It seems as if man cannot manage to lighten the yoke imposed by natural necessities without an equal increase in the weight of that imposed by social oppression… The efforts of the modern worker are imposed on him by a constraint as brutal, as pitiless and which holds him in as tight a grip as hunger does the primitive hunter.

— Simone Weil

Splice’s description of The Moment:

In the murky aftermath of a breakdown, a man still at odds with himself takes flight to a cottage in rural Norfolk. There he intends to strip his life of everything trivial, everything superfluous, paring it all back to the essential truths, values, and experiences. In doing so, he keeps a fragmentary journal: not a record of progress as such, but sporadic notes on his new surroundings as he attends to minor changes in search of an ideal moment-a moment of unity between body and mind, in which there is no distinction between sensation and thought. For decades he has been hounded by the sense of a split self, as if under observation by a nameless double, and he feels that the opportune moment, if it can be found, will relieve him, just briefly, of this spectral presence.

Peter Holm Jensen’s début novel is a mercurial marvel of contemplative literature that at once adopts and dismantles the diarist’s form of expression. It is not a linear account of ordinary events, but a cyclical and recursive record of noticing the ways of the world. It does not tell the story of its narrator’s life, but opens up for him a quiet space in which to savour the changes of the seasons, the migration habits of birds, his connectedness to his partner, the fluctuations of his ineptitude and capabilities. But it is also not an environmentalist’s lyrical notebook, for its author feels the pains of precarity and indignity under neoliberalism, nor is it an account of stoic persistence in the face of daily adversity and aimlessness. It is, rather, an attempt to come to terms with the indifference of the forces within which we live — time, nature, globalisation — and to extract from this void of meaning something immanent, something true.

Factory

Dear Albertine,

I am obliged to rest because of a slight illness (a touch of inflammation of the ear — nothing serious) so I seize the opportunity for a little talk with you. In a normal working week it is difficult to make any effort beyond what I am compelled to make. But that’s not the only reason I haven’t written; it’s also the number of things there are to tell and the impossibility of telling the essential. Perhaps later on I shall find the right words, but at present it seems to me that I should need a new language to convey what needs to be said. Although this experience is in many ways what I expected it to be, there is also an abysmal difference: it is reality and no longer imagination. It is not that it has changed one or the other of my ideas (on the contrary, it has confirmed many of them), but infinitely more — it has changed my whole view of things, even my very feeling about life. I shall know joy again in the future, but there is a certain lightness of heart which, it seems to me, will never again be possible. But that’s enough about it: to try to express the inexpressible is to degrade it.

As regards the things that can be expressed, I have learnt quite a lot about the organization of a firm. It is inhuman; work broken down into small processes, and paid by the piece; relations between different units of the firm and different work processes organized in a purely bureaucratic way. One’s attention has nothing worthy to engage it, but on the contrary is constrained to fix itself, second by second, upon the same trivial problem, with only such variants as speeding up your output from 6 minutes to 5 for 50 pieces, or something of that sort. Thank heaven, there are manual skills to be acquired, which from time to time lends some interest to this pursuit of speed. But what I ask myself is how can all this be humanized; because if the separate processes were not paid by the piece the boredom they engender would inhibit attention and slow down the work considerably, and produce a lot of spoiled pieces. And if the processes were not subdivided… But I have no time to go into all this by letter. Only when I think that the great Bolshevik leaders proposed to create a free working class and that doubtless none of them — certainly not Trotsky, and I don’t think Lenin either — had ever set foot inside a factory, so that they hadn’t the faintest idea of the real conditions which make servitude or freedom for the workers — well, politics appears to me a sinister farce.

I must point out that all I have said refers to unskilled labour. About skilled labour I have almost everything still to learn. It will come, I hope.

To speak frankly, for me this life is pretty hard. And the more so because my headaches have not been obliging enough to withdraw so as to make things easier — and working among machines with a headache is painful. It is only on Saturday afternoon and Sunday that I can breathe, and find myself again, and recover the ability to turn over a few thoughts in my head. In a general way, the temptation to give up thinking altogether is the most difficult one to resist in a life like this: one feels so clearly that it is the only way to stop suffering! First of all, to stop suffering morally. Because the situation itself automatically banishes rebellious feelings: to work with irritation would be to work badly and so condemn oneself to starvation; and leaving aside the work, there is no person to be a target for one’s irritation. One dare not be insolent to the foremen and, moreover, they very often don’t even make one want to be. So one is left with no possible feeling about one’s own fate except sadness. And thus one is tempted to cease, purely and simply, from being conscious of anything except the sordid daily round of life. And physically too it is a great temptation to lapse into semi-somnolence outside working hours. I have the greatest respect for workmen who manage to educate themselves. It is true they are usually tough; but all the same it must require a lot of stamina. And it is becoming more and more unusual with the advance of rationalization. I wonder if it is the same with skilled workers.

— Simone Weil, letter (tr. Rees)

A feeling for flatness

I realised that people really, really hate flat landscapes. Or they pretend they hate them. Flat landscapes scare people, or bore them. They feel they have to apologise for them: tourist boards praise the Cambridge fens and the Norfolk broads by saying things like: you may think this landscape is flat, but really there’s lots to see! Fair enough. But what if we accepted the fact that a space might be primarily flat? How do we look at it, and appreciate it, and enjoy it, without trying to deny its flatness?

*

There are so many beautiful flat spaces in Britain, and in the world. They demand a special way of looking: a way, I realise, that might not necessarily come instinctively. Flat spaces need a gaze which is patient and steady and open, not enforcing expectations about what counts as ‘interesting’ or ‘important’. It’s that special way of looking that interests me. I think it might help us understand other things or people which seem inscrutable or blank or reserved. Above all that’s what I’d like listeners to ask themselves after my broadcasts: how do I use my attention? What do I give it to and why and how?

Noreen Masud

Astonishment

In astonishment, we hold ourselves back (être en arrêt). We step back, as it were, from beings, [astonished] that they are rather than are not. And astonishment is not exhausted in this stepping back before the Being of beings; but as this stepping back and holding oneself back, it is at the same time enraptured by and, as it were, held fast by that from which it steps back.

— Heidegger, ‘What is Philosophy?’ (tr. Capobianco)

Psalm

Veritas sequitur . . .

In the small beauty of the forest
The wild deer bedding down —
That they are there!

Their eyes
Effortless, the soft lips
Nuzzle and the alien small teeth
Tear at the grass

The roots of it
Dangle from their mouths
Scattering earth in the strange woods.
They who are there.

Their paths
Nibbled thru the fields, the leaves that shade them
Hang in the distances
Of sun

The small nouns
Crying faith
In this in which the wild deer
Startle, and stare out.

Let this thing deal with you

God’s gift of contemplation is such that when it is present the soul can both practise it and know it is doing so. It is impossible to come by otherwise. Capacity for contemplation is one with contemplation itself, so that only he who feels he can contemplate is able to do so. No one else can. Without this prior working of God, a soul is as it were dead, unable to covet or desire it. Since you will it, and desire it, obviously you already have it, yet it is not your will or desire that moves you, but something you are completely ignorant of, stirring you to will and desire you know not what. Please do not worry if you never know more than this, but go on ever more and more, so that you will keep advancing.

In a word, let this thing deal with you, and lead you as it will. Let it be active, and you passive. Watch it if you like, but let it alone. Do not interfere with it, as though you would help, for fear that you should spoil it all. Be the tree: let it be the carpenter.

— The Cloud of Unknowing (tr. Wolters)

The only essential thing for life is forgoing smugness, moving into the house instead of admiring it and hanging garlands around it.

Kafka

Astral Weeks

Two kingdoms

If I imagined two kingdoms adjoining one another, with one of which I was fairly well acquainted, and altogether unfamiliar with the other, and I was not allowed to enter the unknown realm, however much I desired to do so, I should still be able to form some conception of its nature. I could go to the limits of the kingdom with which I was acquainted and follow its boundaries, and as I did so, I should in this way describe the boundaries of this unknown country, and thus without ever having set foot in it, obtain a general conception of it. And if this was a task that engrossed my energies, and if I was indefatigable in my desire to be accurate, it would doubtless sometimes happen, that as I stood sadly at my country’s boundary and looked longingly into the unknown country, which was so near me and yet so far away, that some little revelation might be vouchsafed to me.

— Kierkegaard, Either/Or (tr. Hong)