Monthly Archives: May 2009

No conclusions

It is not improbable that the lives of many men go on in such a way that they have indeed premises for living but reach no conclusions. Such a man’s life goes on till death comes and puts an end to life, but without bringing with it an end in the sense of a conclusion. For it is one thing that life is over, and a different thing that a life is finished by reaching a conclusion. In the degree that such a man has talents he can go ahead and become an author, as he understands it. But such an understanding is an illusion. For that matter […] he may have extraordinary talents and remarkable learning, but an author he is not, in spite of the fact that he produces books. […] No, in spite of the fact that the man writes, he is not essentially an author; he will be capable of writing the first and also the second part, but he cannot write the third part — the last part he cannot write. If he goes ahead naively (led astray by the reflection that every book must have a last part) and so writes the last part, he will make it thoroughly clear by writing the last part that he makes a written renunciation to all claim to be an author. For though it is indeed by writing that one justifies the claim to be an author, it is also, strangely enough, by writing that one virtually renounces this claim […] To find the conclusion it is necessary first of all to observe that it is lacking, and then in turn to feel quite vividly the lack of it.

— Kierkegaard, On Authority and Revelation (quoted here)

A more essential solitude

In the solitude of the work — the work of art, the literary work — we discover a more essential solitude. It excludes the complacent isolation of individualism; it has nothing to do with the quest for singularity. The fact that one sustains a stalwart attitude throughout the disciplined course of the day does not dissipate it. He who writes the work is set aside; he who has written it is dismissed. He who is dismissed, moreover, doesn’t know it. This ignorance preserves him. It distracts him by authorizing him to persevere. The writer never knows whether the work is done. What he has finished in one book, he starts over or destroys in another.

— Blanchot, The Essential Solitude (quoted here)

Amateurish

X feels like the end or beginning of something, he tells me, he’s not sure what. He just wishes it would either end or get on with it, he says, he’s had it with being bounced back and forth like this. It makes him feel wrong, he says, out of step. That’s why I’m so hesitant all the time, he says, and so embarrassed. I’m embarrassed about living like this, in this series of endless endings and false starts. Amateurish, he says, as if no one had ever lived before.

Cornered

It’s this feeling of not knowing anything, X tells me, that’s what makes him afraid. Is it so much to ask, he says, I’m not exactly trying to build the Tower of Babel. He’d like to really understand something for once, he says. Nothing ambitious, just to grasp his own little corner of the world without confusion. Then he could put it to use, or hold a hand of peace over it, or trace its origins and effects, and from there move on to investigate other things, build up whole fields of knowledge! You see how I get ahead of myself, he says, that’s what makes me afraid. Because it turns on me, he says, the Unknowable, it corners me. If I could turn it around the way it turns me around and be done with it… turn my back on it… or learn to accept, like the mystics, learn to know what I don’t know, what a joy that would be… but no, X says, there are no mystics anymore, and besides, he’s too grasping, too childish, too exposed… exposed to what? he asks, what’s he talking about?… his worst fear, he says, to be known by what he can’t know… he feels disarmed, deciphered without being able to decipher, that’s the problem, he says… it’s cornered him, he says, cornered him like an animal! Maybe he just needs to get laid, he says.

X’s feelings

His feelings, says X, can he trust them? Of course not! he shouts. There he goes again, he says, the minute he starts talking there’s no stopping them, they tear at him, tear him with them. Maybe these repressed English folk have a point, he says. Then again, he asks, what do they gain by nipping themselves in the bud? Do they really save themselves from their own feelings? X tells me he wants to be saved from his own feelings. How would he go about repressing them? he asks.

Opinions

X can never reach out and fix on an opinion again, he tells me. No more truths, he says. He’s been picked apart from the inside by truths as if by a virus and his trust is gone, especially his trust in himself, he says. He’s horrified by himself, by his infinite capacity to prove himself wrong. He’s in one of those moods, he tells me, making quote fingers. Maybe he just needs to get laid, he says.

Looking back

Looking back over his life, X tells me, he’s horrified. All this time he’s been secretly thinking how clever he was without realising how stupid he really is. It’s amazing how little he knows about himself, he says. Even now I might be thinking how clever I am for realising how stupid I am without knowing it, he says. Tomorrow I might look back on this moment with horror, he says. In fact I already do. I think I’m being humble when I’m just laying the ground for more humiliation. No one should think, he says, we should just take on the colours of the world and disappear against the backdrop like chameleons. Thinking is a curse, he says. But maybe he just needs to get laid, he says.

A scandal

Looking over his life, X is embarrassed, he tells me, and sorry for everything he’s said, done and felt. He now realises he’s basically stupid. He’s in one of those moods, he says, when his whole life seems shameful, as if he’s an absurd interloper who has no place here, wherever that is, he says). And of course this thought is shameful in itself, he says, it’s shameful that he should have to feel this way, yet it’s right and proper, because he’s a scandal, a scandal against nature.

On the tram

I stand on the end platform of the tram and am completely unsure of my footing in this world, in this town, in my family. Not even casually could I indicate any claims that I might rightly advance in any direction. I have not even any defense to offer for standing on this platform, holding on to this strap, letting myself be carried along by this tram, nor for the people who give way to the tram or walk quietly along or stand gazing into shop windows. Nobody asks me to put up a defense, indeed, but that is irrelevant.

— Kafka, from ‘On the Tram’ (trans. W. and E. Muir)

Conviction

X has proved nothing in all this time, he tells me, nothing but his own inability to know and speak. Others may well be able to know and speak, he doesn’t know. At least they seem convinced that they are. All that seems left for him at the moment, he says, is to erase himself in the distance between himself and conviction, to drift, go into mourning for what he loved, and greet any reemergence of what was renounced with the peace of the graveyard, the temptation being to think he’s special for doing so or that it shows any kind of wisdom. Or maybe he just needs to get laid, he says.