7/22/2022

They seemed to listen, he on the upper step and she on the lower. She came up to his step many times and went down to hers again between their phrases and once or twice stood close beside him for some moments on the upper step, forgetting to go down, and then went down. His heart danced upon her movements like a cork upon a tide. He heard what her eyes said to him from beneath their cowl and knew that in some dim past, whether in life or reverie, he had heard their tale before. He saw her urge her vanities, her fine dress and sash and long black stockings, and knew that he had yielded to them a thousand times. Yet a voice within him spoke above the noise of his dancing heart, asking him would he take her gift to which he had only to stretch out his hand. And he remembered the day when he and Eileen had stood looking into the hotel grounds, watching the waiters running up a trail of bunting on the flagstaff and the fox terrier scampering to and fro on the sunny lawn, and how, all of a sudden, she had broken out into a peal of laughter and had run down the sloping curve of the path. Now, as then, he stood listlessly in his place, seemingly a tranquil watcher of the scene before him.

—She too wants me to catch hold of her, he thought. That’s why she came with me to the tram. I could easily catch hold of her when she comes up to my step: nobody is looking. I could hold her and kiss her.

But he did neither: and, when he was sitting alone in the deserted tram, he tore his ticket into shreds and stared gloomily at the corrugated footboard. (A Portrait of the Artist as a Young Man)

He went once or twice with his mother to visit their relatives: and though they passed a jovial array of shops lit up and adorned for Christmas his mood of embittered silence did not leave him. The causes of his embitterment were many, remote and near. He was angry with himself for being young and the prey of restless foolish impulses, angry also with the change of fortune which was reshaping the world about him into a vision of squalor and insincerity. Yet his anger lent nothing to the vision. He chronicled with patience what he saw, detaching himself from it and tasting its mortifying flavour in secret. (A Portrait of the Artist as a Young Man)

Poetry always says what is essential. Communist poetry from the 1930s and 1940s recalls for us that the essential aspect of communism, or of the communist Idea, is not and never has been the ferocity of a state, the bureaucracy of a party, or the stupidity of blind obedience. These poems tell us that the communist Idea is the compassion for the simple life of the people afflicted by inequality and injustice – that it is the broad vision of a raising up, both in thought and in practice, which is opposed to resignation and changes it into a patient heroism. It tells us that this patient heroism is aimed at the collective construction of a new world, with the means of a new thinking about what politics might be. And it recalls for us, with the riches of its images and metaphors, with the rhythm and musicality of its words, that communism in its essence is the political projection of the riches of the life of all. (The Age of the Poets)

 STATEMENT 1

Art is not ideology. It is completely impossible to explain art on the basis of the homological relation that it is supposed to maintain with the real of history. The aesthetic process decentres the specular relation with which ideology perpetuates its closed infinity. The aesthetic effect is certainly imaginary; but this imaginary is not the reflection of the real, since it is the real of this reflection.


STATEMENT 2

Art is not science. The aesthetic effect is not an effect of knowledge. However, as differentiating realization and denunciation of ideology, art is closer to science than to ideology. It produces the imaginary reality of that which science appropriates in its real reality.

[...]

STATEMENT 3

We must conceive of the aesthetic process not as a redoubling but as a reversal [retournement]. If ideology produces an imaginary reflection of reality, then the aesthetic effect produces in return [en retour] ideology as imaginary reality. We might say that art repeats in the real the ideological repetition of this real. Nevertheless this reversal does not produce the real; it realizes its reflection.

[...]

STATEMENT 4

What the aesthetic process transforms is differentially homogeneous to that which does the transforming. The ‘raw material’ of aesthetic production is already in itself aesthetically produced. The history of art thus possesses a regional autonomy. But this history by no means corresponds to the history of creators or their works. It is the theory of the formation and deformation of aesthetic generalities.

[...]

STATEMENT 5

By ‘aesthetic mode of production’, we understand the combination of factors whose effect is to operate the reversal. To operate the reversal means to give an ideological function to certain real-imaginary elements that are regionally produced by a historically determined state of the aesthetic process.


STATEMENT 6

To be more precise: an aesthetic mode of production is an invariant and invisible structure that distributes ways of linking real elements in such a way that these elements can function as ideological.


STATEMENT 7

An aesthetic mode of production is manifested in a double articulation:

• that which assembles the operators of transformation (presence-effect).

• that which concerns elements transformed by the place prescribed to them by the operators (effect of signification).

But the structural reality of the mode of production lies in the mechanism by which the first ‘encounter’ the second. Indeed, the operators are nowhere given other than in the elements, since the structure as such is invisible. There is thus a vectoral, or oriented, reality to the process of production: one can figure it as a ‘field’ in which are distinguished two hierarchical regions. One is the region of the operators, the other the region of the thematic elements. But the operators are themselves thematic so that their presence in the structured field is simply given as the encounter, or double function, with the characteristic asymmetry that makes it such that the first function renders possible the second, according to a rule (the visible i) that is the structure itself.


STATEMENT 8

The theory of an aesthetic mode of production supposes:

I) The definition of its elementary articulation.

II) The synchronic law of its effect (production of a new reality as ideological).

III) The diachronic law of the conditions for the conservation of its efficacy. (A real element that is ‘ideologized’ indeed risks henceforth becoming ideologically repeated, that is, non-transformed. In that case, it remains undoubtedly ideological, but the process that integrates it into ‘the work of art’ is itself ideological and not aesthetic. Or again, within the aesthetic process itself, the ideological element functions as such on its own).


STATEMENT 9

The complete intelligibility of an aesthetic mode of production presupposes that one conceives of its genealogy, that is to say, the process of the dissolution of the mode, anterior or contemporary to it, whose elements are rearticulated in the mode under investigation. (The Age of the Poets)

He returned to Mercedes and, as he brooded upon her image, a strange unrest crept into his blood. Sometimes a fever gathered within him and led him to rove alone in the evening along the quiet avenue. The peace of the gardens and the kindly lights in the windows poured a tender influence into his restless heart. The noise of children at play annoyed him and their silly voices made him feel, even more keenly than he had felt at Clongowes, that he was different from others. He did not want to play. He wanted to meet in the real world the unsubstantial image which his soul so constantly beheld. He did not know where to seek it or how but a premonition which led him on told him that this image would, without any overt act of his, encounter him. They would meet quietly as if they had known each other and had made their tryst, perhaps at one of the gates or in some more secret place. They would be alone, surrounded by darkness and silence: and in that moment of supreme tenderness he would be transfigured. He would fade into something impalpable under her eyes and then in a moment, he would be transfigured. Weakness and timidity and inexperience would fall from him in that magic moment. (A Portrait of the Artist as a  Young Man)

Hilary could talk for hours about the second of December 1805, but nonetheless it was his opinion that he had to cut his accounts far too short, because, as he several times told us, it would take an endless length of time to describe the events of such a day properly, in some inconceivably complex form recording who had perished, who survived, and exactly where and how, or simply saying what the battlefield was like at nightfall, with the screams and groans of the wounded and dying. In the end all anyone could ever do was sum up the unknown factors in the ridiculous phrase, “The fortunes of battle swayed this way and that,” or some similarly feeble and useless cliché. All of us, even when we think we have noted every tiny detail, resort to set pieces which have already been staged often enough by others. We try to reproduce the reality, but the harder we try, the more we find the pictures that make up the stock-in-trade of the spectacle of history forcing themselves upon us: the fallen drummer boy, the infantryman shown in the act of stabbing another, the horse’s eye starting from its socket, the invulnerable Emperor surrounded by his generals, a moment frozen still amidst the turmoil of battle. Our concern with history, so Hilary’s thesis ran, is a concern with preformed images already imprinted on our brains, images at which we keep staring while the truth lies elsewhere, away from it all, somewhere as yet undiscovered. I myself, added Austerlitz, in spite of all the accounts of it I have read, remember only the picture of the final defeat of the Allies in the battle of the Three Emperors. Every attempt to understand the course of events inevitably turns into that one scene where the hosts of Russian and Austrian soldiers are fleeing on foot and horseback on to the frozen Satschen ponds. I see cannonballs suspended for an eternity in the air, I see others crashing into the ice, I see the unfortunate victims flinging up their arms as they slide from the toppling floes, and I see them, strangely, not with my own eyes but with those of shortsighted Marshal Davout, who has made a forced march with his regiments from Vienna and, glasses tied firmly behind his head with two laces, looks like an early motorist or aviator. When I look back at André Hilary’s performances today, said Austerlitz, I remember once again the idea I developed at the time of being linked in some mysterious way to the glorious past of the people of France. (Austerlitz)

7/19/2022

There is the river, over I must—across I’ll go. For the vision burns away like cold blown breath; and when I look again it will have vanished away.

Christy make us real, make us hard and real in our lives: we who walk up and down in this autumn, trying to make ourselves real. We are involved, we are involved; and we cannot break away. All the history that we saw on the map in the kitchen pours into us and we contain it, we display it like a map for others to look at and be history; and the song of the girl on the world sings through us to be sung into others: Go into the world, go build cities, go discover countries; go spread love, go give, go make magnificence, get and give light, save and join and piece together (as you did the bits of string and cloth and whittled wood to make your ship) and show a whole and put it, combined and formed and shaped, into the world like a bottle with a ship in it. Gather the broken pieces, connect them: these are the only things we have to work with. For we have been given a broken world to live in—make like a map a world where all things are linked together and murmur through each other like a line of whispering people, like a chain of whispers a full clear statement, a singing, a round, strong, clear song of total meaning, a language within language, responding each to each forever in the memory of each man.

And then I said, “I will get up now and go now, where I belong, and be what I must be.”

I went to the bus station and really waited for a bus this time, and took it, and the next morning I knew it was no spell when I heard them calling all the names of the little forgotten towns, Normangee, Sweetwater, Cheetah, and I saw the live oak trees like old kinfolks in the fields.

Then, after a while, I was in the road going to the house and looked up and there it was, on the little rising piece of land, waiting for me. Through the mist that lay between us it seemed that the house was built of the most fragile web of breath and I had blown-it-and that with my breath I could blow it all away. (The House of Breath)

I thought I was going to die in the war. I was on a terrible ship. It was the Casablanca, the first baby flattop. There were always holes in it, and people dying and it was just the worst place for me to be. I really was desperate. I just wanted to jump off . I thought I was going to die anyway, be killed, and I wanted to die because I couldn’t endure what looked like an endless way of life with which I had nothing to do—the war, the ship, and the water. . . . I have been terrified of water all my life. I would have fits when I got close to it. Suddenly—it was out on a deck in the cold—I saw the breath that came from me. And I thought that the simplest thing that I know is what I belong to and where I came from and I just called out to my family as I stood there that night, and it just . . . I saw this breath come from me and I thought—in that breath, in that call, is their existence, is their reality . . . and I must shape that and I must write about them—The House of Breath. (The Paris Review interview 1976)

7/18/2022

The limousine stopped at The Dragon Palace. Richard Nixon got out. Guards of the Heroic People’s Volunteer Army stood at attention. On a wall inside the courtyard four tall posters caught the eye of Richard Nixon.

— That’s Marx, he said, pointing.

— Marx, repeated Marshal Yeh.

— And that’s Engels.

— Engels.

— And that’s Lenin and that’s Stalin.

— Precisely, Marshal Yeh replied.

Richard Nixon went back to the second poster, pointing to it with his gloved hand.

— That’s Engels?

— Engels, Marshal Yeh said with a worried, excessively polite look in his eyes.

— We don’t see many pictures of Engels in America, Richard Nixon explained. (The Richard Nixon Freischütz Rag)

On the Great Ten Thousand Li Wall, Begun in the Wars of the Spring and Autumn to keep the Mongols who had been camping nearer and nearer the Yan border from riding in hordes on their przhevalskis into the cobbled streets and ginger gardens of the Middle Flower Kingdom, Richard Nixon said: — I think you would have to conclude that this is a great wall. ("The Richard Nixon Freischütz Rag")

7/17/2022

There, from the pulpit, Seaman spoke about his life. The Reverend Ronald K. Foster introduced him, in a way that made it clear Seaman had been there before. I’m going to address five subjects, said Seaman, no more and no less. The first subject is DANGER. The second, MONEY. The third, FOOD. The fourth, STARS. The fifth and last, USEFULNESS. People smiled and some nodded their heads in approval, as if to say all right, as if to inform the speaker they had nothing better to do than listen to him. In a corner Fate saw five boys in black jackets and black berets and dark glasses, none of them older than twenty. They were watching Seaman with impassive faces, ready to applaud him or jeer. On the stage the old man paced back and forth, his back hunched, as if he had suddenly forgotten his speech. Unexpectedly, at a sign from the preacher, the choir sang a gospel hymn. The hymn was about Moses and the captivity of the people of Israel in Egypt. The preacher himself accompanied them on the piano. Then Seaman returned to center stage and raised a hand (he had his eyes closed), and in a few seconds the choir’s singing ceased and the church was silent.

DANGER. Despite what the congregation (or most of it) expected, Seaman began by talking about his childhood in California. He said that for those who hadn’t been to California, what it was most like was an enchanted island. The spitting image. Just like in the movies, but better. People live in houses, not apartment buildings, he said, and then he embarked on a comparison of houses (one-story, at most two-story), and four- or five-story buildings where the elevator is broken one day and out of order the next. The only way buildings compared favorably to houses was in terms of proximity. A neighborhood of buildings makes distances shorter, he said. Everything is closer. You can go walking to buy groceries or you can walk to your local tavern (here he winked at Reverend Foster), or the local church you belong to, or a museum. In other words, you don’t need to drive. You don’t even need a car. And here he recited a list of statistics on fatal car accidents in a county of Detroit and a county of Los Angeles. And that’s even considering that cars are made in Detroit, he said, not Los Angeles. He raised a finger, felt for something in the pocket of his jacket, and brought out an inhaler. Everyone waited in silence. The two spurts of the inhaler could be heard all the way to the farthest corner of the church. Pardon me, he said. Then he said he had learned to drive at thirteen. I don’t drive anymore, he said, but I learned at thirteen and it’s not something I am proud of. At that point he stared out into the room, at a vague spot in the middle of the sanctuary, and said he had been one of the founders of the Black Panthers. Marius Newell and I, he said, to be precise. After that, the speech subtly drifted from its course. It was as if the doors of the church had opened, wrote Fate in his notebook, and the ghost of Newell had come in. But just then, as if to avoid a certain awkwardness, Seaman began to talk not about Newell but about Newell’s mother, Anne Jordan Newell. He described her appearance (pleasing), her work (she had a job at a factory that made irrigation systems), her faith (she went to church every Sunday), her industriousness (she kept the house as neat as a pin), her kindness (she always had a smile for everyone), her common sense (she gave good advice, wise advice, without forcing it on anyone). A mother is a precious thing, concluded Seaman. Marius and I founded the Panthers. We worked whatever jobs we could get and we bought shotguns and handguns for the people’s self-defense. But a mother is worth more than the Black Revolution. That I can promise you. In my long and eventful life, I’ve seen many things. I was in Algeria and I was in China and in several prisons in the United States. A mother is a precious thing. This I say here and I’ll say anywhere, anytime, he said in a hoarse voice. He excused himself again and turned toward the altar, then he turned back to face the audience. As you all know, he said, Marius Newell was killed. A black man like you and like me killed him one night in Santa Cruz, California. I told him, Marius, don’t go back to California, there are too many cops there, cops out to get us. But he didn’t listen. He liked California. He liked to go to the rocky beaches on a Sunday and breathe the smell of the Pacific. When we were both in prison, I got postcards from him in which he told me he’d dreamed he was breathing that air. Which is strange, because I haven’t met many black folks who took to the sea the way he did. Maybe none, definitely none in California. But I know what he was talking about, I know what he meant. As it happens, I have a theory about this, about why we don’t like the sea. We do like it. Just not as much as other folks. But that’s for another occasion. Marius told me things had changed in California. There were many more black police now, for example. It was true. It had changed in that way. But in other ways it was still the same. And yet there was no denying that some things had changed. And Marius recognized that and he knew we deserved part of the credit. The Panthers had helped bring the change. With our grain of sand or our dump truck. We had contributed. So had his mother and all the other black mothers who wept at night and saw visions of the gates of hell when they should have been asleep. So he decided he’d go back to California and live the rest of his life there, in peace, out of harm’s way, and maybe he’d start a family. He always said he would call his first son Frank, after a friend who lost his life in Soledad Prison. Truth is, he would’ve had to have at least thirty children to pay tribute to all the friends who’d been taken from him. Or ten, and give each of them three names. Or five, and give them each six. But as it happened he didn’t have any children because one night, as he was walking down the street in Santa Cruz, a black man killed him. They say it was for money. They say Marius owed him money and that was why he was killed, but I find that hard to believe. I think someone hired that man to kill him. At the time, Marius was fighting the drug trade in town and someone didn’t like that. Maybe. I was still in prison so I don’t really know. I have my theories, too many of them. All I know is that Marius died in Santa Cruz, where he had gone to spend a few days. He didn’t live there and it’s hard to imagine the killer lived there. The killer followed Marius, is what I’m saying. And the only reason I can think of why Marius was in Santa Cruz is the ocean. Marius went to see the Pacific Ocean, went to smell it. And the killer tracked him down to Santa Cruz. And you all know what happened next. Oftentimes I think about Marius. More than I want to, to tell you the truth. I see him on the beach in California. A beach in Big Sur, maybe, or in Monterey north of Fisherman’s Wharf, up Highway 1. He’s standing at a lookout point, looking away. It’s winter, off-season. The Panthers are young, none of us even twenty-five. We’re all armed, but we’ve left our weapons in the car, and you can see the deep dissatisfaction on our faces. The sea roars. Then I go up to Marius and I say let’s get out of here now. And at that moment Marius turns and he looks at me. He’s smiling. He’s beyond it all. And he waves his hand toward the sea, because he’s incapable of expressing what he feels in words. And then I’m afraid, even though it’s my brother there beside me, and I think: the danger is the sea.

MONEY. In a word, Seaman believed that money was necessary, but not as necessary as some people claimed. He talked about what he called “economic relativism.” At Folsom Prison, he said, a cigarette was worth one-twentieth of a little jar of strawberry jam. Meanwhile, at Soledad, a cigarette was worth one-thirtieth of a jar. And at Walla-Walla, a cigarette was worth the same as a jar of jam, for one thing because the prisoners at Walla-Walla—who knows why, maybe because of some brainwashing against food, maybe because they were hooked on that nicotine—would have nothing to do with anything that was sweet, and all they wanted was to breathe that smoke into their lungs. Money, said Seaman, was ultimately a mystery, and as an uneducated man, he was hardly the right person to try to explain it. Still, he had two things to say. The first was that he didn’t approve of the way poor people spent their money, especially poor African Americans. It makes my blood boil, he said, when I see a pimp cruising around the neighborhood in a limousine or a Lincoln Continental. I can’t stand it. When poor people make money, they should behave with greater dignity, he said. When poor people make money, they should help their neighbors. When poor people make money, they should send their children to college and adopt an orphan, or more than one. When poor people make money, they should admit publicly to having made only half as much. They shouldn’t even tell their children how much they really have, because then their children will want the whole inheritance and won’t be willing to share it with their adopted siblings. When poor people make money, they should establish secret funds, not just to help the black people rotting in this country’s prisons, but to start small businesses like laundries, bars, video stores, the profits to be fully reinvested in the community. Scholarships. Never mind if the scholarship students come to a bad end. Never mind if the scholarship students end up killing themselves because they listened to too much rap, or killing their white teacher and five classmates in a rage. The road to wealth is sown with false starts and failures that should in no way discourage the poor who make good or our neighbors with newfound riches. We have to give it our all. We have to squeeze water from the rocks, and from the desert too. But we can never forget that money remains a problem to be solved, Seaman said.

FOOD. As you all know, said Seaman, pork chops saved my life. First I was a Panther and I faced down the police in California and then I traveled all over the world and then I lived for years on the tab of the U.S. government. When they let me out I was nobody. The Panthers no longer existed. In the minds of some, we were old terrorists. In the minds of others, we were a vague memory of sixties blackness, we were picturesque. Marius Newell had died in Santa Cruz. Some comrades had died in prison and others had made public apologies and started new lives. Now there weren’t just black cops. There were black people in public office, black mayors, black businessmen, famous black lawyers, black TV and movie stars, and the Panthers were a hindrance. So when they let me out there was nothing left, or next to nothing, the smoldering remains of a nightmare we had plunged into as youths and that as grown men we were leaving behind now, practically old men, you could say, with no future ahead of us, because during the long years in prison we’d forgotten what we knew and we’d learned nothing, nothing but cruelty from the guards and sadism from our fellow inmates. That was my situation. So those first months out on parole were sad and gray. Sometimes I would sit at the window for hours watching the lights blink on a nameless street, just smoking. I won’t lie to you, terrible thoughts crossed my mind more than once. Only one person helped me selflessly: my older sister, God rest her soul. She invited me to stay at her house in Detroit, which was small, but for me it was as if a princess in Europe had offered me her castle for a resting place. My days were all alike, but they had something that today, in hindsight, I don’t hesitate to call happiness. Back then I saw only two people regularly: my sister, who was the world’s most good-hearted human being, and my parole officer, a fat man who used to pour me a shot of whiskey in his office and he’d say: tell me, Barry, how could you be so bad? Sometimes I thought he said it to get me going. Sometimes I thought: this man is on the payroll of the California police and he wants to get me going and then he’ll shoot me in the gut. Tell me about your b——, Barry, he would say, referring to my manly attributes, or: tell me about the guys you killed. Talk, Barry. Talk. And he would open his desk drawer, where I knew he kept his gun, and wait. And what could I do? Well, I would say, I didn’t meet Chairman Mao, but I did meet Lin Piao, and later on he wanted to kill Chairman Mao and he was killed in a plane crash when he was trying to get away to Russia. A little man, wise as a serpent. Do you remember Lin Piao? And Lou would say he had never heard of Lin Piao in his life. Well, Lou, I would say, he was something like a Chinese cabinet member or like the Chinese secretary of state. And in those days we didn’t have a whole lot of Americans in China, I can tell you. You could say we paved the way for Kissinger and Nixon. And Lou and I could go on like that for three hours, him asking me to tell him about the guys I’d shot in the back, and me talking about the politicians I’d met and the countries I’d seen. Until I was finally able to get rid of him, with a little Christian patience, and I’ve never seen him since. Lou probably died of cirrhosis. And my life went on, with the same uncertainties and the same feeling of impermanence. Then, one day I realized there was one thing I hadn’t forgotten. I hadn’t forgotten how to cook. I hadn’t forgotten my pork chops. With the help of my sister, who was one of God’s angels and who loved to talk about food, I started writing down all the recipes I remembered, my mother’s recipes, the ones I’d made in prison, the ones I’d made on Saturdays at home on the roof for my sister, though she didn’t care for meat. And when I’d finished the book I went to New York and took it to some publishers and one of them was interested and you all know the rest. The book put me back in the public eye. I learned to combine cooking with history. I learned to combine cooking with the thankfulness and confusion I felt at the kindness of so many people, from my late sister to countless others. And let me explain something. When I say confusion, I also mean awe. In other words, the sense of wonderment at a marvelous thing, like the lilies that bloom and die in a single day, or azaleas, or forget-me-nots. But I also realized this wasn’t enough. I couldn’t live forever on my recipes for ribs, my famous recipes. Ribs were not the answer. You have to change. You have to turn yourself around and change. You have to know how to look even if you don’t know what you’re looking for. So those of you who are interested can take out pencil and paper now, because I’m going to read you a new recipe. It’s for duck à l’orange. This is not something you want to eat every day, because it isn’t cheap and it will take you an hour and a half, maybe more, to make, but every two months or when a birthday comes around, it isn’t bad. These are the ingredients, for four: a four-pound duck, two tablespoons of butter, four cloves of garlic, two cups of broth, a few sprigs of herbs, a tablespoon of tomato paste, four oranges, four tablespoons of sugar, three tablespoons of brandy, black pepper, oil, and salt. Then Seaman explained the preparation, step by step, and when he had finished explaining he said that duck made a fine meal, and that was all.

STARS. He said that people knew many different kinds of stars or thought they knew many different kinds of stars. He talked about the stars you see at night, say when you’re driving from Des Moines to Lincoln on Route 80 and the car breaks down, the way they do, maybe it’s the oil or the radiator, maybe it’s a flat tire, and you get out and get the jack and the spare tire out of the trunk and change the tire, maybe half an hour, at most, and when you’re done you look up and see the sky full of stars. The Milky Way. He talked about star athletes. That’s a different kind of star, he said, and he compared them to movie stars, though as he said, the life of an athlete is generally much shorter. A star athlete might last fifteen years at best, whereas a movie star could go on for forty or fifty years if he or she started young. Meanwhile, any star you could see from the side of Route 80, on the way from Des Moines to Lincoln, would live for probably millions of years. Either that or it might have been dead for millions of years, and the traveler who gazed up at it would never know. It might be a live star or it might be a dead star. Sometimes, depending on your point of view, he said, it doesn’t matter, since the stars you see at night exist in the realm of semblance. They are semblances, the same way dreams are semblances. So the traveler on Route 80 with a flat tire doesn’t know whether what he’s staring up at in the vast night are stars or whether they’re dreams. In a way, he said, the traveler is also part of a dream, a dream that breaks away from another dream like one drop of water breaking away from a bigger drop of water that we call a wave. Having reached this point, Seaman warned that stars were one thing, meteors another. Meteors have nothing to do with stars, he said. Meteors, especially if they’re on a direct collision course with the earth, have nothing to do with stars or dreams, though they might have something to do with the notion of breaking away, a kind of breaking away in reverse. Then he talked about starfish, he said he didn’t know how, but each time Marius Newell walked along a beach in California he came upon a starfish. But he also said that the starfish you find on the beach are usually dead, corpses tossed up by the waves, with exceptions, of course. Newell, he said, could always tell the dead starfish from the ones that were still alive. I don’t know how he did it, but he told them apart. And he left the dead on the beach and returned the living to the sea, tossing them near the rocks to give them a chance. Except once, when he brought a starfish home and put it in a tank, with some of that Pacific brine. This was in the early days of the Panthers, when we spent our time directing traffic in the community so cars wouldn’t speed through and kill the children. A couple of stoplights would have come in handy, but the city wouldn’t help us. So that was one of the first of the Panthers’ roles, as traffic cops. And meanwhile Marius Newell saw to his starfish. Naturally, before too long he realized that he needed a pump for his tank. One night he went out with Seaman and little Nelson Sánchez to steal one. None of them was armed. They went to a store that specialized in the sale of rare fish in Colchester Sun, a white neighborhood, and they went in through the back door. When Marius had the pump in his hands, there came a man with a shotgun. I thought that was the end of us, said Seaman, but then Marius said: don’t shoot, don’t shoot, it’s for my starfish. The man with the gun didn’t move. We stepped back. He stepped forward. We stopped. He stopped. We took another step back. He came after us. At last we got to the car that little Nelson was driving and the man stopped less than ten feet away. When Nelson started the car the man lifted the shotgun to his shoulder and he took aim. Step on it, I said. No, said Marius. Go slow. The car rolled out toward the main street and the man came walking after us, his gun raised. Now you can hit it, said Marius, and when little Nelson stepped on the gas the man stood still, shrinking until I saw him disappear in the rearview mirror. Of course, the pump didn’t do Marius any good, and a week or two later, for all the care he’d lavished on that starfish, it died and ended up in the trash. Really, when you talk about stars you’re speaking figuratively. That’s metaphor. Call someone a movie star. You’ve used a metaphor. Say: the sky is full of stars. More metaphors. If somebody takes a hard right to the chin and goes down, you say he’s seeing stars. Another metaphor. Metaphors are our way of losing ourselves in semblances or treading water in a sea of seeming. In that sense a metaphor is like a life jacket. And remember, there are life jackets that float and others that sink to the bottom like lead. Best not to forget it. But really, there’s just one star and that star isn’t semblance, it isn’t metaphor, it doesn’t come from any dream or any nightmare. We have it right outside. It’s the sun. The sun, I am sorry to say, is our only star. When I was young I saw a science fiction movie. A rocket ship drifts off course and heads toward the sun. First, the astronauts start to get headaches. Then they’re all dripping sweat and they take off their spacesuits and even so they can’t stop sweating and before long they’re dehydrated. The sun’s gravity keeps pulling them ceaselessly in. The sun begins to melt the hull of the ship. Sitting in his seat, the viewer can’t help feeling hot, too hot to bear. Now I’ve forgotten how it ends. At the last minute they get saved, I seem to recall, and they correct the course of that rocket ship and turn it around toward the earth, and the huge sun is left behind, a frenzied star in the reaches of space.

USEFULNESS. But the sun has its uses, as any fool knows, said Seaman. From up close it’s hell, but from far away you’d have to be a vampire not to see how useful it is, how beautiful. Then he began to talk about things that were useful back in the day, things once generally appreciated but now distrusted instead, like smiles. In the fifties, for example, he said, a smile opened doors for you. I don’t know if it could get you places, but it could definitely open doors. Now nobody trusts a smile. Before, if you were a salesman and you went in somewhere, you’d better have a big smile on your face. It was the same thing no matter whether you were a waiter or a businessman, a secretary, a doctor, a scriptwriter, a gardener. The only folks who never smiled were cops and prison guards. That hasn’t changed. But everybody else, they all did their best to smile. It was a golden age for dentists in America. Black folks, of course, were always smiling. White folks smiled. Asian folks. Hispanic folks. Now, as we know, our worst enemy might be hiding behind a smile. Or to put it another way, we don’t trust anybody, least of all people who smile, since we know they want something from us. Still, American television is full of smiles and more and more perfect-looking teeth. Do these people want us to trust them? No. Do they want us to think they’re good people, that they’d never hurt a fly? No again. The truth is they don’t want anything from us. They just want to show us their teeth, their smiles, and admiration is all they ask for in return. Admiration. They want us to look at them, that’s all. Their perfect teeth, their perfect bodies, their perfect manners, as if they were constantly breaking away from the sun and they were little pieces of fire, little pieces of blazing hell, here on this planet simply to be worshipped. When I was little, said Seaman, I don’t remember children wearing braces. Today I’ve hardly met a child who doesn’t wear them. Useless things are forced upon us, and it isn’t because they improve our quality of life but because they’re the fashion or markers of class, and fashionable people and high-class people require admiration and worship. Naturally, fashions don’t last, one year, four at most, and then they pass through every stage of decay. But markers of class rot only when the corpse that was tagged with them rots. Then he began to talk about useful things the body needs. First, a balanced diet. I see lots of fat people in this church, he said. I suspect few of you eat green vegetables. Maybe now is the time for a recipe. The name of the recipe is: Brussels Sprouts with Lemon. Take note, please. Four servings calls for: two pounds of brussels sprouts, juice and zest of one lemon, one onion, one sprig of parsley, three tablespoons of butter, black pepper, and salt. You make it like so. One: Clean sprouts well and remove outer leaves. Finely chop onion and parsley. Two: In a pot of salted boiling water, cook sprouts for twenty minutes, or until tender. Then drain well and set aside. Three: Melt butter in frying pan and lightly sauté onion, add zest and juice of lemon and salt and pepper to taste. Four: Add brussels sprouts, toss with sauce, reheat for a few minutes, sprinkle with parsley, and serve with lemon wedges on the side. So good you’ll be licking your fingers, said Seaman. No cholesterol, good for the liver, good for the blood pressure, very healthy. Then he dictated recipes for Endive and Shrimp Salad and Broccoli Salad and then he said that man couldn’t live on healthy food alone. You have to read books, he said. Not watch so much TV. The experts say TV doesn’t hurt the eyes. I’m not so sure. It won’t do your eyes any good, and cell phones are still a mystery. Maybe they cause cancer, as some scientists say. I’m not saying they do or they don’t, but there you have it. What I’m saying is, you have to read books. The preacher knows I’m telling you the truth. Read books by black writers. But don’t stop there. This is my real contribution tonight. Reading is never a waste of time. I read in jail. That’s where I started to read. I read a lot. I went through books like they were barbecue. In prison they turn the lights out early. You get in bed and hear sounds. Footsteps. People yelling. As if instead of being in California, the prison was inside the planet Mercury, the planet closest to the sun. You feel cold and hot at the same time and that’s a clear sign you’re lonely or sick. You try to think about other things, sure, nice things, but sometimes you just can’t do it. Sometimes a guard at the nearest desk turns on a lamp and light from that lamp shines through the bars of your cell. This happened to me any number of times. The light from a lamp set in the wrong place, or from the fluorescent bulbs in the corridor above or the next corridor over. Then I would pick up my book and hold it in the light and get to reading. It wasn’t easy, because the letters and the paragraphs seemed frenzied or spooked in that unpredictable, underground world. But I read and read anyway, sometimes so fast that even I was surprised, and sometimes very slowly, as if each sentence or word were something good for my whole body, not just my brain. And I could read like that for hours, not caring whether I was tired and not dwelling on the inarguable fact that I was in prison because I had stood up for my brothers, most of whom couldn’t care less whether I rotted or not. I knew I was doing something useful. That was all that counted. I was doing something useful as the guards marched back and forth or greeted each other at the change of shift with friendly words that sounded like obscenities to my ear and that, thinking about it now, might actually have been obscene. I was doing something useful. Something useful no matter how you look at it. Reading is like thinking, like praying, like talking to a friend, like expressing your ideas, like listening to other people’s ideas, like listening to music (oh yes), like looking at the view, like taking a walk on the beach. And you, who are so kind, now you must be asking: what did you read, Barry? I read everything. But I especially remember a certain book I read at one of the most desperate moments of my life and it brought me peace again. What book do I mean? What book do I mean? Well, it was a book called An Abridged Digest of the Complete Works of Voltaire, and I promise you that is one useful book, or at least it was of great use to me. (2666)

That night, as young Guerra’s grandiloquent words were still echoing in the depths of his brain, Amalfitano dreamed that he saw the last Communist philosopher of the twentieth century appear in a pink marble courtyard. He was speaking Russian. Or rather: he was singing a song in Russian as his big body went weaving toward a patch of red-streaked majolica that stood out on the flat plane of the courtyard like a kind of crater or latrine. The last Communist philosopher was dressed in a dark suit and sky-blue tie and had gray hair. Although he seemed about to collapse at any moment, he remained miraculously upright. The song wasn’t always the same, since sometimes he mixed in words in English or French, words to other songs, pop ballads or tangos, tunes that celebrated drunkenness or love. And yet these interruptions were brief and sporadic and he soon returned to the original song, in Russian, the words of which Amalfitano didn’t understand (although in dreams, as in the Gospels, one usually possesses the gift of tongues). Still, he sensed that the words were sad, the story or lament of a Volga boatman who sails all night and commiserates with the moon about the sad fate of men condemned to be born and to die. When the last Communist philosopher finally reached the crater or latrine, Amalfitano discovered in astonishment that it was none other than Boris Yeltsin. This is the last Communist philosopher? What kind of lunatic am I if this is the kind of nonsense I dream? And yet the dream was at peace with Amalfitano’s soul. It wasn’t a nightmare. And it also granted him a kind of feather-light sense of well-being. Then Boris Yeltsin looked at Amalfitano with curiosity, as if it were Amalfitano who had invaded his dream, not the other way around. And he said: listen carefully to what I have to say, comrade. I’m going to explain what the third leg of the human table is. I’m going to tell you. And then leave me alone. Life is demand and supply, or supply and demand, that’s what it all boils down to, but that’s no way to live. A third leg is needed to keep the table from collapsing into the garbage pit of history, which in turn is permanently collapsing into the garbage pit of the void. So take note. This is the equation: supply + demand + magic. And what is magic? Magic is epic and it’s also sex and Dionysian mists and play. And then Yeltsin sat on the crater or the latrine and showed Amalfitano the fingers he was missing and talked about his childhood and about the Urals and Siberia and about a white tiger that roamed the infinite snowy spaces. And then he took a flask of vodka out of his suit pocket and said:

“I think it’s time for a little drink.”

And after he had drunk and given the poor Chilean professor the sly squint of a hunter, he began to sing again, if possible with even more brio. And then he disappeared, swallowed up by the crater streaked with red or by the latrine streaked with red, and Amalfitano was left alone and he didn’t dare look down the hole, which meant he had no choice but to wake. (2666)

There is no friendship, said the voice, there is no love, there is no epic, there is no lyric poetry that isn’t the gurgle or chuckle of egoists, the murmur of cheats, the babble of traitors, the burble of social climbers, the warble of faggots. What is it you have against homosexuals? whispered Amalfitano. Nothing, said the voice. I’m speaking figuratively, said the voice. Are we in Santa Teresa? asked the voice. Is this city part of the state of Sonora? A pretty significant part of it, in fact? Yes, said Amalfitano. Well, there you go, said the voice. It’s one thing to be a social climber, say, for example, said Amalfitano, tugging at his hair as if in slow motion, and something very different to be a faggot. I’m speaking figuratively, said the voice. I’m talking so you understand me. I’m talking like I’m in the studio of a ho-mo-sex-u-al painter, with you there behind me. I’m talking from a studio where the chaos is just a mask or the faint stink of anesthesia. I’m talking from a studio with the lights out, where the sinew of the will detaches itself from the rest of the body the way the snake tongue detaches itself from the body and slithers away, self-mutilated, amid the rubbish. I’m talking from the perspective of the simple things in life. You teach philosophy? said the voice. You teach Wittgenstein? said the voice. And have you asked yourself whether your hand is a hand? said the voice. I’ve asked myself, said Amalfitano. But now you have more important things to ask yourself, am I right? said the voice. No, said Amalfitano. For example, why not go to a nursery and buy seeds and plants and maybe even a little tree to plant in the middle of your backyard? said the voice. Yes, said Amalfitano. I’ve thought about my possible and conceivable yard and the plants and tools I need to buy. And you’ve also thought about your daughter, said the voice, and about the murders committed daily in this city, and about Baudelaire’s faggoty (I’m sorry) clouds, but you haven’t thought seriously about whether your hand is really a hand. That isn’t true, said Amalfitano, I have thought about it, I have. If you had thought about it, said the voice, you’d be dancing to the tune of a different piper. And Amalfitano was silent and he felt that the silence was a kind of eugenics. (2666)

This is my house, said Amalfitano. Yes, I realize, said the voice, now why don’t we relax. I’m relaxed, said Amalfitano, I’m here in my house. And he wondered: why is it telling me to relax? And the voice said: I think this is the first day of what I hope will be a long and mutually beneficial relationship. But if it’s going to work out, it’s absolutely crucial that we stay calm. Calm is the one thing that will never let us down. And Amalfitano said: everything else lets us down? And the voice: yes, that’s right, it’s hard to admit, I mean it’s hard to have to admit it to you, but that’s the honest-to-God truth. Ethics lets us down? The sense of duty lets us down? Honesty lets us down? Curiosity lets us down? Love lets us down? Bravery lets us down? Art lets us down? That’s right, said the voice, everything lets us down, everything. Or lets you down, which isn’t the same thing but for our purposes it might as well be, except calm, calm is the one thing that never lets us down, though that’s no guarantee of anything, I have to tell you. You’re wrong, said Amalfitano, bravery never lets us down. And neither does our love for our children. Oh no? said the voice. No, said Amalfitano, suddenly feeling calm. (2666)

He dreamed of a woman’s voice, not Professor Pérez’s but a Frenchwoman’s, talking to him about signs and numbers and something Amalfitano didn’t understand, something the voice in the dream called “history broken down” or “history taken apart and put back together,” although clearly the reassembled history became something else, a scribble in the margin, a clever footnote, a laugh slow to fade that leaped from an andesite rock to a rhyolite and then a tufa, and from that collection of prehistoric rocks there arose a kind of quicksilver, the American mirror, said the voice, the sad American mirror of wealth and poverty and constant useless metamorphosis, the mirror that sails and whose sails are pain. (2666)

People used to sacrifice to the gods, and the wheat grew. Today, one works at a machine and one gets bread from the baker’s. The relation between the act and its result is no clearer than before. That is why the will plays so small a part in life today. We spend our time in wishing. Ambiguity of the word wish . . . Eliminate all wishing from human life. Substitute will—and give up expecting anything that is not the reward of work. If you get anything more, receive it as a grace . . . Ambiguity of the word grace, too. (the most beautiful word . . .) (Love can only be pure to the extent that it is, precisely, a grace). ' We no longer know how to receive grace. (First and Last Notebooks)

[Never forget that you have the whole world, the whole of life, before you . . . And that, for you, life can be and ought to be more real, more full, and more joyful than it has perhaps ever been for any human being . . . Don’t mutilate it in advance by any renunciation. Don’t allow yourself to be imprisoned by any affection. Preserve your solitude. If the day ever comes when a real friendship is bestowed on you there will be no conflict between your inner solitude and this friendship. On the contrary, that is the infallible sign by which you will know it. Other affections ought to be severely disciplined. In any case, there is only one serious weakness that you have to master, only a single one, but at the risk of dying without ever having lived . . .] (First and Last Notebooks)

The secret of the human condition is that equilibrium between man and the surrounding forces of nature “which infinitely surpass him” cannot be achieved by inaction; it is only achieved in the action by which man recreates his own life: that is to say, by work. (First and Last Notebooks)

7/16/2022

What makes for error in our interpretation is a certain mistiness of vision due to that sentimentality from which the northern European finds it so difficult to free himself. Now what saves primitive man from emotional anarchy is the fact that he is truly envious and jealous, a lover and a hater; that he means all he says, but means it for just that passing moment or hour, as the case may be, in which these feelings actually represent his attitude, and for no longer. He may have a theory of conduct but he bases no ethical judgments upon his kaleidoscopic emotional reactions. He has thus fairly adequately solved one of the most difficult and baffling problems in the world, of balancing repression with expression of personality and, at the same time, attaining to a true integration. (Primitive Man as Philosopher)

Father Ong goes on to define "the great fiction of the West; the self-possessed man in the self-possessed world, the fiction which seeks to erase all sense of plight, of confusing weakness, from man's consciousness, and which above all will never admit such a sense as a principle of operation". Man so constituted, he notes, cannot afford to give, since giving recognizes the fact of otherness, of a portion of being neither susceptible to his control nor violable to his gaze; this works out alike between man and man, and between man and God. It is precisely this fiction of self-containment that Joyce defines in successively more elaborate images, from Mr Duffy's careful control over every detail of life through the tightly-bounded ethical world of Exiles and Stephen's "All or not at all" to HCE's solipsistic nightmare. What beats against all these people is the evidence of otherness: the ghosts in Dubliners, Richard Rowan's voices on the strand at dawn) Stephen's fear of a "malevolent reality" and his collapse into Dublin itself ("I have much, much to learn"), the voices and tappings that derange Earwicker's slumbers like leaves, twigs, and stones dropped into a pool that craves stagnation. (Dublin's Joyce)

7/15/2022

 THE WRITER’S TECHNIQUE IN THIRTEEN THESES

I.  Anyone intending to embark on a major work should be lenient with himself and, having completed a stint, deny himself nothing that will not prejudice the next.

II.  Talk about what you have written, by all means, but do not read from it while the work is in progress. Every gratification procured in this way will slacken your tempo. If this regime is followed, the growing desire to communicate will become in the end a motor for completion.

III.  In your working conditions, avoid everyday mediocrity. Semi-relaxation, to a background of insipid sounds, is degrading. On the other hand, accompaniment by an étude or a cacophony of voices can become as significant for work as the perceptible silence of the night. If the latter sharpens the inner ear, the former acts as touchstone for a diction ample enough to bury even the most wayward sounds.

IV.  Avoid haphazard writing materials. A pedantic adherence to certain papers, pens, inks is beneficial. No luxury, but an abundance of these utensils is indispensable.

V.  Let no thought pass incognito, and keep your notebook as strictly as the authorities keep their register of aliens.

VI.  Keep your pen aloof from inspiration, which it will then attract with magnetic power. The more circumspectly you delay writing down an idea, the more maturely developed it will be on surrendering itself. Speech conquers thought, but writing commands it.

VII.  Never stop writing because you have run out of ideas. Literary honor requires that one break off only at an appointed moment (a mealtime, a meeting) or at the end of the work.

VIII.  Fill the lacunae in your inspiration by tidily copying out what you have already written. Intuition will awaken in the process.

IX.  Nulla dies sine linea—but there may well be weeks.

X.  Consider no work perfect over which you have not once sat from evening to broad daylight.

XI.  Do not write the conclusion of a work in your familiar study. You would not find the necessary courage there.

XII.  Stages of composition: idea—style—writing. The value of the fair copy is that in producing it you confine attention to calligraphy. The idea kills inspiration; style fetters the idea; writing pays off style.

XIII.  The work is the death mask of its conception. (One-Way Street)

“She came, gentle and sweet, bringing peace, at a time when I was the loneliest and most miserable boy in the world. She made all my secrets vanish into her. For she made me feel that everything I had kept secret was kept back just to tell her—we were joined within a secret that was divulged to us by touching where we had never touched before, and by the honesty of passion where we had been dishonest before. After our honesty with each other, what more was there to hide? We had told. Passionate love is a conspiracy to tell each other’s truth to each other—that I am like this and you are like that, and together, in a joining, we make a moment’s truth of what each is. Beyond the moment’s truth, though, lies the hour’s untruth, which keeps yearning to be bared into truth again. She broke my unreality against her reality like a pot dashed against her reality like a pot dashed against her reality like a pot dashed against and mended me with all the care in the world, it seemed. For her I betrayed you and for myself I betrayed her; we melted into each other. I tricked you and left you; and after I had left you, all your kin and all your world died away from you and fell away, leaving you broken off and isolate. All of us were shattered from our whole, I roaming through the world with Evella, you sitting by the window trying to piece everything together again in a falling house. (The House of Breath)

“Sometimes, because I am a failure in the world, I blame my failure on you all; say that you got me so mixed up when I was young that I can never clear myself up again inside; or that you made me so false to myself that I am unreal and never can be real. But I must see that the reason I am a failure is that I gave myself away to everybody and so had none of myself left for myself—I mean the part of oneself that is the part he works with, held by himself to work with.

“And yet I collaborated with you in making myself false—for I was so afraid of myself and what it wanted to do, and so ashamed of it. So you and I together stomped the life out of it, every day, mangling it like a beetle.

“But suddenly something beyond all of us, greater than all of us, freed us from each other. We tore at our hearts because we were powerless against this thing that came in between us and wrenched us apart. This was loving somebody. (The House of Breath)

Joyce's Dublin was in fact an eighteenth century parody. The technique he developed, the technique which underlies everything from the first pages of Dubliners to the end of Finnegans Wake, came out of the subject: parody: double-writing. The music-halls parodied the heroic dramas; Joyce parodied the music-halls. Journalism parodied heroic elegance: Joyce parodied journalism. He focussed, that is to say, on what was actually there, and strove so to set it down that it would reveal itself as what it was, in its double nature: a distortion, but a distortion of something real. All his characters are walking clichés, because the Dubliners were; a Leopold Bloom is simultaneously a "case" and a person. All his dialogue is an assemblage of locutions reçues into unexpected patterns: unexpected because he was dealing with human beings, whose natural spontaneity the past could not quite batten down:

- Grandest number in the whole opera, Goulding said.

- It is, Bloom said.

Numbers it is. All music when you come to think. Two multiplied by two divided by half is twice one. Vibrations: chords those are. One plus two plus six is seven. Do anything you like with figures juggling. Always find out this equal to that, symmetry under a cemetery wall. . . . Musemathematics. And you think you're listening to the ethereal. But suppose you said it like: Martha, seven times nine minus x is thirty-five thousand. Fall quite flat. It's on account of the sounds it is.

Instance he's playing now. Improvising. Might be what you like till you hear the words. Want to listen sharp. Hard. Begin all right, then bear chords a bit off: feel lost a bit. In and out of sacks over barrels, through wirefences, obstacle race. U273/264. (Dublin's Joyce)

7/14/2022

As far as the ‘patron’, as far as power is concerned (this also gradually became clear to me in church, when we were completely taken up by the music), there is only one remedy against it: to go further than it does. Here is what I mean by this: in every power which claims some right over us we should always try to see all power, absolute power, power as such, the power of God. We should say to ourselves, there is only one, and understand power that is lesser, false, defective, as if it were that which takes hold of us legitimately. Would it not thus become harmless? If we always saw in every form of power, including the harmful and malicious, power itself – I mean that which ultimately has the right to be powerful – wouldn’t we then overcome, intact as it were, the illegitimate and the arbitrary? Isn’t our relationship to all the great unknown forces exactly like this? We experience none of them in their purity. We begin by accepting each with its shortcomings, which are perhaps commensurate with our own. – But isn’t it the case with all scholars, explorers and inventors that the assumption that they were dealing with great forces suddenly led to the greatest of all? I am young, and there is much rebelliousness in me; – I cannot be certain that I act in accordance with my judgement in every case, where impatience and bitterness get the better of me; in my innermost being though, I know that subjection leads further than revolt. Subjection puts to shame any kind of usurpation, and in indescribable ways it contributes to the glorification of righteous power. The rebel strains to escape the attraction of a centre of power, and perhaps he will succeed in leaving this force-field; but once outside it he is in a void and has to look around for a new gravitation that will include him. And this usually has even less legitimacy than the first. So why not see at once, in the gravitation we find ourselves in, the supreme power, undeterred by its weaknesses and its fluctuations? Somewhere the arbitrary will come up against the law of its own accord, and we save energy if we leave it to convert itself. Admittedly this belongs to the lengthy, slow processes that stand in utter contradiction with the strange precipitations of our age. But alongside the most rapid movements there will always be slow ones, some indeed of such extreme slowness that we cannot sense their progress at all. But then that is what humanity is here for, is it not, to wait for what extends beyond the individual life. – From that perspective, the slow is often the most rapid of all, that is, it turns out that we only called it slow because is was something we could not measure.

And there exists, it seems to me, something utterly measureless, which people never tire of laying their hands on by means of standards, surveys, and institutions.

And it’s here, in the love which, with their intolerable mixture of contempt, concupiscence and curiosity, they call ‘sensual’, that no doubt the worst effects of that debasement are to be sought which Christianity has seen fit to inflict on the earthly. Here everything is disfigurement and repression, although in fact we proceed from this most profound event and in turn possess in it the mid-point of our ecstasies. It is, if I may say so, harder and harder for me to comprehend how a doctrine which puts us in the wrong in the point where the whole of creation enjoys its most blessed right can with such steadfastness, if not actually prove its validity, nevertheless affirm it in all quarters. (The Letter from a Young Worker)

I have a lover, almost a child still; she works at home, which when there is not much work often means that she finds herself in an awkward situation. She is skilful, she’d easily get a job in a factory, but she fears having a patron. Her conception of freedom is limitless. It will not surprise you that she also thinks of God as a kind of patron, even as the ‘arch-patron’ as she told me, laughing, but with such fright in her eyes. It took a long time before she agreed to come with me one evening to St Eustache where I liked going for the music of the May devotions. Once we got as far as Maux together and had a look at gravestones in the church there. Gradually she noticed that God leaves you in peace in churches, that he demands nothing; you could think he wasn’t there at all, n’est-ce pas, but then in the moment you are about to say something of the sort, said Marthe, that even in a church he doesn’t exist, something holds you back. Perhaps only what over so many centuries people themselves have borne into this high, peculiarly fortified air. Or perhaps it is only that the resonance of the sweet and powerful music can never escape completely: yes, it must have penetrated into the stones long ago, and the stones must be strangely moved, these pillars and vaultings, and though stone is hard and difficult of access, even it is shaken in the end by the perpetual singing and these assaults from the organ, these onslaughts, these storms of hymns, every Sunday, these hurricanes on the great feast-days. The calm after a storm. That’s what truly reigns in these old churches. I said so to Marthe. Windless calm. We listened, she got it at once, she has a wonderfully receptive nature. After that we sometimes went in, here and there, when we heard singing, and stood there, close together. Best of all was when we could see a stained-glass window, one of those old ones with many subjects and compartments, each one crammed with figures, big people and little towers and all sorts of goings-on. Nothing was thought to be unfit or too strange; there are castles and battles and a hunt, and the lovely white hart appears again and again amid the warm red and the burning blue. I was once given very old wine to drink. With these windows it is the same for the eyes, except that the wine was only dark red in my mouth – but here the same thing happens in blue and in violet and in green. Everything can be found in the old churches; there is no fear of anything, unlike in the new ones, where so to speak only good examples are present. Here there is also the bad and the wicked, the terrifying; the crippled, the destitute, what is ugly and unjust – and it is as if somehow it were all loved for God’s sake. Here is the angel, who does not exist, and the devil, who does not exist; and man, who does exist, is in between them and, I cannot help it, their unreality makes him more real for me. In these places I can gather my thoughts and feelings about what it is to be human better than in the street, among people who have absolutely nothing recognizable about them. (The Letter from a Young Worker)

To take in an extraordinary town and a more than pleasant landscape with someone in such a frame of mind is a rare privilege; and when I look back on those tender and at the same time passionate spring days, they appear to me as the only holiday I ever had in my life. The time was so laughably brief, to another it would have sufficed only for a few impressions; to me, not used to spending days of such freedom, it appeared vast. Yes, it almost seems wrong to go on calling time what was more nearly a new state of being free, truly felt as a space, a being-surrounded by openness, no passing or transience. I was catching up on my childhood then, if I can put it that way, and a part of my early youth, all that there had never been time to carry out in my life; I looked, I learned, I understood – and from those days also stems the experience that it is so easy for me, so truthful, so – as my friend would have expressed it – unproblematic, to say ‘God’. (The Letter from a Young Worker)

To make the proper use of things, that’s what it comes down to. To take the Here and Now in one’s hand, lovingly, with the heart, full of wonder, as, provisionally, the one thing we have: that is at once, to put it rather casually, the gist of God’s great user’s guide, this is what Saint Francis of Assisi meant to record in his hymn to the sun which as he lay dying he thought more splendid than the cross, whose only purpose in standing there was to point towards the sun. But what goes by the name of the Church had by then swollen into such a clamour of voices that the song of the dying man, drowned out in all quarters, was only caught by a few simple monks and infinitely assented to by the landscape of his lovely valley. How many such attempts there have been to produce a reconciliation between Christian denial and the manifest friendliness and good spirits of the earth. But elsewhere too, at the heart of the Church, even at its actual summit, the Here and Now managed to gain its plenitude and its native abundance. Why is the Church not praised for having been sturdy enough not to collapse under the living weight of certain popes, whose thrones were weighed down with bastards, courtesans and corpses? Did they not have more Christianity in them than the dry renovators of the Gospels – that is, Christianity that is living, irrepressible, transformed? What I mean is that we cannot know what will come of the great teachings, we just have to let them flow unabated and not take fright if they suddenly rush into the natural ravines of life and vanish underground and race along unknowable channels. (The Letter from a Young Worker)

When I say God – it is a great conviction in me, not something I have learnt. The whole of creation, as it seems to me, says this word, without deliberation, though often out of deep thoughtfulness. If this man Christ has enabled us to say it with a clearer voice, more roundly, more unassailably, so much the better, but now let’s leave him out of it once and for all. We should not always be forced to fall back into the toil and sorrow that it cost him to ‘redeem’ us, as they put it. Let us finally come into this redemption. – And in other ways too the Old Testament is full as it is of forefingers pointing to God wherever one opens it, and always if someone is weighed down he falls straight into the middle of God. And once I tried to read the Koran. I didn’t get far, but this much I did understand: there is another mighty forefinger, and if you follow it God stands at the end in the midst of his eternal rising, in an orient which will never be exhausted. Christ must have wanted the same. To point. But the people here have been like those dogs who don’t understand pointing and think they are meant to go for the hand. Instead of leaving Christ’s way of the cross, where the signpost was erected to reach far into the night of sacrifice, instead of moving on from this Via Crucis, Christianity has settled there and claims to dwell in Christ there although there was no room in him, not even for his mother, and not for Mary Magdalene – as with anyone who points the way and is a gesture and not a place to stay. – And for this reason they do not dwell in Christ either, the stubborn at heart who are always re-creating him and live from setting crosses which are crooked or have been blown completely over upright again. They have this press of people on their conscience, this queuing up in an overcrowded place, they are to blame that the journey does not continue in the direction of the arms of the cross. They have made a métier of the Christian purpose, a bourgeois occupation, sur place, a pool that is alternately drained and then filled up again. Everything that they do themselves, according to their own insuppressible natures (so far as they are still living beings), stands in contradiction to this curious disposition of theirs, and so they cloud their own waters and continually have to refresh them. They are so zealous they cannot stop making the Here and Now, which we should take pleasure and have trust in, base and worthless – and so more and more they deliver the earth into the hands of those who are prepared to turn it, the failed, suspect earth which is good for nothing better, to temporal, quick profit. This increasing ransacking of life, is it not a consequence of the devaluation of the Here and Now which has been going on for centuries? What madness, to divert us towards a beyond when we are surrounded by tasks and expectations and futures here. What deceit, to divest us of images of earthly delight in order to sell them to heaven behind our backs! Oh, it is high time the impoverished earth called in all the loans that have been made on her felicity to provide for a time that lies beyond the future. (The Letter from a Young Worker)

I cannot imagine that the cross was meant to remain, which after all was only a path, the way of the cross. Certainly it should not be imprinted on us everywhere as if with a branding-iron. It should be dispersed in him himself. For isn’t it like this: he simply wanted to create a taller tree on which we could ripen the better. He, on the cross, is this new tree in God, and we were to be the fruits at the top of it, glad to be in the warm.

Now we should not always be talking about what went on before but, precisely, the After should have begun. This tree, it seems to me, should have become so one with us, or we with it, we on it, that we ought not always to be occupying ourselves with it but simply and calmly with God, to hold us up more purely in whom was after all its intention. (The Letter From a Young Worker)

The day after the reading I found myself by chance at a Christian meeting, and perhaps it was this that really set things off and caused the detonation that has released so much commotion and energy that I am now heading towards you with all my faculties. It is a monstrous act of violence to begin something. I cannot begin. I’m simply jumping over what ought to be the beginning. Nothing is as powerful as silence. Were we not all of us born into talk, it would never have been broken.

Mr V., I am not speaking of the evening when we heard your poems. I am speaking of the other one. I am driven to say: who – yes, I can find no other way of expressing it now – who then is this Christ who meddles with everything. Who knows nothing about us, nothing about our work, nothing about our needs, nothing about our joys as we achieve, go through and summon them up nowadays – and who nevertheless, it seems, always demands to be the first person in our life. Or are these things just words put in his mouth? What does he want of us? He wants to help us, they say. Yes, but among us he comes across as peculiarly at a loss. The conditions he lived in were so very different. Or does it in fact not have much to do with the circumstances – if he came in here, into my room, or visited me out in the factory, would everything immediately be changed, would all be well? Would my heart begin to pound and as it were move up a level and on towards him? My instinct tells me that he cannot come. That it would have no sense. Our world is a different one not just on the outside – it offers him no access. He would not shine through a ready-made coat, it is not true, he would not shine through. It is no coincidence that he went around in a seamless garment, and I believe that the core of light within him, what made him shine so strongly, day and night, has now long been dispersed and distributed differently. But that I think would be the least we could require of him if he was so great, that he somehow come out without remainder, yes, quite without remainder – leaving no trace … (The Letter from a Young Worker)

And as to feelings: all feelings are pure that focus you and raise you up. An impure feeling is one that only comprises one side of your nature and so distorts you. Any thoughts that match up to your childhood are good. Everything that makes more of you than you have hitherto been in your best moments is right. Every heightening is good if it occurs in the quick of your bloodstream, if it is not an intoxication, not a troubling but a joy one can see right to the bottom of. Do you understand what I mean?

And your doubts can become a good quality if you school them. They must grow to be knowledgeable, they must learn to be critical. As soon as they begin to spoil something for you ask them why a thing is ugly, demand hard evidence, test them, and you will perhaps find them at a loss and short of an answer, or perhaps mutinous. But do not give in, request arguments, and act with this kind of attentiveness and consistency every single time, and the day will come when instead of being demolishers they will be among your best workers – perhaps the canniest of all those at work on the building of your life. (Letters to a Young Poet)

So, dear Mr Kappus, you shouldn’t be dismayed if a sadness rises up in front of you, greater than any you have ever seen before; or if a disquiet plays over your hands and over all your doings like light and cloud-shadow. You must think that something is happening with you, that life has not forgotten you, that it holds you in its hand; it will not let you fall. Why should you want to exclude from your life all unsettling, all pain, all depression of spirit, when you don’t know what work it is these states are performing within you? Why do you want to persecute yourself with the question of where it all comes from and where it is leading? You well know you are in a period of transition and want nothing more than to be transformed. If there is something ailing in the way you go about things, then remember that sickness is the means by which an organism rids itself of something foreign to it. All one has to do is help it to be ill, to have its whole illness and let it break out, for that is how it mends itself. There is so much, my dear Mr Kappus, going on in you now. You must be patient as an invalid and trusting as a convalescent, for you are perhaps both. And more than that: you are also the doctor responsible for looking after himself. But with all illnesses there are many days when the doctor can do nothing but wait. And inasfar as you are your own doctor, this above all is what you must do now.

Do not watch yourself too closely. Do not draw over-rapid conclusions from what is happening to you. Simply let it happen. Otherwise you will too readily find yourself looking on your past, which is of course not uninvolved with everything that is going on in you now, reproachfully (that is, moralistically). But what now affects you from among the divagations, desires and longings of your boyhood is not what you will recall and condemn. The extraordinary circumstances of a solitary and helpless childhood are so difficult, so complicated, exposed to so many influences and at the same time removed from any real life-context, that if a vice enters into it we must not be too quick to call it a vice. We should in general be very careful with names; it is so often the name of a crime which destroys a life, not the nameless and personal act itself, which was perhaps completely necessary to that life and could have been absorbed by it without difficulty. And the expenditure of energy only seems so great because you put too much importance on the victory. It is not victory that is the ‘great thing’ you think you have achieved, though the feeling itself is not in error. What is great is that there was already something there that you were able to set in place of that deception, something true and real. Without it, your victory would only have been a moral reaction with no further significance, but as it is it has become a segment of your life. Of your life, dear Mr Kappus, which I am thinking of with so many hopes and wishes. Do you remember how this life of yours longed in childhood to belong to the ‘grown-ups’? I can see that it now longs to move on from them and is drawn to those who are greater yet. That is why it does not cease to be difficult, but also why it will not cease to grow.

And if I have anything else to say to you it is this: do not think that the person who is trying to console you lives effortlessly among the simple, quiet words that sometimes make you feel better. His life is full of troubles and sadness and falls far short of them. But if it were any different he could never have found the words that he did. (Letters to a Young Poet)

I believe that almost all our sadnesses are periods of tautening that we experience as numbness because we can no longer hear the stirring of our feelings, which have become foreign to us. Because we are alone with the strange thing that has entered into us; because everything familiar and accustomed is taken away from us for a moment; because we are in the middle of a transition where we cannot stand still. And that is why sadness passes: what is new in us, the thing that has supervened, has entered into our heart, penetrated to its innermost chamber and not lingered even there – it is already in our blood. And we never quite know what it was. One might easily suppose that nothing had happened, but we have altered the way a house alters when a guest enters it. We cannot say who has come, perhaps we shall never know, but there are many indications that it is the future that enters into us like this, in order to be transformed within us, long before it actually occurs. And that is why it is so important to be solitary and attentive when one is sad: because the apparently uneventful and static moment when our future comes upon us is so much closer to life than that other noisy and accidental point when it happens to us as if from the outside. The quieter, the more patient and open we are in our sadness, the deeper and more unerringly the new will penetrate into us, the better we shall acquire it, the more it will be our fate, and when one day in the future it ‘takes place’ (that is, steps out of us towards others) we shall feel related and close to it in our inmost hearts. And that is necessary. It is necessary – and little by little our development will tend in this direction – that nothing alien should happen to us, but only what has long been part of us. We have already had to adjust our understanding of so many theories of planetary motion, and so too we shall gradually learn to recognize that what we call fate originates in ourselves, in humankind, and does not work on us from the outside. Only because so many people did not absorb their fates while they were inhabited by them, and did not make them a part of themselves, only because of this did they fail to recognize what emerged from them. It was so foreign to them that in their confused panic they assumed it must just have entered into them, for they swore never to have found anything of the sort in themselves before. Just as for a long time people were deceived about the movement of the sun, so we are still deceived about the movement of what is to come. The future is fixed, dear Mr Kappus, but we move around in infinite space.

How could things not be difficult for us? (Letters to a Young Poet)

It is the same everywhere; but that is no reason for anxiety or sadness; if there is no communal feeling between you and other people, try to be near to things – they will not abandon you. The nights are still there and the winds that go through the trees and over the many lands; among things and among animals all is still full of happenings in which you can take part; and the children are still as you were when you were a child, just as sad and happy, and whenever you think of your childhood you live among them again, among the lonely children, and adults are nothing and their dignity has no worth.

And if it frightens and pains you to think of your childhood and of the simplicity and stillness that go together with it, because you can no longer believe in God, who is everywhere present in it, then ask yourself, dear Mr Kappus, whether you have really lost God after all? Is it not rather the case that you have never yet possessed him? For when was it supposed to have been? Do you think a child can hold him, him whom grown men only bear with difficulty and whose weight bows down the old? Do you believe that anyone who really has him could lose him like a little pebble, or don’t you think that whoever had him could only be lost by him alone? – But if you acknowledge that he was not present in your childhood, and not before that, if you suspect that Christ was deceived by his longing and Mohammed betrayed by his pride, and if you feel with horror that even now he is not present, at the moment when we are talking about him, what then gives you the right to miss him who never was, as if he had disappeared, and to search for him as if he were lost?

Why don’t you think of him as a coming god, who since eternity has lain ahead of us, the future one, the eventual fruit of a tree of which we are the leaves? What prevents you from casting his birth out into the times of becoming and from living your life like a painful and beautiful day in the history of a great pregnancy? Don’t you see how everything that happens is always a beginning again, and could it not be His beginning, given that beginnings are in themselves always so beautiful? If he is the complete being, must not slighter things come before him, so that he can pick himself out of fullness and abundance? – Must he not be the last in order to encompass all things in himself, and what significance would we have if the one whom we hanker for had already been?

As the bees collect honey together, so we fetch the sweetness out of everything and build Him. We begin with the very slightest things, with what is barely noticeable (as long as it comes about through love), with our work and the repose that comes after, with a moment of silence or with a small solitary joy, with everything that we do on our own without helpers and accomplices, we begin him whom we shall never know, just as our ancestors could not live to know us. And yet they are in us, these people long since passed away, as a disposition, as a load weighing on our destinies, as a murmur in the blood and as a gesture that rises up out of the depths of time.

Is there anything that can strip you of the hope of dwelling one day in him, the most remote, the most extreme?

Dear Mr Kappus, celebrate Christmas in the piety of the feeling that He perhaps requires of you precisely this existential anxiety in order to begin. Precisely these days of transition are perhaps the period when everything in you is working on him, just as before, as a child, you worked on him with bated breath. Be patient and even-tempered and remember that the least we can do is not make his becoming more difficult than the earth makes it for spring when it decides to come. (Letters to a Young Poet)

Only the solitary individual is subject, like a thing, to the fundamental laws, and if someone goes out into the morning as it is breaking, or looks out into the evening full of occurrence, and if he feels what is happening there, every hint of station slips from him as if from a dead man, although he is standing in the midst of life itself. (Letters to a Young Poet)

Think, dear Mr Kappus, of the world that you carry within you, and call this thinking whatever you like. Whether it is memory of your own childhood or longing for your own future – just be attentive towards what rises up inside you, and place it above everything that you notice round about. What goes on in your innermost being is worth all your love, this is what you must work on however you can and not waste too much time and too much energy on clarifying your attitude to other people. Who says you have such an attitude at all? (Letters to a Young Poet)

There is only one solitude, and it is vast and not easy to bear and almost everyone has moments when they would happily exchange it for some form of company, be it ever so banal or trivial, for the illusion of some slight correspondence with whoever one happens to come across, however unworthy … But perhaps those are precisely the hours when solitude grows, for its growth is painful like the growth of boys and sad like the beginning of spring. But that must not put you off. What is needed is this, and this alone: solitude, great inner loneliness. Going into oneself and not meeting anyone for hours – that is what one must arrive at. Loneliness of the kind one knew as a child, when the grown-ups went back and forth bound up in things which seemed grave and weighty because they looked so busy, and because one had no idea what they were up to.


And when one day you realize that their preoccupations are meagre, their professions barren and no longer connected to life, why not continue to look on them like a child, as if on something alien, drawing on the depths of your own world, on the expanse of your own solitude, which itself is work and achievement and a vocation? Why wish to exchange a child’s wise incomprehension for rejection and contempt, when incomprehension is solitude, whereas rejection and contempt are ways of participating in what, by precisely these means, you want to sever yourself from? (Letters to a Young Poet)

But everything which one day will perhaps be possible for many, the solitary individual can prepare for and build now with his hands which are more unerring. For this reason, dear Mr Kappus, love your solitude and bear the pain it causes you with melody wrought with lament. For the people who are close to you, you tell me, are far away, and that shows that you are beginning to create a wider space around you. And if what is close is far, then the space around you is wide indeed and already among the stars; take pleasure in your growth, in which no one can accompany you, and be kind-hearted towards those you leave behind, and be assured and gentle with them and do not plague them with your doubts or frighten them with your confidence or your joyfulness, which they cannot understand. Look for some kind of simple and loyal way of being together with them which does not necessarily have to alter however much you may change; love in them a form of life different from your own and show understanding for the older ones who fear precisely the solitude in which you trust. Avoid providing material for the drama which always spans between parents and their children; it saps much of the children’s strength and consumes that parental love which works and warms even when it does not comprehend. Ask no advice of them and reckon with no understanding; but believe in a love which is stored up for you like an inheritance, and trust that in this love there is a strength and a benediction out of whose sphere you do not need to issue even if your journey is a long one. (Letters to a Young Poet)

Do not be distracted by surfaces; it is in the depths that all laws obtain. (Letters to a Young Poet)

Sex is difficult, true. But difficult things are what we were set to do, almost everything serious is difficult, and everything is serious. (Letters to a Young Poet)

You are so young, all still lies ahead of you, and I should like to ask you, as best I can, dear Sir, to be patient towards all that is unresolved in your heart and to try to love the questions themselves like locked rooms, like books written in a foreign tongue. Do not now strive to uncover answers: they cannot be given you because you have not been able to live them. And what matters is to live everything. Live the questions for now. Perhaps then you will gradually, without noticing it, live your way into the answer, one distant day in the future. Perhaps you do carry within yourself the possibility of forming and creating, as a particularly happy and pure way of living. School yourself for it, but take what comes in complete trust, and as long as it is a product of your will, of some kind of inner necessity, accept it and do not despise it. (Letters to a Young Poet)

Here, surrounded as I am by a mighty stretch of land over which the winds blow in from seas, here I feel that no human being anywhere can respond to those questions and feelings that have a profound life of their own; for even the best of us get the words wrong when we want them to express such intangible and almost unsayable things. But all the same I believe that you need not remain without solution if you hold to things like those now refreshing my eyes. If you hold close to nature, to what is simple in it, to the small things people hardly see and which all of a sudden can become great and immeasurable; if you have this love for what is slight, and quite unassumingly, as a servant, seek to win the confidence of what seems poor – then everything will grow easier, more unified and somehow more conciliatory, not perhaps in the intellect, which, amazed, remains a step behind, but in your deepest consciousness, watchfulness and knowledge. (Letters to a Young Poet)

And let me at once make this request: read as little as possible in the way of aesthetics and criticism – it will either be partisan views, fossilized and made meaningless in its lifeless rigidity, or it will be neat wordplay, where one opinion will triumph one day and the opposite the next. Works of art are infinitely solitary and nothing is less likely to reach them than criticism. Only love can grasp them and hold them and do them justice. – With regard to any such disquisition, review or introduction, trust yourself and your instincts; even if you go wrong in your judgement, the natural growth of your inner life will gradually, over time, lead you to other insights. Allow your verdicts their own quiet untroubled development which like all progress must come from deep within and cannot be forced or accelerated. Everything must be carried to term before it is born. To let every impression and the germ of every feeling come to completion inside, in the dark, in the unsayable, the unconscious, in what is unattainable to one’s own intellect, and to wait with deep humility and patience for the hour when a new clarity is delivered: that alone is to live as an artist, in the understanding and in one’s creative work.

These things cannot be measured by time, a year has no meaning, and ten years are nothing. To be an artist means: not to calculate and count; to grow and ripen like a tree which does not hurry the flow of its sap and stands at ease in the spring gales without fearing that no summer may follow. It will come. But it comes only to those who are patient, who are simply there in their vast, quiet tranquillity, as if eternity lay before them. It is a lesson I learn every day amid hardships I am thankful for: patience is all!*

*patience is all!: The great lesson Rilke learnt from Rodin, as conveyed in a letter to Clara Rilke, his wife, on 5 September 1902: ‘Il faut travailler, rien que travailler. Et il faut avoir patience’ (‘You have to work, just work. And you have to be patient’). (Letters to a Young Poet)

Irony: don’t let yourself be ruled by it, especially not in uncreative moments. In creative ones try to make use of it as one means among many to get a grasp on life. Used purely, it too is pure, and there is no need to be ashamed of it; and if you feel too familiar with it, if you fear your intimacy is growing too much, then turn towards great and serious subjects, next to which irony becomes small and helpless. Seek out the depths of things: irony will never reach down there – and if in so doing you come up against something truly great, inquire whether this way of relating to things originates in a necessary part of your being. For under the influence of serious things irony will either fall away (if it is something incidental) or on the contrary (if it really belongs to you in a native way) it will gain strength and so become a serious tool and take its place among the means with which you will be bound to create your art. (Letters to a Young Poet)

First of all you should know that every letter from you will always be a pleasure, and you only need to be understanding with regard to the replies, which often, maybe, will leave you with empty hands; for at bottom, and particularly in the deepest and most important things, we are unutterably alone, and for one person to be able to advise, let alone help, another, a great deal must come about, a great deal must come right, a whole constellation of things must concur for it to be possible at all. (Letters to a Young Poet)

You ask whether your verses are good. You ask me that. You have asked others, before. You send them to magazines. You compare them with other poems, and you worry when certain editors turn your efforts down. Now (since you have allowed me to offer you advice) let me ask you to give up all that. You are looking to the outside, and that above all you should not be doing now. Nobody can advise you and help you, nobody. There is only one way. Go into yourself. Examine the reason that bids you to write; check whether it reaches its roots into the deepest region of your heart, admit to yourself whether you would die if it should be denied you to write. This above all: ask yourself in your night’s quietest hour: must I write? Dig down into yourself for a deep answer. And if it should be affirmative, if it is given to you to respond to this serious question with a loud and simple ‘I must’, then construct your life according to this necessity; your life right into its most inconsequential and slightest hour must become a sign and witness of this urge. Then approach nature. Then try, like the first human being, to say what you see and experience and love and lose. Don’t write love poems; avoid at first those forms which are too familiar and habitual: they are the hardest, for you need great maturity and strength to produce something of your own in a domain where good and sometimes brilliant examples have been handed down to us in abundance. For this reason, flee general subjects and take refuge in those offered by your own day-to-day life; depict your sadnesses and desires, passing thoughts and faith in some kind of beauty – depict all this with intense, quiet, humble sincerity and make use of whatever you find about you to express yourself, the images from your dreams and the things in your memory. If your everyday life seems to lack material, do not blame it; blame yourself, tell yourself that you are not poet enough to summon up its riches, for there is no lack for him who creates and no poor, trivial place. And even if you were in a prison whose walls did not let any of the sounds of the world outside reach your senses – would you not have your childhood still, this marvellous, lavish source, this treasure-house of memories? Turn your attention towards that. Attempt to raise the sunken sensations of this distant past; your self will become the stronger for it, your loneliness will open up and become a twilit dwelling in which the noise other people make is only heard far off. And if from this turn inwards, from this submersion in your own world, there come verses, then it will not occur to you to ask anyone whether they are good verses. Nor will you attempt to interest magazines in these bits of work: for in them you will see your beloved natural possessions, a piece, and a voice, of your life. A work of art is good if it has arisen out of necessity. The verdict on it lies in this nature of its origin: there is no other. For this reason, my dear Sir, the only advice I have is this: to go into yourself and to examine the depths from which your life springs; at its source you will find the answer to the question of whether you have to write. Accept this answer as it is, without seeking to interpret it. Perhaps it will turn out that you are called to be an artist. Then assume this fate and bear it, its burden and its greatness, without ever asking after the rewards that may come from outside. For he who creates must be a world of his own and find everything within himself and in the natural world that he has elected to follow. (Letters to a Young Poet)