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In the first chapter of his study, Dornbach ventures to describe the challenges confronting the readers of Walter Benjamin's "Goethe's Elective Affinities," thereby drafting a picture of Benjamin's style: "Apodictic and incisive, Benjamin's formulations throughout the essay never stop short of the utmost of semantic compression. His train of thought alternates between philological arcana and rarefied speculation, and is made all the more opaque by an idiosyncratic use of concepts that are often left undefined. The rhythmic progression of the argument—what is called Duktus in German—follows a rigorously constructive, quasi-musical sequencing that places each sentence in a determinate relation to the one that came before as well as to the ensuing one, a stringency that seems all the more noteworthy because straightforward argumentative continuity is often lacking…" (19). If this marginal passage contained the best bit of Dornbach's new book, it alone would grant his style the grace it describes. But his study is rich in enticing observations.
Complying with the most rigorous scholarly obligations, Márton Dornbach's The Saving Line: Benjamin, Adorno, and the Caesuras of Hope, builds up the author's argument by alternating close and meticulous readings with his minute interventions whose theoretical implications—according to the ultimate genre—are nonetheless of great proportions. The reader would hardly imagine that adjustments to secondary readings, as well as Dornbach's own erudite and precise textual interpretations would lead to a historical shift of paradigm, a new two-caesuras exegetic model, and impact wide-ranging ethical issues as well as expose the question of human survival on earth.1 Yet, those who recently went through the breakdown of a marriage know all too well the scope of the disaster unleashed by a failing promise, as if there were unwavering ones. But I will get to the heart of the matter later.
The thematic core of Dornbach's book is constituted by a reading of Benjamin's "Goethe's Elective Affinities" through Adorno's reading of two passages from Homer et al.'s The Odyssey, and vice versa. As is befitting of marriages, Dornbach's reading starts from—what could be described with ease—a mistake, or a misreading by Adorno. Dornbach tells us that what gave him "pause was a remark on, precisely, pausing" (1). Where the philosopher of the Frankfurt School registers a caesura in Book...