should inherit what. *Closure. Stop the conflict by either leaving it open (unresolved) or closed (resolved).. With an open closure one enters the territory of tragedy; with the closed one, that of comedy, or tragicomedy.

          *Base your story on the obsession with genealogy. Why does X (the protagonist) spend so much time and effort tracing down h/h ancestors? How does this affect h/h relationships with h/h family, friends and  acquaintances?

            *Pinker observes that kinship is "digital": "You're either someone's mother or you aren't. You might be eighty percent sure that  Bill is John's father, but that is not the same as thinking that Bill is eighty percent of a father to John" (op. cit., p. 430). In short X is not (is not kin to) Y. If X is your protagonist, how would this affect X's relationship with Y (no kin) and how does it differ from that with Z (h/h kin)?

           *Are the obligations of your protagonist different for h/h kin and for no- kin, say a friend or business associate? Describe the difference(s) by  their causes and effects . How does h/h talk differ? H/h actions and  motives?

            *What if your protagonist is an adoptee? Might this status affect h/h relationship with other non-adoptees (natural) children of the family?

            * Write about the gap (or gulfs) that exist between you and your grandparents and the gulfs that may later exist between you and  your grandchildren. Can you remember the names of your grandparents? Or will your children's grandchildren remember  your name?

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            With kinship, in sum, you can seemingly play the Game of Between forever.

            118. Love: David Bellos says that "To know a language is to know how to say the same thing with different words" (op cit, p. 101). He further claims that saying the same thing with different words is a form of translation. How many different words can you use to express your love for someone or something? In this you might want to consult a thesaurus (from the Greek "treasure"). Remember that "love" can be either a noun or a verb and always presupposes Betweeness as a third condition: XLOVESY.

            Now play the Game of Between by observing what shades of meaning separate one word for love with another; say, "love, "affection," "enamored."

            Now read Philip Larkins' poem, "An Arundel Tomb," and notice how many different words the poet uses for love between the couple.

            119. The Fate of the Game of Between. Several scenarios have been proposed for the ultimate fate of the universe. One is heat death or final entropy. The temperature of the universe will eventually become the same in all its parts. Consequently, no work can be done. Another, more recent theory, is that the universe is expanding so fast (faster than expected) that all its parts will lose contact with each other. Eventually, all energy will be gone. Behind it all, as cause, is dark matter. [106]

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            Is this a reasonable expectation for Betweenness? That its parts, the Extremes and the Middle, will eventually drift apart into dark isolation? Or will the parts collapse together in what cosmologists call the Big Crunch, leaving no spatiotemporal distinction between them?

           " Overhead, without any fuss, the stars were going out."  [107]

           120. More examples of writers betweening in various genres and contexts:

            1. Thomas Karshan, Vladimir Nabokov and the art of Play (Oxford University Press, 2011).

            2. James N. Comas. Between Politics and Ethics  Carbondale: Southern Illinois UP, 2006)

            3. Mircea Eliade. Cosmos and History: Myth of the Eternal Return  (New York: Harper & Row,     1964).

            4. Andrea Knutson, American Spaces of Conversion (Oxford University Press, 2011).

            5. "3" a 2011 German film by Tom Tyker. Three characters, one female and two males, Hanna, Simon and Adam. Adam is the common lover of Simon and Hanna.

            6. St. Paul: For to me, living is Christ and dying is gain. If I am to live in the flesh, that means fruitful labor for me, and I do not know which I prefer. I am hard pressed between the two: my desire is to depart and be with Christ, for that is far better, but to remain in the flesh is more necessary for you (emphasis mine). Philippians 1:21-24.

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            7. Kafka's HE: He has two antagonists; the first presses him from behind, from his origin. The second blocks the road in front of him. He gives battle to both. Actually, the first supports him in his fight with the second for he wants to push him forward, and in the same way the second supports him in his fight with the first, since he drives him back. But It is only theoretically so. For it is not only the two antagonists who are there, but himself as well, and who really knows his intention? His dream, though, is that some time in an unguarded moment-and this.. would require a night darker than any night has ever been yet-he will jump out of the fighting line and be promoted, on account of His experience in fighting, to the position of umpire over his antagonists in their fight with each other.  [108]

            8. Rebecca Zorach, The Passionate Triangle (Chicago: University of  of Chicago Press, 2011).

            9. Freeman Dyson, "The Case for Far-Out Possibilities," The New York Review of Books (November 10, 2011), p. 26. The third alternative.

            10. Lyall Watson, Dark Nature.(New York: Harpers 2996). Uses the Goldilocks principle.

            11. "The entire movie is balanced between terror and beauty." David Denby on the movie "Empire of the Sun" (1987).  [109]

            12. Movie, "Father of Invention," starring Kevin Spacey. Fabrication, conceiving and making new products as an In-Between process. Slogan, "all things are related." Chief product is is a wireless halter parents use to control their child. With it two concerns are brought together to create a third thing (the halter), the parents' safety for their child concern and the concern of the child for entertainment. The halter has an attachment the child can use to hear music, send messages, take pictures, and so on.

            13. Lisa Randall, Knocking on Heaven's Door; How Physics and Scientific Thinking Illuminate the Universe and the Modern World (New York: Ecco, 2011). Essentially a work that describes searching as a Middle that is 1) new 2) unifying and 3) an explanation that needs no further explanation. One might say, using Aristotelian language, that the goal sought is "being as being."

            14. Paul W. Kahn: Out of Eden. Adam and Eve and the Problem of Evil (Princeton: Princeton UP 2007). A meditation on the spaces between such Extremes as finitude and infinity, love and hate, inside and outside "perspectives" that make evil possible.

15. Jonathan Benthall, "Asset strippers," The Times Literary Supplement (December 9, 2011), p. 25). Rev. of Scott W. Hibbard, Religious Politics and Secular States (2011). "Hibbard steers an assured middle course between the 'essentialist' view of religious politics…and an emphasis on material factor…."

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            16. Sir Francis Bacon, "Of Innovations." An essay written with a perspective from the middle; that is, from present time. Innovation, Bacon writes, is the "new," "novelty," the "stranger" among us. But, respecting the new and sometimes taking advantage of what it brings (for example, new kinds of medications), one should not neglect things of the past or those things yet to come.

            17.Things it means to be Episcopalian: We believe “Faith” means being willing to live in tension between tradition and change; knowing and not knowing.

            18. "Middle childhood is when the parts of the brain most closely associated with being human finally come online: our ability to control our impulses, to reason, to focus, to plan for the future."  [110]

            19. Always distinguish "between the facts of political life and the values of moral judgment." Machiavelli, The Prince.

            20. Margaret Talbot, "Stumptown Girl," The New Yorker (January 2, 2012), pp. 24- 36. Description of the substance of a double Betweenness (relationship) between Carrie Brownstein and Fred Armisen actors in the TV series "Portlandia." On the one hand, there is the relationship they have in the series (the on stage one) plus the personal (off-stage) one. This is an example of a writer "going on," lengthening a narrative, by adding incremental bits of information to two different kinds of human relationships.

            21. Steven Pinker, How the Mind Works (New York: W. W. Norton & Company, 1999). Please see keywords like "interaction"  (pp. 21, 64, 543), "interim" (p. 351), "correlation" (p. 65). Perhaps the most important use of Betweenness here is in Pinker's "search" for connecting links between the mind and the world. See chapter 2, "Thinking Machines."

            22. Mary Beard, "Do the Classics Have a Future," The New York Review of Books?" (January 12, 2012), pp. 49-54. Here the author employs Betweenness as the thesis for her article: "To put this as crisply as I can, the study of the classics is the study of what happens in the  gap between antiquity and ourselves." (p. 54; emphasis mine).

Now smile.

The art of being a good guest is knowing when to leave.

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         INDEX OF PERSPECTIVES, OR CONTEXTS OF USE, ON THE GAME OF BETWEEN.

            Katsushika Hokusai (September 23, 1760 – May 10, 1849), a Japanese artist, became famous with his 36 views of Mt. Fuji. (He was later to add 64 views to his the 36). Gathered below is a list of the Thought Runs I have made on The Game of Between. Much like Hokusai's views of Mt. Fuji, these Runs can be seen as rising out of my fascination with Betweeness and the space it occupies in thought, imagination and language.

           Mt. Fuji, rising to 12,389 feet, is the highest mountain in Japan. My job is to persuade you to give Betweeness the highest linguistic priority in your thinking, reading and writing.—to confront your subject, not from one perspective, but from many.

            Taken as a whole, these Runs can be said to fall into three large groups, 2D, 3D and neither 2D nor 3D. 2D may be likened to the Von Neumann style of computing. Information processing, and representation, with a Between goes in sequential stages, first the Extremes then the Middle or first the Middle and then the Extremes. 3D processing, by contrast, is to see a Between as a biologist sees a cell, a 3D space of actual and virtual activities. The position of an Extreme or Middle in the 3D space, plus the ways it can move, are determined by its function. When the position changes, then so does its function where function is seen as the communication (and control) of textual information.

***

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Index.

Searching for a Middle, p. 4

3D Space of a Between, p. 6

Switching, p. 9

Salience, p. 10

The Verb, p. 10

The Hands, p. 11

Mental Time Travel, p. 11

Time, p. 14

Flow of Information, p. 15

Center of Gravity, p. 18

Copia, p. 19

Thought Runs, p. 20.

Assumption #1, p. 22

Assumption #2, p. 22.

The Middle as Privileged Space, p. 23.

Thinking, p. 25.

Thirdness (Dreiheit), p. 25

The Unexpected, p. 28.

Thirdness and Plenitude, p. 29.

The Unknown Middle, p. 32.

The Silent Middle, p. 32.

Causation, p. 32.

If/Then, p. 33.

The Middle as Messenger, p. 34.

Aristotle, p. 34.

Wittgenstein, p. 35

Family Resemblances (Familianåhnlichkeiten), p.. 35.

Emergence, p. 36.

Convergence, p. 37

Krishna, p. 39.

Metaphor/Analogy p. 39

Comparison, p.40.

The Space of Interruption, p. 41

Meta-Thought Run, p. 41.

Framework, p. 42.

Going On as Fascination, p. 42

Going on as Doubting and Non-Doubting, p. 43.

Game Ball, p. 45.

Telling a Story/Describing a Story, p. 43.

Storytelling and Death, p. 47.

Weather, p. 48.

Pyrrhic Victory, p. 48.

Truth, p. 49.

Un-Googleability, p. 49

Eyelevel, p. 50.

Standin, p. 50

Eucharist, p. 50

Nothingness, p 51..

Nowhere, p. 52.

Measuring (Value/ Precision/Accuracy), p. 52.

Context as Middle, p. 53.

Context (or Scene), p. 60.

Convergence of the Extremes, p. 61.

Vortex, p. 63.

Thesis and Emergence of the Middle, p. 64.

Conflict and Violence: The Game of Between, p. 64.

Justification, p. 65.

Self-Similarity, p. 65.

My Version, p. 66.

Triplets?, p. 66.

Note on Notation, p. 67.

Food, p. 67.

Assumption of the Existence of X, p.68.

Metrical Representations, p, 68.

Difference, p. 69.

Suppressing the Why, p. 70.

Suppressing the Possibility of Failure, p. 71.

Hedonic Ethology, p. 71.

That Static and the Moving Between, p. 72.

Una trinitas et trina unitas, p.72.

Asymmetry, p. 73.

Is/Ought, p. 74.

Patterning., p. 75.

Collocations, p. 76.

Judging, p. 77.

Triangles, p. 78.

Self-Reference, p. 81.

Preparation, p. 81.

Between Versus In-Between, p. 82.

The Joy of In-Betweeness, p. 83.

The Middle as Evidence, p. 83.

The Dharmic Middle Way, p. 84.

Flat Versus Three-Dimensional Figures, p. 84.

Between as Expression, p. 84.

Separating, Combining, Novelty, p. 86.

At Stake, p. 86.

Interstellar Travel (Or Going From Here to There), p. 87.

The Middle as Modes of Time, p. 87.

The Problem of "Between" as a Word, p. 88.

Anomalous Middles (Middles Without Names), p. 89.

The Sorenson Reduction, p 90.

The Mystery of Meaning, p. 90.

Pure Between, p. 91.

Gaming, p. 91.

Seeing Things From The Middle, p. 92.

"A" Versus "The," p. 93.

Hierarchy, p. 93.

Fear of the Infinite, p. 94.

Tragedy and Comedy, p. 95.

Mute responder (Speaking Absence), p. 95.

Bracketing Punctuation, p. 96.

Inertia, p. 97.

Play the Game of Between as Actual and Virtual, p. 98.

Is Every Exit an Entrance Elsewhere, p. 100.

The Middle as No Exit, p. 102.

The Fractal Character of a Between, p. 103.

The Vertical (Sacred) and the Horizontal (Secular), p. 103.

Shades, Shadows, Photon Subtraction, p. 104.

Suspended Animation, p. 106.

Liminality, p. 107.

Between as Coordination, p. 108.

The Immediate, p. 109.

Dry Wall Versus Wet Wall, p. 110.

Between Them and Us, p. 111.

Questioning, p. 111.

Asking, p. 112.

The Game of Between as an Answer to a Question, p. 115.

Translation, p. 115.

Crossing a Threshold, p. 118.

Textual In-Between Closure, P. 119

Kinship Relations, p. 120.

Love, p. 124.

The Fate of The Game of Between, p. 125

Examples of Authors Betweening, p. 126.

Index of Perspectives on the Game of Between, p. 127.

Notes, 135.

Index of Authors, p. 147.

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REFERENCES

[2] Wittgenstein, Philosophical Investigations. Trans. G. E. M. Anscombe (Oxford, Basil Blackwell, 1968), #109.p. 47e. Hereafter PI

[3] Evelyn Keller, The Mirage of a Space Between Nature and Nurture (Durham North Carolina: Duke University Press, 2010).

[4] April Bernard, "A Genius Ill Served," The New York Review of Books ( March 24, 2011), p. 18.

[5] Sean O'Brien, "Edgelands," Times Literary Supplement (March 11, 2011), p. 28.

[6] Claran Ross, Beckett's Art of Absence (London: Palgrave 2011), p. 86.

[7 ] Aristotle: Fundamental of the History of His Development. Trans. Richard Robinson (Oxford: Oxford UP, 1967), p. 379.

[8] " Physicists Anxiously Await New Data on 'God Particle.' " (December 12, 2011), p. A10.

[9] The reader might want to make further applications of this analogy, the 3D Space of a Between as the nucleus of a cell, by reading Tom Misteli's "The Inner Life of the Genome" The Scientific American (February 2011), pp 66-73.

[10] Barabara Corballis, "Not as different as all that," The Times Literary Supplement (October 28, 2011), p. 25.

[11] See Michael Corballis, The Recursive Mind: The Origins of Human Language, Thought, and Civilization (Princeton University Press, 2011).

[12] Ludwig Wittgenstein, Remarks on the Foundations of Mathematics. Ed. G. H. Wright, et al (Cambridge, Massachusetts: The MIT Press, 1978), p. 227

[13] Cosmos and History: The Myth of the Eternal Return (New York: Harper & Row, 1959).

[14] The New Yorker (May 7, 2011), p.27.

[15] Please see Ursula Coope, Time for Aristotle. Physics IV. 10-14. (Oxford: Clarendon Press 2005).

[16] Sir Francis Bacon, "Of Innovations." An essay written with a perspective from the middle; that is, from present time. Innovation, Bacon writes, is the "new," "novelty," the "stranger" among us. But, respecting the new and sometimes taking advantage of what it brings (for example, new kinds of medications), one should not neglect things of the past or those things yet to come. And lastly, that the novelty, though it be not rejected, yet be held for a suspect; and, as the Scripture saith,'that we make a stand upon the ancient way, and then look about us, and discover what is the straight and right way, and so to walk in it.


[17] These kinds of functions of the Middle appear in Richard Fly's Shakespeare's Mediated World (Amherst: University of Massachusetts Press 1976).

[18] Dennis Overbye,"NASA Telescope Detects a Planet Dancing With a Pair of Stars," the New York Times (September 16, 2011), p. A11, p. A14.

[19] Here I have in mind works like Cicero's De Oratore and De Inventione; Thomas Wilson's Arte of Rhetorique (1553); George Puttenham's Arte of English Poesie (1589); Hugh Blair Lectures on Rhetoric and Belles Lettres (1785)

[20] Readers of Latin will perhaps detect the playfulness of On Copia in the words of its original title: De duplici copia rerum ac verborum commentarii duo.

[21] John Banville, "The Most Entertaining Philosopher," The New York Review of Books (October 27, 2011), p. 41. William James took the phrase "ever not quite" as his motto and talisman.

[22] Please see Roger Caillois Les jeux et les homes (Games and Mankind) (Paris: Gallimard, 1957); also entry "Games," Wikipedia

[23] Aristotle, Metaphysics 1011a 20–25.

[24] Trans. Frances Frenaye (New York: Farrar, Straus and Company, 1947), p. 47.

[25] Heinrich Usener, "Dreiheit," Rheinisches Museum für Philologie 58 (1903), pp. 1- 161, p. 208, pp. 321-362.

[26] George Gamow, One, Two, Three…Infinity: Facts & Speculations of Science ( New York: The New American Library. 1952), p.14.

[27] Charles Sanders Peirce, Collected Papers, ed. Charles Hartshorne and Paul Weiss (Cambridge Massachusetts: Harvard University Press 1965)), vols 5 and 6, p.98. Hereafter CP. The Essential Peirce. Ed. Nathan Houser and Christian Kloesel (Bloomington: Indiana University Press, 1992), vol 1, 274-275. Essential hereafter.

[28] The Basic Works of Aristotle, ed. Richard McKeon (New York: Random House, 1941). All references are to this edition.

[29] Dennis Overbye, "3 Win Nobel for Work on Accelerating Universe" The New York Times (October 5, 2011), p. A7.

[30] Just Six Numbers: The Deep Forces That Shape the Universe (New York: Phoenix 2003)

[31] Please consult, for example, these articles in The Economist (October 1-7, 2011): "Faster than the speed of light" (p. 15); "So long, and thanks for all the quarks" (pp 85-86).

[32] Wyatt Mason, "First Inning," The New Yorker (September 12, 2011), p. 81. The reference is to Chad Harbach's novel, The Art of Fielding (New York: Little, Brown, 2011)..

[33] Wittgenstein, Philosophical Investigations. Trans. G. E. M. Anscombe (Oxford, Basil Blackwell, 1968), #109.p. 47e. Hereafter PI.

[34] Nicholas Wade, "New Fossil Find Stirs Evolutionary Excitement," The New York Times (September 9, 2011), p. A1, p. A3.

[35] Paul Goldberger, "Shaping the Void," The New Yorker (September 12, 2011), p. 78.
Daniel Libeskind is the architect for the new Trade Center.

[36] Anthony Lane, "Private Wars," The New Yorker (September 12 2011), p. 89.. Lane's reference is to the protagonist of the movie "Gainsbourg."

[37] Colm Toibin, "The Mysterious Powers of the Word," The New York Review of Books (September 29, 2011), p. 80

[38] Fooled by Randomness (New York: Random House, 2001).

[39] Charles McGrath, "A Voice, Still Vibrant, Reflects on Mortality," New York Times (October 10, 2011), p. C5.

[40] "Grabbing cancer by the short and curlies" The Economist (September 24, 2011), p. 1002

[41] Please see the "Golden Mean" in Wikipedia.

[42] Nicholas Wade, "Researchers Find Antibiotic Resistance in Ancient DNA," The New York Times (September 1, 2011)), p. A12.

[43] The New Yorker (September 5, 2011).

[44] "No work, and yet I work," The Times Literary Supplement (August 12, 2011), pp. 13-15.

[45] Alwin Frank Fill, The Language Impact, Evolution-System-Discourse (London: Equinox 2010), pp. 1-3-104

[46] Susan Stanford Friedman, "Why Not Compare?" PMLA (May 2011), vol 126, no 3, pp. 753-762. Please compare R. Radhakrishnan, Theory In An Uneven World (Oxford: Blackwell, 2003).

[47] Michael Murphy, Golf in the Kingdom (New York: Penguin2011), p. 65.

[48]  Wittgenstein, On Certainty. Ed. G. E. M. Anscombe and G. H. von Wright. Trans. Denis Paul and G. E. M. Anscombe (New York and Evanston: J & J Harper Editions 1969). Hereafter cited OC.

[49] George Johnson, "Cancer's Secrets Come Into Sharper Focus," The New York Times, (August 16, 2011), p. D4.

[50] Walter Benjamin "The Storyteller" in Illuminations. Trans Harry Zohn (New York: Schocken Books, 1968), pp.86-87; Eleonore Stump, Wandering in Darkness: Narrative and the Problem of Suffering (Oxford: Clarendon Press, 2010), p. 78.

[51] Charles Simic, The Tiger's Wife, The New York Review of Books (May 26, 2011), voL LVII p.19

[52] Carlos Baker, Ernest Hemingway, Selected Letters 1917-1961 (New York: Charles Scribbner's Sons 1981), p. 355.

[53] Times Literary Supplement (August 5, 2011), p. 6.

[54] Roy Sorenson, "Nothingness,"Stanford Encyclopedia of Philosophy (2009). p. 1. plato.stanford.edu/entries/nothingness/

[55] Lydia Polgreen, "At India-Bangladesh Border, Living in Both, and Neither" The New York Times (October 10, 2011), p. A4.

[56] Barbara Johnson "Apostrophe, Abortion, Animation,"Diacritics (Spring 1986), vol. 16, pp. 29-47.

[57] The Plays of Anton Chekhov. Trans Paul Schmidt (New York: HarperCollins, 1997).

[58] Alstair Macaulay, "Into the Pool, Slowly but With Feeling," The New York Times (August 1, 2011), p. C1, p. C 5.

[59] Dennis Overbye, "Astronomers Measure Black Holes That Dwarf the Record Holder." The New York Times (December 6, 2011), p. A15.

[60] David Theo Goldberg, "Praise the Web," PMLA (March 2011) vol. 126, # 2, p. 448

[61] Francis Fukuyama, The Origins of Political Order: From Prehuman Times to the French Revolution (New York: Farrar, Straus and Giroux 2010), see especially pp. 37-76.

[62] Roy Sorenson, "Nothingness" (Stanford Encyclopedia of Philosophy,2009), p. 1. plato.stanford.edu/entries/nothingness/

[63] Frank L. Spring, "True Stories of Kilimanjaro: An Account of the February 13-18, 2011 African Walking Company Rongal Route Climb," p. 22. A personal communication.

[64] Carl Darling Buck, A Dictionary of Selected Synonyms in the Principal Indo-European Languages: A Contribution to the History of Ideas (Chicago: University of Chicago, 1949), p 1198. 17.11.

[65] Claran Ross, Beckett's Art of Absence (New York: Palgrave, 2011), p. 88.

[66] Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (Indianapolis: The Odyssey Press, 1940), p. 151.

[67] Confessions, 12:8.

[68] Was ist Metaphysik? (What is Metaphysics?).

[69] Larry Dorman, "Tailoring the Tees to the Players To Bring the Fun Back to Golf," The New York Times (July 11, 2011), p. D5.

[70] Stephen Henighan, "A sacred trade," The Times Literary Supplement (July 1, 2011), p. 21.

[71] Peter Parker, "English things," The Times Literary Supplement (July 1, 2011), p.20.

[72] Brenda Maddox, "The Kensington Joyce," Times literary Supplement (July 1, 2011), p. 15.

[73] Jad Mouawad, "Details, Details." The New York Times (May 19, 2011), p. B1, p. B4.

[74] William Rashbaum and John Eligon, The New York Times (June 27, 2011), pp. A15-16.

[75] Wikipedia, "Existence."

[76] Eliot Weinberger. "What Made It New?" The New York Review of Books (June 23, 2011), vol. 58, p. 42

[77] Dennis Overbye, "Offering Funds, U.S. Agency Dreams of Sending Humans to the stars" (The New York Times (August 18, 2011), p. A1, p. A3.

[78] William Rhoden, "Superstar Players, Incomplete Careers." The New York Times, (June 13, 2011), p D1, p. D5.

[79] Roy Sorenson, Seeing Dark Things (Oxford: Oxford University Press, 2008), pp 226-227.

[80] "Heaven, Earth, Texas And the Cosmic Whodunit," The New York Times (May 27, 2011), p .C 1, p. C11.

[81] Carl Hulse and Jackie Calmes, "Congress Heads for Showdown on Debt Plans," The New York Times (July 26, 2011), p. A1.

[82] Dylan Loeb McClain, "Harnessing the Brain's Right Hemisphere to Capture Many Kings," The New York Times ( January 25, 2011), p.D3.
[83]  This is consistent with Wittgenstein's insistence on seeing thought as an "airy," or "insubstantial," a person to person conduit of information ("Die pneumatische Auffassung des Denkens" PI, #109). See also PI, #34, 187, 291,

[84] Amihud Gilead. "Actualist Fallacies, From Fax Machines to Lunar Journeys." Philosophy and Literature 34 (2010): pp 173-187. Please see also Aristotle De Interpretatione 19a-19b, 23a (the ambiguity of "possible.").

[85] Marie-Laure Ryan. Narrative as Virtual Reality (Baltimore and London: The Johns Hopkins University Press, 2001), pp 7-23.

[86] Paul W. Kahn. Out of Eden: Adam and Eve and the Problem of Evil (Princeton: Princeton University Press 2007), pp. 222-223.

[87] The Short Stories of Ernest Hemingway (New York: Charles Scribner's Sons, 1966), pp 275-276

[88] Sarah Waterlow. Passage and Possibility: A Study of Aristotle's Modal Concepts (Oxford: Clarendon Press 1982).

[89] Gaston Bachelard, The Poetics of Space. Trans. Maria Jolas (Boston: Beacon, 1969), p. 224.

[90] Claude Gandelman, Reading Pictures, Viewing Texts (Bloomington: Indiana University Press, 1990), pp. 48-55.

[91] Geraldo U. De Sousa, At Home in Shakespeare's Tragedies (London: Ashgate, 2011), p 23.

[92] Seth Schiesel, "Physics, With Wormholes by You," The New York Times (May 11, 2011), p. C1, p. C5.

[93] Franz Kafka, The Great Wall of China. Trans. Willa and Edwin Muir (New York: Klopf 1946), pp: 276-277.

[94] Hemingway, Ernest. The Complete Short Stories of Ernest Hemingway. The Finca Vigia Edition (New York: Scribner, 1987). Cited CSS in the text.

[95] Robert Mitchell, "Suspended Animation, Slow Time, and the Poetics of Trance" (PMLA, January 2011), vol 126, pp. 107-122.

[96] Wikipedia, entry on "Liminality."

[97] "23.06.11 Windsor, Berks" Times Literary Supplement (July 1, 2011), p. 3.

[98] Mary Beth Ingham and Mechthild Dreyer, The Philosophical Vision of John Duns Scotus (Washington D.C: The Catholic University of America Press, 2004), pp. 26-27.

[99] "Buckets of bubbly," The Times Literary Supplement, December 2, 2011, p. 3.

[100] Semantics, 2 vols (Cambridge:Cambridge University Press, 1977) vol. 2, p. 754.

[101] David Brooks, "The Question-Driven Life," The New York Times (August 19, 2011), p. A21.

[102] First published in Harbinger (online) (2008): please see http://harbinger.justfree.com/issue01/content/thedinosaur.html. For more general issues about translation, please see David Bellos, Is That a Fish in Your Ear: Translation and the Meaning of Everything (New York: Faber and Faber, 2011).

[103] Cora Buckley, "Elevator Was Serviced Right Before Accident," The New York Times (December 16, 2011), p. A33, p. A35.

[104] Bill Carter, "'Homeland' Goes Tensely to Its Finale" The New York Times (December 15, 2011), P. C4.

[105] William Neuman, "Slicing Costs, and Still Serving," The New Times (December 28, 2011), pp. B1-B2

[106] Please see endnote for The Unexpected and "Ultimate Fate of the Universe" entry Wikipedia. For fuller accounts please see Richard Panek, The 4% Universe: Dark Matter, Dark Energy (New York: Houghton Mifflin Harcourt, 2010).

[107] Arthur Clarke, "The Nine Billion Names of God" (1957).

[108] The Great Wall of China. Trans Willa & Edwin Muir (New York: Penguin, 1946), pp. 276-277.

[109] The New Yorker (December 5, 2011), p.15.

[110] Natalie Angier, "Now We Are Six," The New York Times (December 27, 2011), p D1, p. 6. The term "middle childhood" is Jean Piaget's. It refers roughly to the age five to six.

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INDEX OF AUTHORS
Reference is to the endnote number, not the page.
Angier, Natalie. 110
Aristotle: 7, 23, 28
Augustine, St.: 67.
Bacon, Sir Francis: 16
Bachelard, Gaston: 89
Baker, Carlos: 52
Bellos, David: 102
Benjamin, Walter: 50
Bernard, April: 4
Blair, Hugh: 19
Banville, John: 21
Brooks, David: 101
Burke, Joanna: 99
Buck, Carl: 64
Buckley, Cora: 103
Caillous, Roger: 22
Carter, Bill: 104
Chekov, Anton: 57
Chaudhuri, Amit: 44
Cicero: 19
Clarke, Arthur: 107
Coope, Ursula: 15
Corballis, Barbara: 10
Corballis, Michael: 11
De Sousa, Geraldo: 91
Dorman, Larry: 69
Duns Scotus, John: 98
Eliade, Mircea: 13
Erasmus: 20
Fill, Alvin: 45
Fly, Richard: 17
Friedman,, Susan: 46
Fukuyama, Francis: 61
Gamow, George: 26
Gandelman, Claude: 90
Gilead, Amihud: 84
Goldberg, David: 60
Goldberger, Paul: 35
Hemingway, Ernest: 87, 94
Heidegger, Martin: 68
Henighan, Stephen:70
Hitchens, Christopher: 39
Hulse, Carl: 81
Ingham, Mary Beth: 98
Johnson, Barbara: 56
Johnson, George: 49
Kahn, Paul: 86
Kafka, Franz: 108
Keller, Evelyn: 10, 93
Lane, Anthony: 36
Levi, Carlo: 24
Lyons, John.: 100
Maddox, Brenda: 72
McGrath, Charles: 39
McClain, Dylan: 82
Macaulay, Alstair: 58
Mason, Wyatt: 32
Mitchell, Robert.: 95
Misteli, Tom: 9
Mouawad, Jad: 73
Murphy, Michael: 47, 84
Neuman, William: 105
O'Brien. Sean: 5
Overbye, Dennis: 2, 9, 18, 59, 77
Parker, Peter: 71
Peirce, C. S: 27
Polgreen, Lydia: 55
Puttenham, George: 19
Rashbaum, William: 74
Rees, Martin: 30
Rhoden, William: 78
Ross, Claran: 6, 65
Ryan, Marie-Laure: 85, 96
Schiesel, Seth: 92
Scott, O. A: 80
Simic, Charles: 51
Sorsenson, Roy: 54, 62, 79
Spring, Frank: 63
Sterne, Laurence: 66, 71
Stoppard, Tom, 15
Strain, John: 53
Taleb, Nassim: 38
Toibin, Colm: 37
Usener, Heinrich: 25
Wade, Nicholas: 34, 42
Washington, Gene: 102
Waterlow, Sarah: 88
Weinberger, Eliot: 76
Wilson, Thomas: 25
Wittgenstein, Ludwig: 12, 33, 48

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Washington
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