Cryptic

I made you cryptic, didn’t I? The truth is we grew into each other not like lovers or happy families do, but like tendrils and thistles. Where else could I have gone, after I fell into you like some bumbling guardian angel? You hid, and I hid with you, what choice did I have? So we both had to wait, and so our lives – our life – became a waiting game. It was as if our story had ended the moment it began, the moment we found each other on that concrete path between the thistles, like some Kaspar Hauser with his failed teacher.

Follow me, all you whom humiliation in love or neglect in friendship confines to your apartments, far from the pettiness and treachery of your fellow men. Let all the wretched, the sick, and the bored follow men—let all the lazy people of the world rise en masse;—and you, whose brain is aboil with sinister plans of reform; you, who in your boudoir are contemplating renouncing the world in order to live; gentle anchorites of an evening […] be so good as to accompany me on my voyage, we shall travel by short stages, laughing all along the way at travelers who have seen Rome and Paris.—Nothing shall stop us; and abandoning ourselves gaily to our fancy, we shall follow it wherever it wishes to take us.

— Xavier de Mastre, Voyage around My Room (via here)

The Idiots

[Extracts from Lars von Trier’s The Idiots film diary, my trans.]

Preface

The following is a kind of diary which I recorded on a dictaphone from just before the start of production until well into the editing stage. In keeping with the spirit of Dogma, I have neither read nor corrected the text. However, Peter Øvig has been kind enough to read it and make corrections where they were necessary in order to make the spoken language readable—but without my intervention or censure.

Without otherwise disavowing the text, I will merely note that all statements are unprepared and thus spontaneous. Since both the factual and analytical information probably contain quite a few inaccuracies (not to say untruths), it is advisable to read the text as a kind of self-therapy on the part of the author, born out of the agitated emotional state that was the very technique of the film.

Lars von Trier, March 1998

Continue reading

If I said

If I said, There’s a way out there, there’s a way out somewhere, the rest would come. What am I waiting for then, to say it? To believe it? And what does that mean, the rest? Shall I answer, try to answer, or go on as though I had asked nothing?

— Beckett, Texts for Nothing no. 9

At no risk

Investigations on the subject of art such as those the aesthetician pursues bear no relation to the concern for the work of which we speak. Aesthetics talks about art, makes of it an object of reflection and of knowledge. Aesthetics explains art by reducing it or then again exults by elucidating it, but in all events art for the aesthetican is a present reality around which he constructs plausible thoughts at no risk.

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

Night and day

‘I have had more than two years in hiding’, Father Rivas said, ‘and we have to travel light. There is no room in our packs for books of theology. Only Marta has kept a missal. I have lost mine. Sometimes I have been able to find a paperback novel – like the one I have been reading. A detective story. That sort of life leaves a lot of time to think and perhaps Marta may be right and my thoughts are turning wild. But I can see no other way to believe in God. The God I believe in must be responsible for all the evil as well as for all the saints. He has to be a God made in our image with a night-side as well as day-side. When you speak of the horror, Eduardo, you are speaking to the night-side of God. I believe the time will come when the night-side will wither away, like your communist state, Aquino, and we shall see only the simple daylight of the good God. You believe in evolution, Eduardo, even though sometimes whole generations of men slip backwards to the beasts. It is a long struggle and a long suffering, evolution, and I believe God is suffering the same evolution that we are, but perhaps with more pain.’

— Graham Greene, The Honorary Consul

Reaching

When did you begin to fall? Wasn’t it when I was born in you? You still sometimes think of yourself as my fallen angel, don’t you? Wasn’t I the one who pushed you out of life as you sat in that dark train station, trying to ignore the piss of drunken Swedes, sitting in the fumes of piss, waiting to be taken back to your room in that boarding school, back to that concrete path between the green thistle bushes, back to nothing? I fell as far as you on those nights, in your anxiety: how else could I have pushed you out? But now I’ve returned, now I’m here to tell you you can only return through me. Or that we can only return through each other. I need you as you need me. We reach for each other but are we falling or rising? Or is reaching the thing?

I don’t know

And I must not forget, at the start of the work, to be prepared to make mistakes. Not forget that mistakes had often proved to be my path. Every time what I thought or felt didn’t work out … a space would somehow open up, and if I had had the courage before I would have gone in through it. But I had always been afraid of delirium and error. My error, however, had to be the path of truth: for only when I err do I get away from what I know and what I understand. If ‘truth’ were what I can understand … it would end up being but a small truth, my-sized.

Truth must reside precisely in what I shall never understand. And would I then be able to understand myself afterward? I don’t know. Will the man of the future be able to understand us as we are today? He, with distracted tenderness, will distractedly pat our heads like we do with a dog who comes up to us and looks at us from within its darkness, with silent, stricken eyes. He, the future man, would pat us, remotely comprehending us, just as I would remotely understand myself afterward, with the memory of the memory of the long-lost-lost memory of a time of pain, but knowing that our time of pain would pass, just as a child is not a static child but a growing being.

— Lispector, The Passion According G.H. (tr. Sousa)

Sleep

One can tell a lot about a person from how they sleep: how hard or easy falling asleep is for them; whether they can sleep anywhere or only at home; the postures in which they sleep; how they awake, and how quickly they rise. For some people falling asleep is something they look forward to, for others it’s a nightly grapple with separation, with death. How much, for example, can lovers not tell about each other from their behaviour before, during and after sleep? I never told you the thoughts I had when, after we’d made love, unable to sleep as I knew I would be in that unfamiliar room, with this still unfamiliar woman beside me, I looked at you sleeping so prettily, your mouth slightly open, your face trusting sleep.

Contact

Ever since the time when he lived for almost a year with the thought that he had lost contact with language, every sentence he managed to write, and which in addition left him feeling that it might be possible to go on, had been an event. Every word, not spoken but written, that led to others, filled his lungs with air and renewed his tie with the world. A successful notation of this kind began the day for him; after that, or at least so he thought, nothing could happen to him until the following morning.

— Handke (via here)