The ghost in the fog

She walked through the fog into Tottenham Court Road. The houses and the people passing were withdrawn, nebulous. There was only a grey fog shot with yellow lights, and its cold breath on her face, and the ghost of herself coming out of the fog to meet her.
The ghost was thin and eager. It wore a long, very tight check short, a short dark-blue coat, and a bunch of violets bought from the old man in Woburn Square. It drifted up to her and passed her in the fog. And she had the feeling that, like the old man, it looked at her coldly, without recognizing her.

— Jean Rhys, After Leaving Mr Mackenzie

He is suffering from his isolation. He has talked about it several times. As always during the winter, he has been unable to work. He has seen nobody. He goes out walking or sits for hours in his armchair, entirely given over to what is taking shape inside him. He talks frequently about the unknown, of what emerges when all desire, all will and self-regard have spontaneously vanished and the being becomes purely passive. It is to the extent that he has the audacity and courage to welcome the unknown that the painter can engender something new and produce paintings which are each an effective encounter with life. ‘Painting’, he says, ‘is attempting to reach a point where it is impossible to remain’.

Juliet on Bram van Velde, Conversations with Samuel Beckett and Bram van Velde

I say to myself sometimes, You must learn to suffer better than that if you want them to weary of punishing you one day. I say to myself sometimes, You must be there better than that if you want them to let you go one day. But I feel too old, and too far, to form new habits. Good, it’ll never end, I’ll never go.

— Beckett/Jack Macgowran, Beginning to End

Je vois peu

Journaliste: Est-ce que vous avez été un, un homme de nature à aimer rester dans la nature à la regarder?

Bram Van Velde: Oh je crois que je vois pas grand chose, je vois… Je vois vraiment peu…

Journaliste: C’est curieux pour un peintre de dire: je vois peu.

Bram Van Velde: Non, c’est pas, c’est que… le réel m’intéresse très peu.. Ça n’a presque pas d’importance, seulement je me trouve bien ou pas bien. D’être assis, je me sens bien, parce que il y a quelque chose qui vous calme, surtout y a pas la bruit. Le bruit me fait terriblement souffrir… Et puis évidemment je… J’ai fait un tel effort dans la peinture… Au fond, c’est un effort vers le invisible, qui me quitte jamais, et seulement le tableau me fait voir… C’est le moment où on vit, vous voyez. A tel point le tableau qui voit a vraiment sorti de vide, on n’a pas besoin de refaire un autre tableau, ça peut guérir le mort avant qu’on a de nouveau besoin. C’est comme ça que j’arrive parfois à faire une seul tableau… Qui me fait vivre, je n’ai qu’à y penser et je suis, rempli vie… On joue un peu sa vie avec la peinture.

Bram van Velde

Hopeless prayer

When I pray I think, I try to think. And this thinking prayer is not simply negative. It’s a way of asking questions […] When I pray I am thinking about negative theology, the unnameable, the possibility [that I am] totally deceived about my belief and so on. It’s a very sceptical – I don’t like this word – but it can be interpreted as a very sceptical prayer. And this scepticism is part of the prayer. […] Instead of scepticism I would call it a suspension of certainty, and this is part of the prayer. And then I consider that this suspension of certainty, this suspension of knowledge, the inability to answer your question, ‘Who do you expect to answer these prayers?’ is part of what a prayer has to be in order to be authentic. If I knew, if I were simply expecting an answer, that would be the end of the prayer. That would be an order, the way I order a pizza. No, I am not expecting anything. And my assumption is that I must give up any expectation, any certainty as to the one, or more than one, to whom I address this prayer, if this is still a prayer. […] It’s a hopeless prayer on the one hand, and I think this hopelessness is part of what a prayer should be. On the other hand I know that there is hope, there is calculation, there is economy. But what sort of economy? […] I know that praying in that way, even if there is no one God, mother or father receiving my prayer, I know that by this act of praying in the desert – out of love, because I wouldn’t pray otherwise – something might already be good in myself. […] By doing this I try to affirm and to accept something in myself which won’t to any harm to anyone, especially to me. […] If I give up any calculation, because of this calculation around the incalculable I can become better for myself, narcissistically, but to become better narcissistically is a way of loving in a better way, of being more loveable for our loved ones. So that’s a calculation. It’s a calculation which tries to integrate the incalculable. When I pray it’s a mixture of all these things in the same instant, in the same words, in the same gestures. [Then I have] a strange experience in which the Judaism of my childhood, my experience as a philosopher, as a quasi-theologian, all the texts I’ve read, from Plato to St Augustine to Heidegger, are there, they are my world, the world in which my prayer prays. That’s the way I pray, sometimes in a given and fixed moment during the day, sometimes anywhere, at any moment, for instance now.

Derrida

Now you have run out of hiding places

Now you have run out of hiding places. You are afraid. You are waiting for everything to stop, the rain, the hours, the stream of traffic, life, people, the world; waiting for everything to collapse, walls, towers, floors and ceilings, men and women, old people and children, dogs, horses, birds, to fall to the ground, paralysed, plague-ridden, epileptic; waiting for the marble to crumble away, for the wood to turn to pulp, for the houses to collapse noiselessly, for the diluvian rains to dissolve the paintwork, pull apart the joints in hundred-year-old wardrobes, tear the fabric to shreds, wash away the newspaper ink, waiting for the fire without flames to consume the stairs, waiting for the streets to subside and split down the middle to reveal the gaping labyrinth of the sewers; waiting for the dust and mist to invade the city.

– Georges Perec, The Man Who Sleeps/A Man Asleep

The relentless march

The relentless march toward a totalitarian capitalism… We get to choose the rhetoric and manner in which we are deceived and disempowered… They will make sure we consume ourselves… All conventional forms of dissent have been denied us… The corporate coup is over. We have lost. We have to face our banishment…

Chris Hedges

‘Time seems shorter when one is talking’, said the girl.
‘And then afterwards, suddenly, much longer.’
‘Yes, like another kind of time. But it does one good to talk.’
‘Yes, it does one good. It is only afterwards that it is rather sad: after one has stopped talking. Then time becomes too slow. Perhaps one should never talk.’
‘Perhaps’, said the girl after a pause.
‘Only because of the slowness afterwards: that was all I meant.’
‘And perhaps because of the silence to which we are both returning.’
‘Yes, it is true that we are both returning to silence. It seems as though we are already there.’

–Duras, The Square (tr. Pitt-Rivers and Morduch)

You are not dead and you are no wiser … You have learned nothing, except that solitude teaches you nothing, except that indifference teaches you nothing … Indifference is futile. Your refusal is futile. Your neutrality is meaningless. You believe that you are just passing by, drifting through the city, dogging the footsteps of the crowd, entering the play of shadows and cracks, but nothing has happened: no miracle, no explosion. With each passing day your patience has worn thinner. Time would have to stand still, but no one has the strength to fight against time. You may have cheated, snitching a few seconds, a few seconds … But the game is over. The world has not stirred and you have not changed. Indifference has not made you any different. You are not dead. You have not gone mad. There is no curse hanging over you … No one is condemning you and you have committed no offence. Time, which sees to everything, has provided the solution, despite yourself. Time, that knows the answer, has continued to flow. It is on a day like this one, a little later, a little earlier, that everything starts again, that everything starts, that everything continues … You are afraid. You are waiting. You are waiting, on Place Clichy, for the rain to stop falling.

— Georges Perec, The Man Who Sleeps/A Man Asleep

Unhappiness did not swoop down on you

Unhappiness did not swoop down on you, it insinuated itself almost ingratiatingly. It impregnated your life, your movements, the hours you keep, your room. It took possession of the cracks in the ceiling, of the lines in your face in the cracked mirror, of the pack of cards. It slipped furtively into the dripping tap on the landing, it echoed with the quarter-hour chimes from the bell of Saint-Roch. The snare was that feeling which, on occasion, came close to exhilaration, that arrogance: you thought the city was all you needed, its stones and its streets, the crowds that carried you along. You thought you needed only a stall in some local cinema, you thought you only needed your room, your lair, your burrow.

— Georges Perec, The Man Who Sleeps/A Man Asleep