Advocates

I was not at all certain whether I had any advocates, I could not find out anything definite about it, every face was unfriendly, most people who came toward me and whom I kept meeting in the corridors looked like fat old women; they had huge blue-and-white striped aprons covering their entire bodies, kept stroking their stomachs and swaying awkwardly to and fro. I could not even find out whether we were in a law court. Some facts spoke for it, others against. What reminded me of a law court more than all the details was a droning noise which could be heard incessantly in the distance; one could not tell from which direction it came, it filled every room to such an extent that one had to assume it came from everywhere, or, what seemed more likely, that just the place where one happened to be standing was the very place where the droning originated. But this was probably an illusion, for it came from a distance.

[…]

But back I cannot go, this waste of time, this admission of having been on the wrong track would be unbearable for me. What? Run downstairs in this brief, hurried life accompanied as it is by that impatient droning? Impossible. The time allotted to you is so short that if you lose one second you have already lost your whole life, for it is no longer, it is always just as long as the time you lose. So if you have started out on a walk, continue it whatever happens; you can only gain, you run no risk, in the end you may fall over a precipice perhaps, but had you turned back after the first steps and run downstairs you would have fallen at once – and not perhaps, but for certain. So if you find nothing in the corridors open the doors, and if you find nothing behind these doors there are more floors, and if you find nothing up there, don’t worry, just leap up another flight of stairs. As long as you don’t stop climbing, the stairs won’t end, under your climbing feet they will go on growing upwards.

— Kafka, ‘Advocates’ (tr. T. and J. Stern)

The aim of art is to prepare a person for death.

— Tarkovsky

‘Have you come to pray for a baby too? Or to be spared them?’
‘I’m just looking.’
‘If there are any casual onlookers who aren’t supplicants, then nothing happens.’
‘What is supposed to happen?’
‘Whatever you like, whatever you need most. But you should at least kneel down.’

— Tarkovsky, Nostalgia

A profound enough gaze

It is not that the poet thinks ceaselessly of all the things in the world; they think of him. They are in him, they dominate him. Even his arid hours, his depressions, his dismay are impersonal moods; they correspond to the jags on a seismograph, and a profound enough gaze could read in them secrets still more mysterious than the poems themselves.

— Hofmannnsthal

Sterility

The leap is inspiration’s form or movement. This form or this movement makes inspiration unjustifiable. But in this form or movement inspiration also comes into its own: its principle characteristic is affirmed in this inspiration which is at the same time and from the same the same point of view lack of inspiration – creative force and aridity intimately confounded. Hölderlin undergoes the rigours of this condition when he endures poetic time as the time of distress, when the gods are lacking but where God’s default helps us: Gottes Fehl hilft. Mallarmé, whom sterility tormented and who shut himself into it with heroic resolve, also recognised that this deprivation did not express a simple personal failing, did not signify that he was deprived of the work, but announced his encounter with the work, the threatening intimacy of this encounter.

— Blanchot, The Space of Literature (tr. A Smock)

This is how Juliette, at 3.37 p.m.

This is how Juliette, at 3.37 p.m., watched the turning pages…
…of that object known in journalese as a magazine
And this is how, 150 frames later, another young woman, her twin…
…saw the same object. Where, then, is the truth?
Full-face or profile? But first, what is an object?
Perhaps it is a link enabling us…
…to pass from one subject to another, therefore to live together
But since social relations are always ambiguous…
…since thought divides as much as it unites…
…since words unite or isolate by what they express or omit…
…since an immense gulf separates my subjective awareness…
…from the objective truth I represent for others…
…since I constantly blame myself, though I feel innocent…
…since every event transforms my daily life…
…since I constantly fail to communicate…
…since each failure makes me aware of solitude…
…since…
…since I cannot escape crushing objectivity or isolating subjectivity…
…since I cannot rise to the state of being, or fall into nothingness…
…I must listen, I must look around more than ever
The world… my kin… my twin

— Godard, Two or Three Things I Know About Her…

Tarkovsky and Bergman

A. The pressure Rublev is subject to is not an exception. An artist never works under ideal conditions. If they existed, his work wouldn’t exist, for the artist doesn’t live in a vacuum. Some sort of pressure must exist; the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world. This is the issue in Andrei Rublev; the search for harmonic relationships among men, between art and life, between time and history. That’s what my film is all about.

Q. What is art?

A. Before defining art or any concept we must answer a far broader question. What’s the meaning of man’s life on earth? Maybe we are here to enhance ourselves spiritually. If our life tends to this spiritual enrichment, then art is a means to get there. This is in accordance with my definition of life. Art should help man in this process. Some say that art helps man to know the world like any other intellectual activity. I don’t believe in this possibility of knowing; I am almost an agnostic. Knowledge distracts us from our main purpose in life. The more we know the less we know; getting deeper, our horizon becomes narrower. Art enriches man’s own spiritual capabilities and he can then rise above himself to use what we call ‘free will’.

Tarkovsky

*

When film is not a document, it is dream. That is why Tarkovsky is the greatest of them all. He moves with such naturalness in the room of dreams. He doesn’t explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure.

— Bergman, Laterna Magica

The yoga of despair

This mastery of our innermost movements, which in the long run we can acquire, is well known: it is yoga. But yoga is given in the form of coarse recipes, embellished with pedantism and with bizarre statements. And yoga, practiced for its own sake, advances no further than an aesthetics or a hygiene, whereas I have recourse to the same means (laid bare), in despair.

— Bataille, Inner Experience (tr. L.A. Boldt)

 

The cleaning lady

As she rubbed the furniture to make it shine, she upbraided me, telling me that the life I led was unhealthy. She had remarked that I had a tendency to drink a little too much, it was bad for the health. Very bad, for a man at the height of his powers. Wasn’t I going to buckle down and find some work for myself? All right, so I had an inheritance. That was no reason to sit around and do nothing all day. At least get married. Did I intend to go one living all alone, like some impotent? I ought to start a family. Man is made to have children, and there’s nothing cuter than little ones underfoot. And then when they grow up and you grow old, they don’t abandon you to poverty; no, they reach out a helping hand when you need it most. If there’s anything worse than living alone, it’s dying alone, with no one around to offer you a little milk of human kindness. I didn’t know what was in store for me.

*

She was downstairs, with the concierge, next to her door. When they saw me they stopped talking. Were they talking about me? All I want is for them to leave me alone. I can do whatever I want. I can loaf all day if I’ve a mind to. That’s my business. Oh! I can feel myself getting angry. I hurried through the lobby. But before I exited I glanced back: I saw them looking at me. They were waiting till I had disappeared before going on with their backbiting, their malicious small talk. What could they be dreaming up about me? The whole concierge system is a kind of plot.

*

She had grown used to my comings and goings at the same time every day, and adjusted to my strange solitude. ‘You look to me’, she said to me at one point, ‘like you’re hiding from the police. Or from some rivals’. I told her that no one was after my skin, that as far as my hash was concerned I was sure no one was trying to settle it, and that I had never belonged to the underworld. ‘Just as I suspected’, she said, ‘you don’t look brave enough for that’.

— Ionesco, The Hermit (tr. R. Seaver)

The hermit

I wasn’t a rebel. Which is not to imply that I was resigned, for the fact was I didn’t know what I ought to resign myself to.

*

I was in a vast space, and yet it was locked.

*

When do I hit upon the truth, when I see everything as desolation and despair, or when I see all creation as a joyous month of May in full bloom? But we cannot know, our ignorance is boundless. We have neither the right to judge, nor the possibility of judging.

*

I don’t have any desires, or rather only a few, or rather I don’t have them any more. If I have any, they’re not worth being exploited and encouraged. Perhaps I actually do have desires. But they’re dormant. I’m not inclined to wake them up. What are my desires? That people leave me alone; that other people’s desires leave me alone and don’t involve me in their repercussions. What I desire most of all is not to have any desires. And yet I notice that I do have some.

*

‘Aren’t you ashamed to have no goal in life, to be living for nothing?’ Pierre Ramboule asked me one day, unless it was Jacques, I don’t remember which. After a thorough self-examination, I came to the conclusion that I wasn’t ashamed […] I don’t feel obliged to answer that question.

*

People tend to avoid or forget the unthinkable; their thinking begins where the unthinkable ends; they base their thinking on the unthinkable, and for me too that is unthinkable.

*

I think that I’m at the wall of the world; forget the other side of the wall.

*

No one is guilty of anything. Or else everyone is guilty of everything, which comes to the same thing.

 

— Ionesco, The Hermit (trans. R. Seaver)