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that Flaubert dreamed of—a gray, negative dream, the origin of the total Book that haunted other imaginations. This emptiness as the situation of literature must be acknowledged by the critic as that which consti- tutes the specificity of his object, as that around which he always speaks. Or rather, his proper object—since nothing is not an object—is the way in which this nothing itself is determined by disappearing. It is the transition to the determination of the work as the disguising of its origin. But the origin is possible and conceivable only in disguise. Rousset shows us the extent to which spirits as diverse as Delacroix, Balzac, Flaubert, Valéry, Proust, T. S. Eliot, Virginia Woolf, and many others had a sure consciousness of this. A sure an
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