The site of art

The simultaneity of presence in the moment and distance from the world is the site of art. The meditative and religiously coloured experience of the now, this tremendous concentration on the moment, which triggers enormous waves of feelings of connectedness with the world, and perhaps says nothing more than ‘I exist’, is only possible if the world becomes visible as the world and not as the world of the self, and it does so only when that self is outside of it. In one and the same movement, art takes us out of the world and brings us closer to it.

— Knausgaard, The America of the Soul

Being in its openness

In our preceding discussion, we have taken a decisive step. In a lecture course, everything depends on such steps. Occasional questions that have been submitted to me regarding the lectures have betrayed over and over again that most of the listeners are listening in the wrong direction and getting stuck in the details. Of course, the overall context is important even in lectures on the special sciences. But for the sciences the overall context is immediately determined by the object, which for the sciences is always given in advance in some way. In contrast, it is not just that the object of philosophy does not lie at hand, but philosophy has no object at all. Philosophy is a happening that must at all times work out Being for itself anew (that is, Being in its openness, which belongs to it). Only in this happening does philosophical truth open up.

– Heidegger, Introduction to Metaphysics (tr. Fried and Polt)

This was what I wanted to experience

This was what I wanted to experience, what I was in quest of at least. Unsure of myself in the scheme of things arranged at great cost by a race of clever children, I went to the hills to inquire of Nature why I am ill at ease among my fellows. I wanted to settle the point whether it is my existence that is alien to the human scheme, or the actual social order that has drifted away from the eternal harmony, and become something abnormal and exceptional in the development of the world. Now at last I believe I am sure of myself. There are single moments that put to flight doubt, mistrust, prejudice; moments in which one recognizes the real by an imperative and unshakable conviction.

– Senancour, Obermann (tr. Barnes)

Without art or plot

It will be seen that these letters were penned by a man of feeling, not by a man of action. They are full of interest for the initiated, though they possess very little for outsiders. Many will discover with pleasure what one of themselves has experienced: many indeed have had the same experience themselves, but here is one who has described it, or at least has made the attempt. But he must be judged by the whole of his life, not by his earliest years; by all his letters, not by some casual passage too free or too romantic in expression.

Letters like these, without art or plot, will meet with little favour outside the scattered and secret brotherhood of which nature had made their writer a member. Those who belong to it are mostly unknown individuals, and the kind of private monument which one of them leaves behind can only reach the others through a public channel, at the risk of boring a great many serious, learned, and worthy people. The editor’s duty is simply to state at the outset that it contains neither wit nor science, that it is not a *work*, and that possibly it will be said that it is not a rational book.

We have many writings in which the whole race is described in a few lines, and yet if these long letters were to make a single man approximately known they would be both fresh and useful. It will take a great deal for them to attain this limited object; but if they do not contain all one might expect, they do at any rate contain something; and that is enough to justify their publication.

These letters are not a novel. There is in them no dramatic movement, no deliberate working-up of events, no climax, nothing of what is called the interest of a work – the gradual development, the incidents, and the stimulus to curiosity, which are the magic of many good books and the tricks of the trade in bad ones.

There are descriptions in them, such as help to a better understanding of natural objects, and throw light, possibly too much neglected, on the relation of man to what he calls the inaminate world.

There are passions in them; but they are those of a man who was destined to reap their results without actually experiencing them; to try everything, but only to have a single aim.

– Senancour, Obermann (tr. Barnes)

As if under a spell

Duras was consumed with herself, true enough, but almost as if under a spell. Certain people experience their own lives very strongly … ‘People who say they don’t like their own books, if such people exist, do so because they haven’t learned to resist the attraction to humiliation,’ she wrote in one of her journals. ‘I love my books. They interest me’ … Receiving the full impact of her work has little to do with education, erudition. You either relate to it or you don’t … The moments of truth in her work are elemental and felt, not synthetic or abstruse … She was at risk sometimes of self-caricature. But every writer aspires to have some margin of original power, a patterning and order that comes to them as a gift bestowed, and is sent to no one else.

– Lines from an article on Marguerite Duras by Rachel Kushner

Revelations

The first light to come on was that of the Caillebotte lighthouse; a little boy stopped near me and murmured ecstatically: ‘Oh, the lighthouse!’
Then I felt my heart swell with a great feeling of adventure.
[…]

I am alone, most people have gone home, they are reading the evening paper and listening to the wireless. This Sunday which is drawing to a close has left them with a taste of ashes and already their thoughts are turning towards Monday. But for me there is neither Monday nor Sunday: there are days which push one another along in disorder, and then, all of a sudden, revelations like this.

Nothing has changed and yet everything exists in a different way. I can’t describe it; it’s like the Nausea and yet it’s just the opposite: at last an adventure is happening to me and when I question myself I see that it happens that I am myself and that I am here: it is I who am piercing the darkness, I am as a happy as the hero of a novel.

– Sartre, Nausea (tr. Baldick)

Childhood

A child, yes, but one that has come to know and has exhausted all the possibilities of adult seriousness. This is the big difference. First, push away all the things that make everything easier, find yourself in a cosmos that is as bottomless as you can stand, in a cosmos at the limits of your consciousness, and experience a condition where you are left to your own loneliness and your own strength, only then, when the abyss which you have not managed to tame throws you from the saddle, sit down on the earth and discover the sand and grass anew. For childhood to be allowed, one must have driven maturity to bankruptcy. I am not bluffing: when I pronounce the word ‘childhood’, I have the feeling that I am expressing the deepest but not yet roused contents of the people who gave me birth. This is not the childhood of a child, but the difficult childhood of an adult.

– Gombrowicz, Diary (tr. Vallee)

A fresh upheaval

If I am not mistaken, and if all the signs which are piling up are indications of a fresh upheaval in my life, well then, I am frightened. It isn’t that my life is rich or weighty or precious, but I’m afraid of what is going to be born and take hold of me and carry me off – I wonder where? Shall I have to go away again, leaving everything behind – my research, my book? Shall I awake in a few months, a few years, exhausted, disappointed, in the midst of fresh ruins? I should like to understand myself properly before it is too late.

– Sartre, Nausea (tr. Baldick)

It is too hideous and nauseating

We have lived a few days on the seashore, with the wave banging up at us. Also over the river, beyond the ferry, there is the flat silvery world, as in the beginning, untouched: with pale sand, and very much white foam, row after row, coming from under the sky, in the silver evening: and no people, no people at all, no houses, no buildings, only a haystack on the edge unfinished of the shingle, and an old black mill. For the rest, the flat world running with foam and noise and silvery light, and a few gulls swinging like a half-born thought. It is a great thing to realize that the original world is still there – perfectly clean and pure, many white advancing foams, and only the gulls swinging between the sky and the shore; and in the wind the yellow sea poppies fluttering very hard, like yellow gleams in the wind, and the windy flourish of the seed-horns.

It is this mass of unclean world that we have superimposed on the clean world that we cannot bear. When I looked back, out of the clearness of the open evening, at this Littlehampton dark and amorphous like a bad eruption on the edge of the land, I was so sick I felt I could not come back: all these little amorphous houses like an eruption, a disease on the clean earth; and all of them full of such a diseased spirit, every landlady harping on her money, her furniture, every visitor harping on his latitude of escape from money and furniture. The whole thing like an active disease, fighting out the health. One watches them on the sea-shore, all the people, and there is something pathetic, almost wistful in them, as if they wished that their lives did not add up to this scaly nullity of possession, but as if they could not escape. It is a dragon that has devoured us all: these obscene, scaly houses, this insatiable struggle and desire to possess, to possess always and in spite of everything, this need to be an owner, lest one be owned. It is too horrible. One can no longer live with people: it is too hideous and nauseating. Owners and owned, they are like the two sides of a ghastly disease. One feels a sort of madness come over one, as if the world had become hell. But it is only superimposed: it is only a temporary disease. It can be cleaned away…

– D.H. Lawrence, letter, 1915

Emotional outbursts

The individual in his rationality is determined by the rationality of capital which he encounters as a force of nature, which he experiences daily and which therefore must appear to him as rational through and through. His protest against this life-destroying force can therefore only be a protest of feeling or emotion. But since ‘reason’ rules, these emotional outbursts of the individual are rationalised and ‘disappear’ into stomach pains, gall stones, circulatory problems, kidney stones, cramps of all kinds, into impotence, head colds, toothaches, skin diseases, back aches, migraines, asthma, car and workplace accidents, depression, and so forth – or feelings mushroom in interpersonal relationships (emotional plague), in flat affects (‘serious’ people), in psychosis etc.

Turn Illness into a Weapon, manifesto of the Heidelberg Socialist Patients’ Collective, 1972

(Quoted here.)