One can reflect on this situation. It can happen that someone is very close to us, not close: the walls have fallen. Sometimes still very close, but without relation: the walls have fallen, those that separate and also those that serve to transmit signals, the language of prisons. Then one must again raise a wall, ask for a little indifference, that calm distance by which lives find equilibrium. A naive desire that takes form after having already been realized. But from such an astonishing approach to an other, one retains the impression that there was a brief moment of luck; a moment bound not to the favor of the look that may have been exchanged, but to something like a movement that may have preceded us both, just before our encounter. At this instant it seems that he was truly our companion in an infinite and infinitely deserted space where, by a marvelous chance, he had suddenly appeared at our side; so it was and so it was going to be, inexplicable, certain, and marvelous. But who was he? Only the desert, perhaps? The desert become our companion? Marvelous, this remains marvelously desolate, and then the companion has once again disappeared – there is nothing but desert. But in its harsh truth and arid presence it is suddenly close to us, familiar, a friend. A proximity that at the same time says to us: “the desert is growing.”
— Blanchot, The Infinite Conversation (tr. Hanson)
I went in; I closed the door. I sat down on the bed. Blackest space extended before me. I was not in this blackness, but at the edge of it, and I confess that it is terrifying. It is terrifying because there is something in it which scorns man and which man cannot endure without losing himself. But he must lose himself; and whoever resists will founder, and whoever goes toward it will become this very blackness, this cold and dead and scornful thing in the very heart of which lives the infinite. This blackness stayed next to me, probably because of my fear: this fear was not the fear people know about, it did not break me, it did not pay any attention to me, but wandered around the room the way human things do.
— Blanchot, ‘Death Sentence’
If I read a book that interested me, I read it with vivid pleasure, but my very pleasure was behind a pane of glass and unavailable to me because of that, but also far away and in an eternal past. Yet where unimportant people and things were involved, life regained its ordinary meaning and actuality, so that though I preferred to keep life at a distance, I had to seek it in simple actions and everyday people.
— Blanchot, ‘Death Sentence’
For the man who sets out to write, the work is in no way a shelter in which he lives, in his peaceful and protected self, shielded from the difficulties of life. Perhaps he in fact thinks he is protected from the world, but he is exposed to a danger much greater and more menacing because it finds him powerless: the very danger that comes to him from outside, from the fact that he remains outside. And against this threat he must not defend himself; on the contrary, he must give in to it. The work demands that, demands that the man who writes it sacrifice himself for the work, become other – not other than the living man he was, the writer with his duties, his satisfactions, and his interests, but he must become no one, the empty and animated space where the call of the work resounds.
— Blanchot, The Book to Come (tr. Mandell)
Investigations on the subject of art such as those the aesthetician pursues bear no relation to the concern for the work of which we speak. Aesthetics talks about art, makes of it an object of reflection and of knowledge. Aesthetics explains art by reducing it or then again exults by elucidating it, but in all events art for the aesthetican is a present reality around which he constructs plausible thoughts at no risk.
— Blanchot, The Space of Literature (tr. Smock)