Despair

To class Beckett himself as the simple incarnation of ‘despair’ is a drastic oversimplification. To begin with, the concept of ‘despair’ implies the existence of a related concept ‘hope,’ and ‘hope’ implies a certain predictable continuity in time—which continuity Beckett would seriously question. ‘Despair,’ with all its inherent moral overtones, is a term which is wholly inadequate to describe Beckett’s attitude towards the human condition; nor is this condition, in the most current sense of the definition, ‘absurd.’ It is literally and logically impossible. And in this central concept of ‘impossibility,’ his thought has most of its origins – as does also his art.

Richard Coe (via A Piece of Monologue)

Philosophers

‘Have contemporary philosophers had any influence on your thought?’
‘I never read philosophers.’
‘Why not?’
‘I never understand anything they write.’
‘All the same, people have wondered if the existentialists’ problem of being may afford a key to your works.’
‘There’s no key or problem. I wouldn’t have had any reason to write my novels if I could have expressed their subject in philosophic terms.’

Interview with Beckett (via A Piece of Monologue)

‘I’m a king who’s been deposed’

“You’re young,” the principal says to me, “you’re bursting with prospects. Wait a moment, was there something else I forgot to say? You must realise, Jakob, that I’ve got a lot of things to say to you, and yet you can have forgotten the best deepest things before you know where you are. And you yourself, you look like good fresh memory itself, whereas my memory is getting old now. My mind, Jakob, is dying. Forgive me if I’m saying things that are too weak, too intimate. It’s a laugh. So I ask you too forgive me, whereas I could give you a good beating if I thought it necessary. What stern looks you’re giving me. Well, well, I could throw you against that wall there, so hard you’d never see or hear anything again. I don’t know what’s happened to make me lose all authority over you. Probably you laugh at me, secretly. But between ourselves: watch out. You must realise that wild feelings seize me sometimes and before I can stop myself I forget what I’m doing. O my little lad, no, don’t be afraid. It would be so completely impossible, completely, to do you any harm, but – well, now, what was it I meant to say to you? Tell me, are you just a little frightened? And you’re young and you’ve got hopes, and soon you want to find a position. Isn’t that so? Yes, that’s it. Yes, that’s it and I’m sorry, for just think, sometimes I feel that you’re my young brother or something near as nature to me, you seem so related to me, with your gestures, talk, mouth, everything, in short, yourself. I’m a king who’s been deposed. You’re smiling? I find it simply delightful, you know, that precisely when I’m talking about kings deposed and deprived of their thrones a smile escapes you, such a mischievous smile. You have intelligence, Jakob. Oh, it’s so nice to be talking with you. It’s a delightful little prickling feeling to behave with you in a rather weak sort of way and more softly than usual. Yes, you really do provoke easy going, loosening up, the sacrifice of dignity. One attributes to you – do you believe me? – a nobility of mind, and this tempts one very strongly to indulge, when you are there, in fine and helpless explanations and confessions, as I do, for example, your master, confessing to you, my poor young worm, whom I could utterly crush if I chose to. Give me your hand. Good! Let me tell you that you’ve managed to make me feel respect for you. I respect you highly, and – I – don’t mind – telling you. And now I want to ask you: will you be my friend, the small sharer of my confidences? I ask you, please do. But I’ll give you time to think it over, you may go now. Please go, leave me alone.”

— Walser, Institute Benjamenta (aka Jakob von Gunten), tr. C. Middleton

Many sorts of failure

From among many sorts of failure each selects the one which least compromises his self-respect: which lets him down the lightest.

— Lawrence Durrell, The Alexandria Quartet

Nothing that is not false

Decidedly this evening I shall say nothing that is not false, I mean nothing that is not calculated to leave me in doubt as to my real intentions.

— Beckett, Malone Dies

A certain longing

I am touching the house in which I was born, but my hand passes through the place, leaving a residue of fog where the house was. This is the place where I was born. A certain longing was conceived here. Muffled and croaking, it finds its expression in the body of the nostalgic. I am here, and my hand passed through the white wall, reaching into a lacuna in space, but comprised from the boundary of my hand. It is as though something outside of this place exceeds the material presence I face, as though this place resists the very act of being touched.

Dylan Trigg

The new day at last

For it if was really day again already, in some low distant quarter of the sky, it was not yet day again already in the kitchen. But that would come, Watt knew that would come, with patience it would come, little by little, whether he liked it or not, over the yard wall, and through the window, first the grey, then the brighter colours one by one, until getting on to nine a.m. all the gold and white and blue would fill the kitchen, all the unsoiled light of the new day, of the new day at last, the day without precedent at last.

— Beckett, Watt (quoted here)

Fragments of Heraclites

(a). Everything flows and nothing abides; everything gives way and nothing stays fixed.

1. Although this Logos is eternally valid, yet men are unable to understand it – not only before hearing it, but even after they have heard it for the first time. That is to say, although all things come to pass in accordance with this Logos, men seem to be quite without any experience of it […]

6. The sun is new each day.

16. How can anyone hide from that which never sets?

17. Most people do not take heed of the things they encounter, nor do they grasp them even when they have learned about them, although they think they do.

21. Whatever we see when awake is death; when asleep, dreams.

22. Seekers after gold dig up much earth and find little.

34. Fools, although they hear, are like the deaf: to them the adage applies that when present they are absent.

45. You could not discover the limits of soul, even if you traveled by every path in order to do so; such is the depth of its meaning.

47. Let us not make arbitrary conjectures about the greatest matters.

49a. Into the same rivers we step and do not step.

59. For the wool-carders the straight and the winding way are one and the same.

60. The way up and the way down are one and the same.

62. Immortals become mortals, mortals become immortals; they live in each other’s death and die in each other’s life.

72. Although intimately connected with the Logos, men keep setting themselves against it.

75. Even sleepers are workers and collaborators in what goes on in the universe.

84a. It is in changing that things find repose.

88. It is one and the same thing to be living and dead, awake or asleep, young or old. The former aspect in each case becomes the latter, and the latter becomes the former, by sudden unexpected reversal.

91. It throws apart and then brings together again; it advances and retires.

Heraclites

In the evening

In the evening they tramped out across a field trying to find a place where their fire would not be seen. Dragging the cart behind them over the ground. So little of promise in that country. Tomorrow they would find something to eat. Night overtook them on a muddy road. They crossed into a field and plodded on toward a distant stand of trees skylighted stark and black against the last of the visible world. By the time they got there it was dark of night. He held the boy’s hand and kicked up limbs and brush and got a fire going. The wood was damp but he shaved the dead bark off with his knife and he stacked brush and sticks all about to dry in the heat. Then he spread the sheet of plastic on the ground and got the coats and blankets from the cart and he took off their damp and muddy shoes and they sat there in silence with their hands outheld to the flames. He tried to think of something to say but he could not. He’d had this feeling before, beyond the numbness and the dull despair. The world shrinking down about a raw core of parsible entities. The names of things slowly following those things into oblivion. Colors. The names of birds. Things to eat. Finally the names of things one believed to be true. More fragile than he would have thought. How much was gone already? The sacred idiom shorn of its referents and so of its reality. Drawing down like something trying to preserve heat. In time to wink out forever.

— Cormac McCarthy, The Road

Fears

I am lying in my bed five flights up, and my day, which nothing interrupts, is like a clock-face without hands. As something that has been lost for a long time reappears one morning in its old place, safe and sound, almost newer than when it vanished, just as if someone had been taking care of it–: so, here and there on my blanket, lost feelings out of my childhood lie and are like new. All the lost fears are there again.
[…]
I prayed to rediscover my childhood, and it has come back, and I feel that it is just as difficult as it used to be, and that growing older has served no purpose at all.

— Rilke, The Notebooks of Malte Laurids Brigge (tr. S. Mitchell)