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The first is the concept of the work. In fact, they say (and this isagain, a very familiar argument) that the business of criticism is not toto reveal the attitude of a work to the author, and not to seekthrough the lyrics to reconstruct some thought or some experience; itrather, they should analyze the work in its structure, in itsarchitecture, in its inherent form and in the game its internal relations. Butthen immediately need to ask the question: "What is work? What is itfor this curious unity that is called work! From whatelements it consists of? Work - isn't that what I wrote whoeveris the author?". Arise, as you can see, difficulties. If some individwas not the author, then what he wrote or said lefthis papers, or that managed to convey he said, -is all of this possibleit would be called "work"? As soon as the Garden was not the author,- what washis manuscript? Rolls of paper on which he had during his imprisonment toinfinity has launched its phantasms. But now suppose that we are dealing with the author: whether all that hehe wrote or said, all that he left behind, a part of itworks? The problem is simultaneously theoretical and technical. When, forexample, accepted for the publication of the works of Nietzsche, where you needto stay? Of course, you want to publish everything, but what does this "everything"!Everything that Nietzsche himself published, is clear. Drafts of his works?No doubt. Outline of aphorisms? Yes. But also crossed out or assignedon the fields? Yes. But when inside of a notebook filled with aphorisms, findcertificate, the record date, or address, or invoice from the Laundry, the workit or not work? But why not? And so on to infinity.
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