In the pub

‘The pub’s empty apart from a young couple at one end. They’re looking down at their phones. She sits back and plays with her hair. He sips from his drink. I sit against the opposite wall and sip from my tepid ale. The publican stands behind the bar staring into space. A stupor settles on us all, uniting and dividing us. Don’t talk, let the silence spread like frost. The publican looks bored, he’s on the verge of talking. People should have the decency not to talk. Find another space, think of something else. No, don’t think, drink, take out the notepad and wait for the words. They come, the words, and I shape and lose them in the same breath. Swallow the dregs, order another. Stay calm. If I don’t talk they won’t. If they talk I won’t. I’ll listen only for the words that come to me, that appear in this grey space, that rise and disappear like smoke, if they don’t talk, if he doesn’t turn on the radio, in this space where I think and am thought, where I write and am written, where I can neither think nor write. Scribble, it doesn’t matter what anymore. Drink, it doesn’t matter what anymore. Now maybe I can talk, now that I’ve drunk and talked myself into this space where anything and nothing is possible. But no one talks, silence spreads like frost. The couple fiddle with their phones, the publican wipes the counter. I’ve made it clear perhaps that I’m not a talker, and isn’t that what I wanted…? Where was I? In the pub, where the publican was wiping the counter. The young couple are gone, only the publican remains and he’s fading too, out and away, along with the pub, into the pale orange sky, leaden now, grey now, nothing now, and I’m sitting in a chair in this nothing, in this grey space which is my room passing back into being around me, scribbling.’

Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice.

— Robert Fripp

The expulsion from paradise

The Expulsion from Paradise is eternal in its principal aspect: this makes it irrevocable, and our living in this world inevitable, but the eternal nature of the process has the effect that not only could we remain forever in Paradise, but that we are currently there, whether we know it or not.

— Kafka, The Zürau Aphorisms (tr. M. Hamburger)

Wanting to die

Since you ask, most days I cannot remember.
I walk in my clothing, unmarked by that voyage.
Then the almost unnameable lust returns.

Even then I have nothing against life.
I know well the grass blades you mention,
the furniture you have placed under the sun.

But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.

— Anne Sexton, from ‘Wanting to Die’

What happens when we sit down in the silence of that early morning and start to draw the fruit? We begin to discover its otherness. We begin to learn, in our bodies, through our fingers, what its breath is, we begin to feel the stream of life in which it floats. We begin to experience that stream as other than ours, and yet by the activity of hand and eye and mind and body we begin to partake of that stream. And as we do so we are more possessed by the melon than possessing it. And in that state we start to discover something about ourselves, about the stream of life in which we float. We start to experience ourselves not, as we ordinarily do, from the inside, but from some point outside ourselves, we start to sense ourselves as having no more but also no less right to exist than the melon before us, the cat lying asleep on the table beside it, the tree that can be seen through the window.

Josopivici

Proust conveys miraculously both the sense of pleasure Marcel takes in the world about him and his intense desire to transmute that pleasure into something permanent by writing about it; but he also conveys the failure of such attempts. I cannot tell you how exhilarating I found this. Instead of feeling that the failure I was encountering daily was a purely personal one, I now saw that it had to do with the nature of the project itself. And, if that was so, then it was something that could be lived with and, by being accepted, be overcome. Overcome not by being left behind but by being incorporated into whatever had to be said.

Josipovici

The risus purus

Of all the laughs that strictly speaking are not laughs, but modes of ululation, only three I think need detain us, I mean the bitter, the hollow and the mirthless. They correspond to successive… how shall I say successive… suc… successive excoriations of the understanding, and the passage from the one to the other is the passage from the lesser to the greater, from the lower to the higher, from the outer to the inner, from the gross to the fine, from the matter to the form. The laugh that now is mirthless once was hollow, the laugh that once was hollow once was bitter. And the laugh that once was bitter? Eyewater, Mr. Watt, eyewater. But do not let us waste our time with that. . . . The bitter, the hollow and—Haw! Haw!— the mirthless. The bitter laugh laughs at that which is not good, it is the ethical laugh. The hollow laugh laughs at that which is not true, it is the intellectual laugh. Not good! Not true! Well well. But the mirthless laugh is the dianoetic laugh, down the snout—Haw!—so. It is the laugh of laughs, the risus purus, the laugh laughing at the laugh, the beholding, the saluting of the highest joke, in a word the laugh that laughs—silence please—at that which is unhappy.

— Beckett, Watt

‘It may have been what in the old days was called a spiritual crisis’, he said. ‘It was just feeling as though every axiom of your life turned out to be false. And there was nothing, and you were nothing – it was all a delusion. But you were better than everyone else because you saw that it was a delusion, and yet you were worse because you couldn’t function.’

‘When that happens to you,’ David said, smiling, ‘you get unprecedentedly willing to examine other alternatives for how to live.’

‘The Lost Years and Last Days of David Foster Wallace’

They all tell stories in a way that is well crafted, but that is almost the most depressing aspect of it — a careful craft which seems to me to be hollow.

Josipovici

Kafka and the sickness of tradition (via here).