 Nehamas (1988: 46–51) offers perhaps the best description of the complexities of the resulting reading experience: our attention is fixated by certain brilliant, striking passages, or even whole sections, but because their connections to nearby sections are not specified, and because the text seems to switch from one voice to another, the reader simply moves on, taking each new section on its own terms; in short order, one forgets the details, the points, the cautions, or even the subject matter of passages several sections back—except, perhaps, for a few, especially memorable highlights, which we then call “aphorisms”. In this way, it is all too easy to fail to read Nietzsche’s books as books at all. Nevertheless, such comprehensive readings are there to be had. Clark and Dudrick (2012) offer a a sustained, albeit controversial, close reading exploring the unity of Part I of Beyond Good and Evil; their efforts reveal the scope of the difficulty—they needed an entire book to explain the allusions and connections involved in just twenty-three sections of Nietzsche, covering some couple-dozen pages! Attacking the same problem in a different spirit, Nehamas (1988) calls attention to the loose, “train of thought”-type connections that connect one section to another through large swaths of works like Beyond Good and Evil or The Gay Science. Following such connections, he proposes, allows us to understand the books as monologues presented by a narrator. For Nehamas, the creation of such a narrative persona is central to Nietzsche’s larger project of authorial self-fashioning. By contrast, in the forthcoming book mentioned above, Millgram counter-proposes that Nietzsche deploys different “voices”, different narrators, in his different books (see Millgram 2007; Millgram 2020; and Millgram m.s. [Other Internet Resources]; and related papers available in the Other Internet Resources). On this less unified picture, the sort of “persona-inhabiting” effect noted above for the obvious case of BGE 2 is a much more widespread and destabilizing feature of Nietzsche’s writing. It becomes a precondition for adequately understanding each particular book that we first work out in what voice Nietzsche means to be speaking—and what attitude he, and we, are supposed to have toward that character—before we can assess the work’s first-order claims and effects.