A new ear for things

All of a sudden, then, this self-­evident truth presents itself: on the one hand, I have no time left to try out several different lives: I have to choose my last life, my new life, Vita Nova (Dante) or Vita Nuova (Michelet). And, on the other, I have to get out of this gloomy state of mind that the wearing effects of repetitive work and mourning have disposed me to → This running aground, this slow entrenchment in the quicksand (= which isn’t quick!), this drawn-­out death of staying in the same place, this fate that makes it impossible to “enter death alive” can be diagnosed in the following way: a generalized and overwhelming accumulation of “disinvestments,” the inability to invest anew → In the Middle Ages, a word: acedy. It can immediately be clarified that, if said and conceived of in a certain way, and despite the overuse of the word, acedy (a theme we’ll encounter again) is irreplaceable: the inability to love (someone, other people, the world) → Unhappiness often translates as the impossibility of giving to others.

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Thus, what I’m waiting for (as I said) is a trigger, a chance event, a mutation: a new ear for things → I quote Nietz­sche (still without comparing myself to, but identifying myself with on a practical level); Nietz­sche conceived of Zarathustra in 1881 while strolling though the woods that border Lake Silvaplana; resting beside an enormous block of stone = the idea of the Eternal Return. But (and this is what interests us), premonitory sign: sudden and radical modification of his taste in music: “Rebirth of the art of hearing” → The New Work (new with respect to yourself: this is the postulation of the Work to be written) will probably only be possible, probably only get going in real terms when an old liking is transformed and a new one emerges → Perhaps what I’m waiting for, then, is for my Hearing to be transformed—­and perhaps that will happen to me, unmeta­phor­ical­ly, through music, which I’m so fond of → Then I might achieve the real dialectical becoming: “To become what I am”; Nietz­sche’s saying: “Become what you are,” and Kafka’s saying: “Destroy yourself . . . ​in order to make yourself into that which you are” → In this way, the distinction between the Old and the New would quite naturally be abolished, the path of the spiral marked out, and these words from Schönberg, who founded contemporary music and reinvigorated the music of the past, honored: it’s still possible to write music in C major. There, to bring things to a close, you have the object of my desire: to write a work in C Major.

–Barthes, The Preparation of the Novel (via here)

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