Mount Sinai

Do you remember when we walked up Mount Sinai? X asks me. In the middle of the desert? How long ago it seems now. Woken up in the middle of the night by our Bedouin guide who’d forgotten his torch because they can see in the dark? Trudging over desert rubble in the deep black except for the lights dotting the surrounding mountains, which our guide told us were the hermits’ lights? You almost shed a tear, didn’t you? You told me you could have been one of those, and I told you you were an idiot. And then you were bitten by that camel you got too close to in that pitch dark, weren’t you? And I laughed. That was the best part of the whole thing. We stumbled into a group of Bedouins we couldn’t see until we’d bumped into them. Calm people, the Bedouins. Maybe just bored of taking people up and down a big rock day in day out. But they must make many times their average wage, you said. We trudged uphill for hours to get to the top by dawn. No way old Moses could have done this without these paths and steps, you said, this is hard enough, and I laughed at you and told you you were a fool. How old was Moses anyway? you asked, and I said what does it matter, he obviously he never did it. So the whole tribe is waiting for him down there, you said, that must’ve been a bit stressful. You haven’t even read the book, I said, what do you know where they were?  The bald German woman who’d brought her poor uncomplaining little girl and who blanked you when you smiled at her. What kind of help was she expecting at the top? What were you expecting? Some great revelation? No, even you were beyond that by then. What were we then, tourists? I felt ridiculous. I hated you for getting me out of bed, for dragging me into the desert in the first place. I half expected you to start mumbling the Jesus prayer. Christ, I would’ve pushed you down the mountain. People wound their way up the mountain from different directions like streams of ants. Are we all going the same place? you asked. Where did they come from? and I laughed at you. The sky getting lighter as the climb got harder. Strong tea brewed by the Muslim Bedouins at outrageous prices, about the same as Caffe Nero. You started whingeing about vertigo. And when we got up there, do you remember? It was cold and overcast, not much of a sunset. I was bored and cold and tired and hungry. Well just think how those poor people felt walking through the desert, you said. They didn’t, I said, they wouldn’t have survived. Where did all these people come from? you said, and I sniffed. What the fuck am I doing up here with this asshole? I thought. Grey-faced Europeans singing their dreary Protestant hymns, drowned out by a group of exhausted old South American Catholics chanting their erotic prayers and waving their arms about: Abra tu boca, Seňor, dame tu lingua… They’ve probably saved up for this trip for years, you said. A few pale Eastern Europeans leaning on rocks. And the bald grumpy German woman with her child, giving you the evil eye. How you worried about that! And then, in the morning, knackered and dusty, after we’d generously tipped our Bedouin, eating breakfast in the monastery and taking a photo of the burning bush which the Orthodox monks still lovingly tend. Remember? The photo that came out bleached by the scorching sun, which you take everywhere we go? Ah, that was actually moving, wasn’t it, it moved both of us, didn’t it? It moves us both each time we look at it, doesn’t it? he says.

Mirrors

Mirrors: no one has ever known how
to describe what you are in your inmost realm.
as if filled with nothing but sieve-holes, you
fathomless in-between spaces of time.

— Rilke, from Sonnets to Orpheus, II, 3 (tr. S. Mitchell)

When asked what he did – according to his friend, John Urzidil, Kafka never answered ‘I am a writer’ but always ‘I work for an insurance company’.

— Hugh Haighton, from the Introduction to Janouch’s Conversations with Kafka

Like K., we alternate between flashes of lucidity and bouts of torpor, sometimes mistaking one for the other, with no one having the authority to correct us.

– Roberto Calasso, K. (tr. G. Brock)

Anonymous

For what I was doing I was doing neither for Molloy, who mattered nothing to me, nor for myself, of whom I despaired, but on behalf of a cause which, while having need of us to be accomplished, was in its essence anonymous, and would subsist, haunting the minds of men, when its miserable artisans should be no more.

— Beckett, Molloy

The Castle’s communication

The murmur, the song that issues audibly from the phone as soon as any receiver is lifted in the village, is the Castle’s only acoustic manifestation. It is indistinct and, moreover, non-linguistic, a music composed of words gone back to their source in pure sonic matter, prior to and stripped of all meaning. The Castle communicates with outside world through a continuous, indecipherable sound.

— Roberto Calasso, K. (tr. G. Brock)

The invisible

The invisible has a mocking tendency to present itself as the visible, as if it might be distinguished from everything else, but only under certain circumstances, such as the clearing away of mist. Thus one is persuaded to treat it as the visible – and is immediately punished. But the illusion remains.

— Roberto Calasso, K. (tr. G. Brock)

Magic

It is entirely conceivable that life’s splendor forever lies in wait about each one of us in all its fullness, but veiled from view, deep down, invisible, far off. It is there, though, not hostile, not reluctant, not deaf. If you summon it by the right word, by its right name, it will come. This is the essence of magic, which does not create but summons.

— Kafka, Diaries (tr. M. Greenberg)

An endless Sunday

An endless, dreary Sunday afternoon, an afternoon  swallowing down whole years, its every hour a year. By turns walked despairingly down empty streets and lay quietly on the couch. Occasionally astonished by the leaden, meaningless clouds almost uninterruptedly drifting by. “You are reserved for a great Monday!” Fine, but Sunday will never end.

— Kafka, Diaries (tr. M. Greenberg)

Why was it that works of literature such as the poems of T S Eliot, the stories of Kafka and Borges, the novels of Proust, Mann, Claude Simon and Thomas Bernhard seemed worlds apart from those admired by the English literary establishment (works by writers such as Margaret Atwood, John Updike, Martin Amis and Ian McEwan)? The first group touched me to the core, leading me into the depths of myself even as they led me out into worlds I did not know. The latter were well-written narratives that, once I’d read them, I had no wish ever to reread. Was it my fault? Was I in some way unable to enter into the spirit of these works?

Josipovici