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In many accounts of modern city writing, disconsolation and alienation become the central topoi.
It was explained that in normal speech, these emotions are seldom encountered in their full form and this is why joy should be interpreted as an emotion that also covers gratitude, happiness, pleasure and exhilaration; anger also includes resentment, irony, reluctance, contempt, malice and rage; and sadness covers loneliness, disconsolation, concern and hopelessness, while neutral refers to normal speech without special emotions.
The poem bears some resemblance to Wordsworths "Lines Written in Early Spring," which similarly projects human sensations onto the flowers, trees, and birds surrounding the speaker and also introduces "reason" in the penultimate line and, of course, the well-known grieving refrain "What man has made of man." (76) Finally, both poems share a disconsolation about the gap between (social) man and nature.
What is new and indeed most welcome about this book, however, is the desire to explore the dialectical corollary of disconsolation: to 'move from the "negative" moment of critique to the more "positive" moment of reconstruction'(p1).
You can feel the pull of dizzying disconsolation bubbling under cinematic surfaces.
And although Bloch would like to inject some mathematics into his discussion, when he finally does come to a mathematical conjecture (his "Conjecture of Extreme Disconsolation") he misstates the hypotheses in a way that makes the conclusion false, and "despite not offering much of a framework for the proof" because it would be "too messy to offer up in these pages," he leaves the proof as an exercise for the reader.
And while disappointment is added to failure, and despondence to disconsolation, tragedy and catastrophe accumulate like the pile of debris that grows skyward before Walter Benjamin's angel of history (Benjamin, 257-8).