  Whether or not the hype surrounding the Contributions was justified remains a debated question among Heidegger scholars (see e.g., Sheehan 2001, Thomson 2003). What is clear, however, is that reading the work is occasionally a bewildering experience. Rather than a series of systematic hermeneutic spirals in the manner of Being and Time, the Contributions is organised as something like a musical fugue, that is, as a suite of overlapping developments of a single main theme (Schoenbohm 2001; Thomson 2003). And while the structure of the Contributions is challenging enough, the language in which it is written can appear to be wilfully obscurantist. Polt (1999, 140) comments that “the most important sections of the text can appear to be written in pure Heideggerese… [as Heidegger] exploits the sounds and senses of German in order to create an idiosyncratic symphony of meanings”. Less charitably, Sheehan (2001) describes it as “a needlessly difficult text, obsessively repetitious, badly in need of an editor”, while Schurmann (1992, 313, quoted by Thomson 2003, 57) complains that “at times one may think one is reading a piece of Heideggerian plagiarism, so encumbered is it with ellipses and assertoric monoliths”. Arguably, the style in which the Contributions is written is ‘merely’ the most extreme example (perhaps, the purest example) of a ‘poetic’ style that Heidegger adopts pretty much throughout the later philosophy. This stylistic aspect of the turn is an issue discussed below. For the moment, however, it is worth noting that, in the stylistic transition achieved in the Contributions, Heidegger's writing finally leaves behind all vestiges of the idea that Being can be represented accurately using some pseudo-scientific philosophical language. The goal, instead, is to respond appropriately to Being in language, to forge a pathway to another kind of thinking—Being-historical thinking (for discussion of this term, see Vallega 2001, von Herrmann 2001, Vallega-Neu 2003, 28-9). In its attempt to achieve this, the Contributions may be viewed as setting the agenda for Heidegger's post-turn thought. So what are the central themes that appear in the Contributions and which then resonate throughout the later works? Four stand out: Being as appropriation (an idea which, as we shall see, is bound up with a reinterpretation of the notion of dwelling that, in terms of explicit textual development, takes place largely outwith the text of the Contributions itself); technology (or machination); safeguarding (or sheltering); and the gods. Each of these themes will now be explored.