Documente Academic
Documente Profesional
Documente Cultură
Crossing Aesthetics
Werner Hamacher
David E. Wellber
Eitor
Translated by
Elizabeth Ronenberg
Stlnfrd
Univmit
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Stanfrd
Caliria
97
FRIENDSHIP
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Contents
The Binh of An i7sC
The Museum, Art, and lime I" S <
Museum Sickness
4'
'''$
The Time of Encyclopedias ,0 W': .
Translating
57 ,",0
The Creal Reducers 6, /9,-;
Man al Poin! Zero
73 /''6
Slow Obsequies 83 IT
III Contmr
I). Refusal III
"My cmplicilOus friendship: Ihis is whal my
14 Destroy II)
I"
lemperameOl bring IO olher mcn.
15 Idle Speech 117
, nothing is
more startling: here. the cliff in the latc afternoon brightness, rhe
smoke-flled cabaret, the young woman, the garden under the
snow the little seminarians who invisibly sing behind the walls
from'a distant past-confined spaces, circumscribed and nOt in rhe
least Out of the ordinary. but such that only an immense vision
could encompass them. Something infnite has been opened, for-
Il Spuc"
ever immobile and silent. It is as if the emptiness of the empty
words, having in some way become visible, gave rise to the empti
ness of an empty space and produced a bright interval. A wondrous
moment without wonders, the spectral equivalent of silence, and
perhaps death, death being but the pure visibility of what escapes
all grasp; and thus sight, silence, speech, and death for an instant
reconciled (compromised) in song. Following which, following
this gaze of Orpheus. no less than a hecatomb of words is nceded,
what the Bavard calls his crisis, imaginary crisis and narrative crisis,
to perpetuate the moment and straightaway to nullif the moment
by reducing it to the memory of a derisory incident-a memory
that, in order to better destroy itself. passes itsclf of as something
invented. sustained and ruined by invenrion.
I will add one last remark in order to mark-distinguishing it
from the other narratives-what is particular to L BYlr: the
movement that carries it along, a kind of mocking violence, a fury,
a power to ravage and rage. the efort to carry our the breach. It is
with this movement that Georges 8ataille indicated the novclistic
works over which he would have liked to linger. I quote what he
himsclf has written: "The narrative that reveals the possibilities of
life is nO[ necessarily an appeal, but it calls forth a momem of rlg
without which its author would remai n blind to these rcm;w
possibilities. I do believe this: only a sufocating, impossible ordeal
cn give an author the means of achieving that distant vision that a
reader wearied by the narrow limirs set by convention is waiting
for. How can we linger over books ro which the author was not
obviously comp/kd?" The power of revclation in the work of Louis
Rene des Forets is tied to this compul;on that the author had
sufered in order to write it. where something impossible came to
him, and which we, in turn. receive at times as an exigent and
constraining call, bur also, at other rimes (this is the mystery and
the scandal of the wriuen), as the approach of a joy. [he afrmation
of a happiness-desolate and ravishing.3
16 Battle with
the Agel
Michcl Leiris's efort to put what he is in rclation to the truth of
what he is, by means of a literary work of which he is the only
subject, i s an attempt that is perhaps mad. perhaps exemplary.
From the sole point of view of the history of genres. it is remarkable
that afer so many books devoted to autobiography. and afer
writers for some centuries seem only to have been occupied with
speaking of themselves and tdling the story of themselves, a new
possibility should have arisen. How cn one speak of oneself? From
Saint Augustine to Montaigne, from Rousseau to Gide, from Je
Paul to Goethe, from Stendhal to Uautaud, from Chateaubriand
[Q Jouhandeau, we fnd ourselves before essays that surprise us,
seduce u, convince us of their perfect succes, but not at all of their
truth, and about which, moreover. we arc not concerned. Yet we
also are concered. We are not disinterested in this deire that has
led so many important men ro write down what they are. to
recapture themselves in writing by making the efort to be true.
How to speak of oneself truthfully? The result is important. but
the intention. the rigor with which it is pursued, the persistent,
cunning, methodical, inspired Struggle to establish berween self
and self a relation of truth, a struggle without end and without
hope, count far more. This is why Rousseau continues t touch us.
He was ill suited to obtain a corrt.t view of himself and an accurate
t JO Btt/ with thr AlIgrl
account of his nm very accurate life. He lived within himself in an
environmenl so agitated, so (aimed, in such anxious contact with
so many enemy shadows, and, fnally. with madness so close. that
one must be surprised nm about what was distorted, but about how
little was distorted in this enterprise of defense againn himself and
against others, where everything is misreprnled from the begin
ning, except the obscure will to be true or, more precisely, to open
oneself entirely to a kind of (ruth. L6 COll.SiOI remained un
fnished. There occurred a momem at which Jean-Jacques, lost in
himself, in the surprise of unhappiness, in the doubt of sufering,
could no longer fnd in truth the JUSt measure that he had hoped to
apply to his life: lruth no longer sufces him, and he himself no
longer sufces truth; what is unknown in him asks to remain
unknown. Thus he is silent. Silence henceforth is present in every
thing he still writes as the great power that his cries were unable to
break. Jean Guehenno, the faithful companion of this mistreated
man (and always treated as a liar by those least concerned with
truth), indeed says: `I:is one of the beauties of the ConfJions that
they could nor be fnished." "Suddenly, when it came to looking at
himself as he had become in London. in February 1766. he could
no longer sak, he could no longer write and abandoned his work
there. Perhaps there is no greater sign of his will to be tfue. The
critics and biographers that we may well say everything, fx
everything. It does nor cS{ (hem anything. He, however. was
rendered sechless."
Would the proof that a book of autobiography respecu [he
center of trurh around which it is composed then be that such a
center draws it tOward silence? The one who goes to the end of his
book is the one who has not gone to the end of himself. Otherwise
he would have been "rendered speechless." However, the drama
and the force-in all "true" confessions is that one only begins to
speak in view of this moment at which one will no longer be able to
continue: there is something t say that one cannot say; it is not
necessarily scandalous; it is, perhaps, more than banal. a gap, a
void, a region that cannOt bear light because its namre is irs
Sul with mr Angtl 1 J I
inabiliry to be ilIuminated-a secret without secret whose broken
seal is muteness itself.
It is perhaps one of Michel uiris's strengths to have frmly seized
in himself the moment at which the inclination to speak of himself
and the refusal to speak came together in a troubling and profound
way. He speaks precisely because he has been rendered speechless.
and he speks of himself from a feeling of isolation that, while
cutting him of from others, fnds in the anxiery of separation the
Strength t make itself be heard: ``Aof my friends know it: I am a
specialist, a maniac of confession; yet what pushes me to conf
dences-especially with women-is timidiry. When I am alone
with a person whose sex is enough to make her so diferent from
me, my feeling of isolation and misery becomes such that. despair
ing to fnd anything to say to my interlocutor that might be the
basis of a conversation, incapable also of courting her if it so
happens that I desire her, I begin, for lack of another subject, to
speak of myself; as my sentences Aow, the tension rises, and I am
able to establish between my partner and myself a surprising,
dramatic current."1 This is. as it were, the point of departure: an
empry need t speak, made of this void and in order to fll it at all
COstS, and the void is himself having become this need and this
desire that still treads only emptiness. A pure force of sortS. of
melting snow. of drunken rupture. and often obtained under the
cover of drunkenness. where the being who speaks fnds nothing to
say bur the Aimsy afrmation of himsdf: a Me. Me. Me not vain,
nor glorious, but broken, unhappy. barely breathing. although
appealing in Ihe force of its weakness.
Such a movement should have resulted in one of Ihose "OOSIO
evsky-like confessions" where everything is said with a passionate
incoherence thai. in the end, says nothing but [his turmoil and this
disorder (and this is already a lot). But ifhe arrives at an ahogether
different resull. ifhe seeks to express himself, in a work ruled by a
frm consciousness. a work thai is consranl1y controlled and mas-
'l' &uk with tlu Ang1
[cred in view of rules that, it is true, are only himed at, it is frst
because Michd Ltiris grady distruStS (his drunken speech, with
our rigor and withom form, in which what is expressed is what he is
most ready to push away fromhimself: [he relaxation of being, the
dangerous need to abandon oneself, a weakness that is nor even a
''nue'' weakness, for it only looks to be comforted. Hence in the
third volume. the slightly perfnctory condemnation of former
confdences: "these Dosroevskylike confessions afer drinking.
which were my custom but which today I detcSt like everything in
me that is the reaction of a sentimental drunk." The speech of pure
efsion. the attempt irruption in order (Q break through the
dams-bU[ which also at rimes benefts from the easy rupture that
drunkenness rmits-is thus impugned. Superfcial speech, which
is perhaps only faked and which is only speech, whereas Michel
Leiris intends to write and expectS from a written text-a true
"literary" work-the very thing that is obscurely in play in this
whole afair: less to reveal himself than to grasp himselfin a manner
that does not do violence to what he is, and does not betray that
which he seeks confly to be.
To reconstruct himself by disclosing himself. A formula that is
undoubtedly tOO simple to give an account of the intention. poorly
illuminated and reticent, that imposed itself on him, in the hopes
that he would know it better at the time he would carry it om, for
afer L:gdlom1lu he undertook a new work entitled rk du
ju rwo volumes ofwhich have been published in the last ffeen
years and are to be followed by another rwo volumes.2
To give a sequel to L:gt d'ommt a dangerous temptation.
When it seems that one has accomplished perfectly that which one
set out to do, and when. in addition. the success involved speaking
of oneself "with the greatest lucidity and sincerity," it is very
dangerous nor to StOp. On the one hand, it is tempting for the
amhor: the "self" is inexhaustible. less because of its richness than
irs insatiable poverty. But for the reader, who is satisfed with a
book, the great literary merirs of which he has admired, recalling
&l/ with th Ang1
!JJ
the rare balance that is maintained berween rhe violence of the
things to be said-what the I says of itself. rhe nakedness that
speaks in it, is always violence-and a form capable of giving a
cohesion to what does nOt tolerate cohesion, there is this anxiety
and this unease: Why does he continue to speak of himself? Has he
nor already said everything? Does what was courage not become
complacency? In the beginning, the author spoke, impelled by the
irrepressible force-but a force contained and held back-that
appears when a being wants to speak fromthe point at which it can
say nothing; however, now, does he nOt simply speak of himself
because he has nothing to say? And, certainly. it is understood that
an autobiography can be extended for as long as the Story has not
come to an end. But L:gtdlomm, Lfrombeing a story, formed
a portrait in depth, a search for the sensitive points of a being, a
web rigorously elaborated upon which the threads of memories and
events, outside of any chronological simplicity, made out, in the
end, a fgure with marked boundaries and a great appearance of
truth. Before us was a being who rose up from his history without
being distinct from it but was, as it were, pushed outside of this
history by the forces at work behind the temporal surfce: being
without "character" and yet very characterized, almost mythical,
and in search, moreover (in order to project itselfin it), of a certain
mythological sky, of which the names of Lucretia and Judith
formed the principle constellations. And to this being, it is true, we
were attached, as we were to the book with which we liked to
confuse him.
The most malevolent reader is convinced of the imperious rea
sons that forced Michel Leiris togo beyond himself and beyond the
image of himself with which we were so satisfed as to want it to be
unique. But it is perhaps for this reason that he could not hold
himself to it: it was not possible for him to be, as we were, happy
with himself. He ofren says thar one of the ends he pursues in
writing is the ert'tion of a statue of himself to oppose the destruc
rive work of time: a desire for fxity [ which the rigor of a classical
form corresponds. Bur then, why did he risk damaging his frst
efg, so satisfing to us and more capable of enduring than he?
' 34 Bnk with me Allg1
Instead of writing another book, why not use all of his efortS to
conform (Q the book he had wrinen and [Q disappear in it. as
Ducassc one day disappeared inro Laun-amonr? It is because he is
aficted by a need for Ilmh thar does nO[ allow him to be happy
with his permanence, if the laner dismTts what he believes he is. He
would like-he says this-to be able ro throw people off and put
forward a heroic, admirable. and likable Ego, but he would also
have to manage r decdve himself and to persuade himself that he
is the being of marble thar he is not. What good is enduring
eternally in a form that will eteralize someone other than himsdf?
It is he himsdf, as he lives and as he himself; i( is in the mict
truth of his life that he desires ro become image, fgure, and book, a
true book but one that is also literarily valid, capable of being read
and exalted in others. Was L'g d'omnu then not a faithful
portrait, not nue to life? Necessarily unfaithful, because lifelike, at
a distance from him: this very efgy whose fxed truth could only
betray the constant inaccuracy of the living being.
How to speak of oneself truthfully, if this truth must be not only
behind but also ahead, no longer that of a past history but of a
future that presents itself not as a simple temporal future bUi as an
ideal and an unknown ideal, freeand always revocable? For Michel
Leiris, who is hardly satisfed with this almost faithful image rha( a
(rue book ofers him. would be no more satisfed with rhe imper
sonal statue that duty would substitute for what he is: he does not
want to be the writer, the militant or ideal ethnographer, any more
than he wants to be the perfect spouse or the perfect libertine
{which he very well knows he is not}. Furthermore, if all perfection
attracts him because it offers him [he possibility of jumping outside
of time, all fulfllment repels him: to flfll oneself is to be dead,
and death is the Angel whose enemy intimacy drives Michel Leiris
to write while giving him over to the very thing that he Aces, and
docs so with the efort he makes to Ace it.
Berween L'Ag d1ommand Ln r dll jell there is perhaps this
frst diference: that the former was written in order to satisfy a
present (and quasi-eternal) truth, whereas the new work is written
under the dose light of a truth always to come, toward which the
&tl witb tbl
'
Augl1
'35
author turns with caution, desire, and doubt, in order to lear ftom
it the rules ofthe game he is playing byliving and writing, wirh the
weak hope {hat he will know, in rime, why it is he writes and in
what name he must live. A project that cannot be complered except
by remaining a project. and one that. al each of the stages ar which
it afrms itself, makes a mysterious sound, a sound that is some
rimes cracked and seemingly strangled through the meanderings of
an infnite search, at other times grave and with a fullness in which,
however, we cannol desire that all should end.
Thus Michel Leiris writes Bifmin an appeal to the slippery
trurh that will not be a simple acknowledgment, or the immobile
decision of an absolute future, or the narrowness of a present that
can be lived but not written up as a Story: a truth that is perhaps,
then, no more than that of a slippage. And this is precisely what his
book fts[ tried to be: the experience of a slippage. It is no less
anchored in the past than is L'Agl d
'
bomml', perhaps even more
steeped in distant childhood, bur it is engaged in the past by irs
search for the turntables formed by certain privileged words and for
the enigmatic series according to which these words arrange them
selves (a serial movement), by its discovery of the sudden changes
of itinerary-the bifurcations-that these words provoke, of the
holes they rorm thar are flled by the inAux of memories and still
more by the evocations of a direded and oriented reverie. "A
strange discrepancy that takes place on the occasion of words," "a
slippage of thought on the occasion or a crack," awakening and
listening to himself as he hears himself move and slart, when he
touches on certain points whose hardened contact-a small pebble,
cold and inen-un[eashes, with the approach of provocative words,
a current of life where, for an instant, rhe real and the imaginary,
the present and the past, and, fnally, the whole of being in motion
arc brought forward and outlined.
The frst feature of such an experience is that the grearest con
cern for truth forces him to make much greater allowances for rhe
imaginary: before himself, lending an car to the echo t which he
'36 Buk whh thr Ang1
gives rise, the author no longer knows ifhe is remembering or ifhe
is inventing. But this confusion that he rigorously watches over is
necesary to the new dimension of truth: it is no longer the real
being in himself that he seeks, nor is he doing his own psycho
analysis; he has for some time been in possession of the important
themes around which what he knows of himself forms, adjusts. and
readjusts itself. So what does he wanl? First, ( keep in motion this
sphere. which the need to afrm it in books risks dangerously
immobilizing.3 But also [Q recover, not this or [hat hidden event or
the great veiled features of his destiny, but that which, while
putting him in precarious balance with himself, at those moments
al which his being loses its footing, might pur the essence of
the shock at his disposal: no longer simply what he is and has 1n.
not the openness or the latitude, but the secret of becoming. the joy
and speechlessness, the jolt and Rash in which freedom is set ablaze,
in the light of a consciousness that, for an instant, discovers it.
Experiences with which it seems his childhood was favored, and
which, because of this, he incessantly questions, in the perhaps
deceptive hope of rediscovery, experiences of a gap, which poetic
activity could recover for a short time and which he searches for,
now that he judges himself deprived of such resources-he no
longer dr. he writes almost no poems or imaginary narra
tives-not in order ro delude himself with them, but in order to
give his existence the comfortable from of a great movement,
and to give his book (he plenitude of those brief moments of
harmony in which life shines forth as a whole and the whole as a
deployment of life.
In this efort to liberate and master the unpredictable in him
self-the unpredictable that he fears as much as he searches for it
one might think that Michel Leiris was returning ro the caprice of
spontaneous speech that drunkenness. timidity, and surrealism
each revealed ro him in turn. But chance alone does not lead him.
The originality and difculty of Bif lm are that it involves an
experience in which discovery is more important [han what there is
to discover: the author who deceives himself mroo little and is fr
tOO little disposed to abandon himself to a lack of reRection and.
m with th A"g1 '37
what i s more, is accusromed to certain scientifc methods. gives to
this word ]~
.
bled. and from a writer so visible who escapes liS, not because he IS
fluid
and ungraspablc in the manner ofGidc. but frm and faithful
200 ThD/our Toward Simplicit
each time in this double exigency of turning back, the afrmation
s
of which he holds together secredy in himself from his earlit
experience.
(The exigency of [he "turning back" is expressed in each of
Camus's works in a diferent way. and it is this exigency that
undoubtedly orienrs [he whole of his work. It is not a later move
ment, linked ro a crisis of maturiry; it is the principle that animates
even his earliCS[ books. In Sisphe, Sisyphus turns back because m
stone turns back; (he turning back is here the refusal to be ruled b
[he ideal immobility of the sky, [he refusal ro understand m
fatality of the process by accepting me immobile semence of m
gods and their infexible decisions; it is therefore in accord with
the rurning back of [he stOne, and then with the earthly reality m
[his stone represents: for as long as we have a stone to mu. t
contemplate, and to love, we will be able to behave as men. In
L'tranga, it is the turning point itself of the narrative, when the
measured and happy presence suddenly and as if without reason
turns into the immeasurable and gives rise to unhappiness; it is also
the passage from the frst to the second part, when the most banal
and everyday existence, [he existence denounced by the moraliso
as being inauthentic, becomes, by afrming itSelf simpl in the face
of the navesties ofmoral and religious ways, what is most authentic
and most strange. One must add, as I have noted, Camus's strong
conviction that this turning back is not dialectical and that on m
contrary it puts the dialectic into question; this will be the subject
of L'omm rlvolt! But the reversal of refusal to afrmation should
not be interpreted as a moral decision. and Camus, placed once
and for all within the ranks ofthe moraliSts, will say, "We live for
something thar goes further [han morality." It is perhaps up to a
to bring us closer to the meaning of this movemem, to uncover it
and to afrm it without giving it vilu. On the condition that a
does not claim to escape the movement, and thus, in advance,
agrees to be already diverted from all pure artistic realization or else
deprived of the detour by its afrmation of itself as pure presence.)
22
The Fall:
The Flight
Clamence. the man so named by La Chuu and yet anonymous
(he cries our in his own desert), converses in hushed tones with
someone whose face we do not see, whose replies we do nor hear. A
"solitary dialogue." it is not, however, the tragic speech that in
Odip4is a dialogue with the silence of the gods-the speech of the
solitary man, a speech in itSelf divided and truly cur in twO because
of the silent sk with which it pursues its invincible discourse
because for Oedipus, from whom gods and men alike have with
drawn, divesting him of his glorious appearance, this void beside
which he must henceforth speak by questioning his unjustifable
fate is nOt empty, being the sign and depth of divinity, suddenly
revealed to him by the unhappiness of knowledge.
There is, it is rrue, some semblance of Oedipus in the man who
speaks here. He, tOO, once ruled within himself and outside him
self; a king in appearance, as befts a rime without kingdoms, a
king by opinion and fallen from this opinion of glory, of contenr
mell and virtue with which he was permitted for a rime to make a
solid
reality. And why does he fall? For the same reasons as King
Oedipus, of whom it is said, in a verse attributed to the madness of
Holderlin, that he had "perhaps an e too many. " Lucidiry does nor
permir one to rule innocenl for ver long.
Bur it is not with the gods that this other king speaks, nor even
with the distance of the gods who rum away. but only with the
20'
II
'0' Tu FalL T" Flight
shadow of a casual companion, invisible behind a curtain of si
lence; his double. perhaps, but also anyone at all, the ordinary man
whose distracted anemian and vague presence constantly allow the
language that tries 10 reach him-so well formed neverlhd-to
fall back into unreality. The sober makdiction of SOrlS rhat the
narrative brings us is i n (his partitioned sptch. A dialogue en.
closed in monologue. There will be no dearth of thoughtful men to
make us see the varied ways in which L'tralgT, L Pm, L ChUk
accommodate (he confessional narradve-and that the Stranger,
speaking of himself by saying "I," speaks of himself with the
impersonaliry of a He already estranged from irsdf; to uthat, in
La p!U, (he central character, writer of the story, recounts the
events, which nonetheless directly concern him, in (he third per
son, for in the community of anonymous misery it is unsuitable to
mark OUt the intimacy of one's own memory. And here, in
Chuu, where the one who speaks, speaks only of himself-not
without detours, but apparendy without reticence, with all of the
resources ofa marvelous rheroric, as the distinguished lawyer that
he is-we soon perceive that he is nOl speaking of his own life but
of everyone's life, that this life is without content, that his conf
dences do not confde anything. jusr as the interlocutor toward
whom he is turned is a wall of fog into which his words sink
without having been heard and as if they had not been uttered.
Whar is lef? Irony.
In this narrative one will undoubtedly look for the grim move
ment of a sarisfed man who, by dim of adopting a virtuous and
happy ego. fnally abandons himself to this power of discontent
and destruction that is also in the ego. It is dangerous to be tOO
attentive lO oneself This attention is frst a sponrant"us and happy
adhesion that forgets everything, both others and oneself; btU the
attention becomes reRection; the amiable gaze with which one
caresses oneself becomes a suspicious gaze; one is wounded pre
cisely where one thought oneselfloved; the wound is clairvoyant in
fnding everything that wounds; and everything wounds. Lucidity
1rFall' 7k h_h: '0
)
docs its work in the end. 11 judges everything and it condemns
C"er
ything-ironically, without seriousness and without respite.
wilh
Ihe cold Aame thai it has kindled in the ego.
In L Chuu. however, I read a narrative very diferent from this
nan'ation prompted by the psycholog of L Rochefoucauld. Even
less do I think that its purpose is to teach us discontent, the
uncomfortable truth and necessary anxiety. First of all. it guards
against reaching anything. This is the grace of irony: it gives us only
what it takes from us; if it afrms. the afrmation is a fery place
(hat we are in a hurry to leave. At times the irony becomes heavy.
This weight is also its lightness, for irony is without humor.
In this appealing narrarive, I perceive the traces of a man in
Right, and the appeal thar rhe narrative exerts, an appeal thar is
strong and withotU content, is in rhe very movement of Right.
When did he move away? From whar did he move away? Perhaps
he does nOt know. but he does know rhat his whole being is only a
mask: fromhis name, which is borrowed, to the smallest episodes
of his life that arc so unspecifc that there is no one for whom rhey
would not be appropriate. His confession is but a calculation. His
"guilty man" narrative is based on the hope of believing himself
guilty, for a true ofense would be a certainty upon which he could
anchor his life. a solid marker that would allow him to determine
his course. I n the same way, when he seems to reproach himself for
his egoistic eistence, when he says "Thus I lived wilhout any
continuity save [hal, from day to day, of the me-me-me," it is
remarkable. becuse every time he says Me, no one answers; it is an
address that resounds vainly here and there. an ironic reminis
cence, a memory that he docs not remember.
If he is a masked man, what is there behind the mask? Another
mask, Nietzsche says. But the cold and passionate glow thaI signals
his passage and allows us 10 follow him through the meanderings of
confdences always suspended, digressions destined only to evoke
his refusal yet carry us along with him, pcrsuades us of his presence,
simi
lar to a brilliant fre over a moving expanse of water. There is
Cc
rtainly, in him and around him, a strong supply of absence; btu
this void, this distance, is but a path in reserve, the possibility of
Tlu Fall' Th Hight
evasion, of always going frther if need be, and of leaving, for
whoever might seize him, only a simulacrum and a castof Here
we see an example of the manner in which Alrt Camus u
classical an for ends that are not at all classical. The impersonality
of traits, the generality of characters, the details that correspond to
nothing unique, and even the scene of remorse that seems bor.
rowed from one of Stendhal's letters, this "disdainful confession"
that confesses nothing in which one could recognize any lived
experience, everything that. in classical discretion, serves t depict
man in general and the beautiful impersonality of everyone. is here
only in order for us to reach the presence of someone who is almost
no longer anyone. an alibi in which he seeks to catch while
escaplllg.
The course of the narrative is constantly doubled by a quasi.
nocturnal course-even when it takes place during the day-across
the Rat expanse, sunless and inhospitable, of a northern land.
through the gray labyrinths of water and wet desert where a man
without refuge fnds his center in a sailors' bar, frequented by men
who do not like the law. This second course is essential to the
narralive. and the landscape is not a setting. On the contrary, all of
reality can found in it. The Story behind which the man
dissimulates himself, and which seems painfully hollow and fc
titious. has its point of truth here, its moving ending. Something
lives here. his real, it draws us into the real; we know that someone
could be there, someone coming and going, looking at the bright
nes in the sky made by the wings of doves still absent (which arc
perhaps gulls), a derisory prophet who calls judgment on himself
and on others so that the judgment may take hold of him and fx
him. Vain hope. He must only Ace and serve to sustain this great
movement of Right that carries each person away unbeknownst (0
all, but of which he became conscious, of which he is the bitter,
greedy, at times almost lighthearted, drunken consciousness.
But what is he Rceing? What is this Aight? The word is not well
chosen to please. Courage is, however, to accept Right rather than
T" Fall Th Fht ;0
live
quietly and hypocritically in false refuges. Values, moralities,
ho
melands, religions, and those private certitudes that our vanity
and
our self.indulgence generously grant are s many deceptive
abodes that the world develops for those who believe they stand
and rest among stable things. They know nothing of the immense
rout to which they are put, unaware of themselves, with the
monotonous drone of their steps, always quicker, that carry them
along impersonally in a great immobile movement. Flight before
Aight. Clamence is among those who. having had the revelation of
the mysterious drift, can no longer accept (0 live within the pre
tenses of the abode. At frst he tries to take this movement on as his
own. He would like to move away personally. He lives on the
margin. In the great army's retreat, he plays the sniper. the kind of
man who generally is fercely set upon by malicious opinion and
the condemnations reserved for deserters. But this operation does
not succeed. The petty life of debauchery rhat he leads brings him
somc satisfaction, bur not al all that of being discredited and
rejected from the whole. Virtue continues to protect him wirh irs
appcarance. It is nOt good for someone who wants to carry the
banner of evil to have learned a beautiful language, good manners.
Meursauh was condemned, innocent, because an imperceptible
difference set him apart. a deviation that was his ofnse. Clamence
is unable to pass for guilty because everything he does to separate
himself is but one formof the general discordance. In the void. it is
said, heavy bodies and light bodies fall wgether with equal motion
and consequently do nO[ fall. It is perhaps this, the fall: that it can
no longer be a personal destiny. but the fate of each in everyone.
Believers will say that Clamence docs nothing bUI fe God, JUSt
as humanistS will say that he does nothing but Rce men. Each will
thus express himself according w his own language ofAight. There
is in the book a remarkable page. Evoking his life as a man satisfed
with himself, the narrawr says. to our surprise: "Was this not Eden
in effect, my dear Sir: life without mediation? It was mine." Or,
fUrther, "Yes, few beings were more natural than I. My harmony
206 Th Fal: Th Flht
with life was tOtal, I adhered to what jt was. utterly, refusing nont
of its ironies. its greatness or its servimdes." A strange confdenct.
for (he man who speaks. or al least the character he borrows in
order to speak. is a man of vaniry and self-love. very removed from
any natural spomaneiry, and the ver manner in which he confde
without confding, in a movemem of irony and ruse, funhcr
increases the impression of afectation or artifce that his character
wanrs to give us. How are we [ believe that he ever was in harmony
wilh life? Or else arc we t think that the masked man is here
unmasking himself? Would he be berrayingsomeone else? I am not
trying to suggest that Alben Camus suddenly remembered himself.
suddenly remembered the narural man it was his happiness to be
and whom he would have ceased to be, because a man who writes
must frst, like Oedipus, have "perhaps an eye toO many." But it u
true thar L'tmgTand Nou! enabled us to much the pleasure of
immediate life. The Srranger was indeed a manger in this, because
of a simplicity and an innocence so assured that they could only
render him guilty. It is as if the tortuous. bitter man, all equivoca
rion, of La Cmuwere opening onto anmher man and another life
Ihat he evokes as the pagan dawn ofthe world. The fall would thus
be only suspicion with regard to happiness, the need to be not only
happy but justifed for being happy. The search is a dangerous one.
The justifcation passes by way of the ofense. One becomes guilty
through the same feeling of happiness that was al frst Ihe substance
of innocence. One happy. therefore innocent. One is happy.
therefore guilty; then unhappy and still guilty; fnally, never guilty
enough in the eyes of this lost happiness that was withom authority
and without JUSlifcation. The search for offense henceforth con
stitutes the whole of life, an offense thar one would like to share
with everyone in a community that heightens the solitude.
But this way of seeing things is bur a momentary marker that. in
rhe perspective of the infnite movement of the fall, has no real
value. We fall. We console ourselves for f
.
111ing by determining in
our imagination the point at which we would have begun to fall.
We prefer to be guilty than to be tormented wirhout fault. A
sufering without reason, an exile withom kingdom, a Right with-
71u ridl: Tu Fli ght 20
7
(\
v:lishing point cannot be tolerated. The imagination comes to
helP
us fll rhe void in which we fall. by esrablishing a certain
bc-in
ning. a certain starting point. thai lead us to hope for a certain
point of arrival and, although we do not believe in them, we are
reli
eved by these markers that we fx for a momelll. And then we
spa
k of them. Speaking is essential here. This speech is itself
without end, like the fl . It is the sound of the fall, the truth of this
movement of error, which speech has as its object t make one hear
and V perpetuate, by revealing it without betraying it. Here, rather
than rhe monologue of a man who is Reeing the world, the decep
live consideration, the false virtue, the happiness without happi
nes , I hear the monologue of the fall such as we might perceive it
werewe able for a moment to silence the chatter of the stable life in
which we maintain ourselves OUt of necessity. The character who
speaks would willingly take on rhe fgure of a demon. What he
murmurs grimly behind us is the space in which we invited to
recognize that we have always been falling, without respite, without
knowing it. Everything must fall, and everything that falls must
drag into the fall, by indefnite expansion, all that means t remain.
At certain moments we realize thai Ihe fall gready exceeds our
cpability and [hat we have in some sense furrhcr to mthan we are
able. It is at this point thai the vertiginous feeling begins with
which we split ourselves off, becoming, for ourselves. the compan
ions of our . But sometimes we art fortunate enough to fnd
beside ourselves a true companion with whom we converse eter
nally about this eternal fll, and our discourse becomes the modest
abyss in which we also fall, ironically.
23 The Terror of
Idenrifction
In the essay written in the form of an inrroduclion to Con's
"biographical" book, Sartre says of Carz: ") rank him among the
Indifferents: this subgroup is of recent origin, its representatives are
no more than thirty years old; no one yct knows what they wiD
become." According to what he tells us of himself, Con is of
Austrian origin; his father, Jewish. his mother, Christian; aer [he
Anchm he lived in Swirzerland. in the solitude of adolescence and
exile, deprived even of his language. to which he prefers, in a
surprising decision. me French language in which he writes this
book I I do nOt ctcthese details in order [Q give an identity cto
someone who does not like [0 be identifed, but 10 recall that forty
years before him, an Ausuian writer, also condemned to aile,
made of the passion of indiff erence the truth of his life and the
theme of his work. That Con and Musil should have been hor in
Austria, that they should both have been separated from themselve
by analogous political difculties: this is not the comparison that
.eems important to me, but rather, in a social and literary COntext
that is very diferent, the return of the one, same, singular experi
ence-that of a man impassioned by indiff erence in a desperate
refusal of differences and parricularities.
Is this surprising? Undoubtedly. But the surprise is the very one
caused us, every time we encounter it, by modern literature: it is
the surprising fact of this literature.
One must nonetheless immediately add-the error is quickly
l08
TIN Trrrr ofImifcition l09
co
mm
itted-that this "indiference" is in no way a faCt of character
S
nsibiliry. that it only indirectly concerns the individual who
write', Ihat it is evensecondary to discover whether it is his task, his
drama, or his trmh; certainly, it is also important, bm if one begins
bv asking oneself ahoul the difculties specifc to the writer mug
giing with indifer
nce. on
",
:
,
ill
.
ver quickl
forget the essential:
that it is not [he writer who indiferent (he IS rather the complete
opposite), nor does this way of being come from the work it
strives for a certain impersonality of indifference-which is not a
matter of style or lack of style, of formalism or classicism: were this
the case, everything would be simple, we would be in aesthetics, we
would know how to judge and be judged, admire and be held for
admirable, fonuitous abilities that we are lacking because we have
nOI acquired the right to reach the place in which they are ex
ercised. However, when we sense that literature is "intimately
bound" to a neuter speech, we know that we are before an afrma
tion that is very difcult to situate {and even to afrm}, for it
precedes everything that we can say about it.
At the beginning of his essay, Same evokes "this muted. steady,
COUrteous voice," inviting us to hear it behind Con's book: "To
whom doe it belong? To No One. It seems if language were
beginning to speak on its own. Here and there it happens that the
word 'I' is pronounced, and we think we hear the Speaker of this
Speech. the subject who chooses the terms. A pure mirage, the
subject of the verb is itself only an abstract word. " A little frther
on, he says of this speech that it is almost deserted, elsewhere that it
is the voice of Concern. "There is this voice, that is all: this voice
[hat searches and does not know what it searches for, that wanrs
and
does not know what it wants, that speaks in the void, in the
darkness." It is not without reason that Sartre should have heard
this
voice precisely in Coc's book, but il is also because this voice
has not ceased 10 make itself heard for some time in those books
thaI arc barely books. and I think, above all, in Samuel Beckett: yes
,
[he(e, with Molloy, Malone, the Unnameable. for the frst time
without pretext and without alibi, we encountered the obstinate,
100
71u u"or ofInuijcilioll
weary. indefnigable speech, circling around a fxed point only to
descend toward the point ofiu springing forth, ofilS desiccation;
a
monologue in which one does not know who is speaking; there is a
prnce, tormented, sufering, though incapable of suffering,
thai
is no longer ahogedlcr someone; it comes and goes; in the begin
ning there w perhaps a real vagabond and, in that room, a m
dying man, but the [ramping has taken the place of the tramp, te
agony has worn away the power to die. Confned within an oriental
vase in an apartment, spread out on roads, immobiliu:d in the
empry corner of an empty house, always more infrm, more crip
pled, more reduced. an irreducible remains of humanity afrms
itself: a powerlessness without name, withom face, a fatigue that
Cona! rest, an empry, vague waiting that nothing stimulates, that
nothing discourages. To such a semblance of existence, what could
happen? What is still there, and how can one help it to be no longer
there? How can mis speech be silenced when it has already fllen
below silence withoUi ceasing to speak?
The thought and the hope ofSanre, as he formulates it to rejoin
Gorz's book, is that behind the cold, remote, insistent murmur that
observes, feasons in our place, and speaks [Q us, that is, exp w
by occupying us with an alien speech that responds perfectly to
behind the impersonaliry of the indifferent He, there would sub
sist. inalienable, even in the most radical alienation, the power to
speak in the frst person, the transparency of an I that has only been
obscured, obfscated, "devoured by others," as Teste says. or worse,
devoured by itself, seduced [sic! to the consistency of a borrowed
singulariry. "Here is the moment . . . . The Voice recognizes itself:
the action discovers itselfin it and says, I. am making this book. I
am looking for myself, lam writing. Somewhere. a guy with hollow
eyes sighs, intimidated: 'How pompous it is to speak in the frst
person!' and then dissolves; Goa appears: 1 am Gorl. it wmmy
viu that spoke, I write, I exist, I sufer myself and I make myself. I
have won the frst round."
Does Gon. 'sbook authorize such commentary? It is a strange and
passionate work. well devised to deceive us. A precipitous reader
1c "rror ofJlIifritiofi Z1
will not fil to see in it a philosophical work or even an attempt to
,Iv (0 oneself the method that Same has applied to Baudelaire,
d h h' L , d f b'
,
Genet. An it is true t al t IS KIn 0 lzarre narrative seems
,0
f A ' d ' h '
only [0
consist in a series re ecllons an
n a
.
m
vement 1 al IS
rfectly
reasoning: one IS constantly argulOg 10 11, one speaks,
Ih
extreme agility no less, a language that commentators will
easily equate with that which i
i
use, or so th
?
Iiev
, in
.
the
school of a certain Morel. ThIS IS tfue and thiS IS an IllUSion.
Ewrything here is mere semblance. all is imitation. The language
spoken by the narrator is not the language o tho
ght,
.
it
.
only
resembles it; its movement only appears to be dialectical; I(S IOtel
Iigence is so marvelously i
(elligent o
ly use t knows
.
that it
imitates itself. an image of Itself forced IOtO llldefnne reAecuons of
lucidity by its inabiliry to StOp at anything that could guarantee i
.
One will conclude: if the language is imitated, if the thought [S
borrowed, then the book can only be written after, without any
original value. Yet there is almost no book in which a more
authentic search afrms itself, a search more necessary and more
unrelenting against inevitable deception. This is. frSt of all. be
cause the enterprise is a vital one: Gor, in a wager more tOtal than
that ofPascai, has Staked everything on the !ruth of this exigency to
write. It is also that he has put himself under conditions such that
he cannot deceive himself as to the assumed being he chooses to b,
openly and deliberately building his life on a fake, as we all do, but
without the concern that we have of dissimulating fromourselves,
through natural alibis, OUf lenderly and familially alien existence.
Refsing his mother tongue, beginning not only to write but to
think, to dream in French, and Ihen beginning to think as Same,
COrl docs not for a moment forget that he is outside himself,
without anything that is specifc to him, in the image of the
adolescent thal he is, exiled from himself, disapproprialed, ncurer
:n a neutral country. Such strange and frightening abstract purity!
Such a decision made, as if suddenly, by a solitary child: to be in no
way
what one is, to be only another, to be another only by a
rcs
ohllion Ihat is voluntary, disciplil, always fctitious, artifcial,
alen to its own falsehood, in order to keep. at (he very least, this
falsifing conversion true. by which one refuses one's natural par-
TJu ""or of ImtijcJion
ticularity. "He decided that the total man w French, that thc
body of true thought and Reason was the French language." "Hc
decided . . . " Who is this He? COrL does not say "I decided"
;
hc cannot say it-why? And what is this He? Is it not simply
an ancient Ego, the AustroCermanic.JudeoChristian ego from
which he has srrayed in his sudden resolution? BU( if this "Hc"
were then simply his always particular being, the being inherite
from childhood and from the origin. and if he were the one to have
made the decision, the decision r become "other" is necessarily
"altered" by a movement that has remained particular and canncx
reRect anything other than this particularity: the need to be oneself
while pretending [0 cease to be it, or else the need to place oneself
under the guarantee of Sanre and Valery, to "defuse" one's own
experience by translating it into a foreign language with a universal
vocation; Right, thus, before a self divided, unhappy, inconvenient.
but a Right that is, of course, only the self that Rees and follows
itself and sticks to itself in this pursuit of an Other.
It is nor enough-we know this-to lose oneself in order t
take leave of oneself, nor is it enough to elevate oneself to some son
of abstract or indefnite o:istence to separate oneself from this too
welldefned ego mat one w One wants to become other, but in
this one confrms oneself in the Same and in the MeMyself that u
still altogether in the Right toward the other. Con's book is m
cold, methodical, passionate search, a search without order for the
distant choice, rooted in hi s personal being, that later deploye
itselfin the decision to impersonalize itself. What speaks, therefore.
in his book is the fsely disincarnate voice, falsely false, actual and
yet inactual, a voice that is the cold necessity to speak while being
still but a speaking imitation. the feint of what is distant, indif
ferent, and neuter in the foreign language, the relentless beginning
again that psychoanalysis has taught us to rediscover in what is
closest to us and always behind us.
What is particular to such a voice-its power of enchantment
and fascination-is that it claims to speak in the name of an initial
event toward which, were we able to follow its call, it would recurn
us ill such a way that suddenly, with liberating clarity, with an
T" 7r of Imtijcation "3
obviousness capable of shattering us, we would believe that we were
discovering the frst step that oriented our life: the originary project
in
rdation to which we could get a hold of ourselves by welcoming
it in
order to discharge it better. Con also experiences this fascina
tion
and, at the conclusion of the book, in a sudden illumination
that is the shock of revelation, fnally come up against himself. rec
ognizing with surprise what he has never ceased to be in a position
t know: that the frst disposition that organized all others for him
was the terror of being identifed. This is the point of departure: a
profound, constant terror of being identifed by others with an I
that had come from others; the refusal, out of the fear of adhering
to this foreign I, of any I, then the rejcction of all character, the
challenging of all afective preference, the banishing of all taste and
distaste, [he passion for a life without passion, without naturalness,
without spontaneity, the disgust at saying anything that is not
neuter in order never to say more. or something other than what
one says; and fnally the silence, the terror of assuming a role and
acting, the escape into an existence that is purely inrelligent. always
occupied with ridding itself of itself, with disidentifying itself
Con has no trouble fnding in his fmily history everything he
needs to understand such a movement-the terror of being oneelf
out of a deire to be only oneself-on the basis on his childhood
experiences: this is because his entire childhood was lived under the
constraint of his mother. "always called on by her to identif
himself with a role, the 'I' she intended him to play, that she
impuud to him by force because that was [he way she wanted to
him. She saw him as she would have liked for him to be, she
presented his imaginary 'I' to him as in a mirror, and [his 'I' w an
Other, a fke. unless the opposite was true: that he w himself an
Other, a fake." Whence, onc day, the need to free himselffrom the
mother tongue, the realm of [he mother out of which he has to
escape; whence at the same time, in order to fght the obscure
modifcation that she imposed on him, the almost intelligible
decision to go all the way ill this modifcation and to give himself a
completely other ego by identifing with a borrowed thought and a
k-arned language.l A veniginous move at the end of which, because
+ J TnTOT 0/ IfiCttiol1
of the efort he makes to grasp it, he will arrive, not back at his old
terrorized ego but at an I, fr of the terror of identifcation and
identical to disidcntifcation itself, the I of almost pure trans_
parency. This is why the narrative, begun under the power of i
speech that is neUler and without subject, is in the cnd reconciled
with rhe narrator when the Janer, having recognized himself in the
foreign speech, believes he has acquired the right to write in the
frst person, or at least seeks to make himself responsible, by
writing, for this I that is no longer afraid of losing itself when
relating [0 others.
A happy ending. consequendy, and almost edifying. I will nO{
say that it persuades me, bm rhe energetic concern t live again that
is revealed in it is moving, and I admire. in this methodical search
for a path, the ruse that allows Con (Q accept the path he chose
blindly the frst time (in the terror of being taken for an orner) by
choosing it a second time resolutely, and then. each rime again.
with a stubbornness of a design that is vaster and enriched with
signifcations more essential. But what is this frst choice on which
all would depend? What is the beginning from which our entire life
would make sense? Con indeed senses that the return fO the origin
for which he strives, as if to fnd at the very beginning the key
phrase capable of giving him the word on himself. attracts him only
by the illusion of a beginning that always has a further beginning.
that refers to another, indefnitely: behind the phrase he hears and
would like to unlock in order (Q reach the univocal meaning of this
phrase (the event or the complex "signifed" by it). there is always
another uttering of the same phrase. rhe same and yet completely
other, as the earlier echo of itself, the repercussion of what has not
yet been said. Or else, peering over ourselves in an efort | see the
model that the childhood of our histOry seems to conceal, what we
fnd is never our original but our double and our image. and then
the indefnite reRection of this double. the fucinating movement
of a resemblance that is nothing other than the slippage from sem
blance to semblance at the heart of a similj(Ude where everything
resembles everything without there being anything to resemble,
Tlu Trrror of Irifeatioll J
I n Gon's case, it is at the end of his narrative, as we have seen.
hal lhe
shock occurs with which he suddenly reads what he knows
t
bc
Ihe originary text, the complex that the " terror of identifca-
V
d
:o
is for hIm. Yet, the frst twenty pages of the book. he ha
r
,
formulated it in the most precise manner: "the horror he
;IS of ktting himselfbe identifed with his acu or works, the need
t
o
escape the fgure that his acts convey of him, by afrming
him
self as their overcoming." Why does this phrase not speak to
him at this moment? Why is it not the revelation that, two hundred
pages laler, will re(Urn him to himself? Wha
we have ?ere,
o
doubl. is the proof of the movement that accomphshed M
writing. At the same rime we are able to discern that ifhe does not
receive the communication of the phrase he nonetheless writes i n
al1 lucidiry. it is because he i s not truly there to hear it. nor knowing
that it concerns him as ego, for it is still but a neliter statement in a
foreign language in which what appears of him only causes him to
appear as other and in the indiference of the He without fc
,
mask behind which there is still only his absent fgure, a fgure sull
t come. Everything dends on the reversal that occurs, in a way
that is always a liule mysterious. at a certain moment: it is when
Con agrees to be identifed with the one he now is-that is, to
recognize that the "original" is not to be sought in the past but in
the present, and that the revealing phrase can be heard only from
the current versions that present the only meaning for which he
Olust be responsible-that. by an abrupt and dazzling superimposi
tion, all of the variations arc able to coincide. all of the modifca
lions of (he same phrase. which is always other and always the
same. And then, for an instant, he understands everything, under
Standing that there is no Other origin of himself than his decidedly
present ego (present, it is truc, and already gathered in a hook), and
that it is now thar all can h'gin: hie RhoduJ, hie slllf.
r
We
perceive what is at stake here: How can the movemellt of
writing (thar literature demands). (his speech (hat speaks before
any olher, cold, without intimacy, without happiness, which pcr
haps
says nothing and in which it nonetheless seems that profun-
2, 6 Th T""OT ofImticttion
dil) speaks, always speaking for a single person bm I,
speaking entirely fromwithin though it is the outside ,, ' s<" -h, ..
can this nonspeaking speech, ignorant of the true, who fu
alien to dialectical power, ever become the language of truth.
happy mediation, of a dialogue once again possible? Iktween
two languages, will Gon ofer u the reality of an itinerary? a . I
striking in his attempt is [he great distrust with which, wanting
speak me neuter speech, he goes along with its movement
the appeal of which he indeed wants (0 write, while keeping
however. the possibility of returning to himself. He never i,,tho
moorings. He says "He," bur it is always about the I. He lets
foreign voice sk in him, hut on condition that it nOl lose'
the hollowness of indiferent chatter. There is a remarkable page ia
the
.
bo
.
Presence which is not that of an idol. There is nothmg less plasnc
than a fgure of Giacomeni's, to the extent that the reign of plastic
art wants to make a beautiful form out of manifestation and a full
and substantial realiry out of form. to the extent that the pre
sumptuous certainry of the visible is established through the reign
of plastic art. One can call Wman Standing a fgure or even a
fgurine. one can describe it in its nakedness; but what is ii, this
fgure? Not what il represents. but the place of nonpresem pres
ence; and its nakedness is the afrmation of naked presence that
has nothing, is nothing, retains nothing, that nothing dissimulates.
Presence of human lransparency in its opaciry. "presence of Ihe
unknown," but of man as unknown. turning toward us that which
always turns away and putting us in the presence of what is
hctween man and man, absolute distance. infnite strangeness.
Thus, each time, we receive from Giacomeni this double discov
ery thai is, each time, 11 is true. immediately lost: only man would
b
present to us, only he is alien to us.
Wakefulness
Roger Laporte's narrative is-it seems to me-an attempt to lead
tho
ught as far as the thinking of thc neuter.2 An attempt that is a
l
"0 Trt us
rAection, and a reRection that is a moving, controlled, dominatin
s
experience. It must be given our full attention. I have wrirten
[hia
on occasion, nOi without a great excess of simplifcation: the cmir
history of philosophy could be sn as an effon [ domesticate
the
neurer or to impugn it-thus it is constantly repressed from
our
languages and our truths. How does one think the neuter? Is the.
time, a historical rime, a time withom history. in which sng
the exigency [0 speak in the ncurer? What would happen. suppos
ing the neuter were essentially [hat which speaks (docs nm speak)
when we speak?
These arc questions! And here are others: rhe neuu=r, being that
which cannot be assigned any gender, escaping position as well
negation, also does nO( belong [Q any questjoning that t:1
of being might precede, to which we are led by so many
rary reRections. Being is not a neuter; it is but a screen for
neuter. How does one designate it? In L ;, if one accepts
what is in play is the postulation of the neutcr, "it" is marked from
the frst word precisely as me he, a he that has always
already disappeared and is nonetheless such that, outside .. _a c
of presence and absence, it seems, day and night. to propose it
to withdraw itself from access in a manner that is frightening.
ravishing; but-and at the same time-it seems destined to a
proximiry or to a distance that would emerge, through a privileged
turn, fom the fCI of writing, the possibiliry of an I that writn (in
the necessary contradiction of these twO terms) and of a wrk to m
written. Why? These are the givens of an experience. The writer
can "give" himself only this afrmation: that by writing. by not
writing, the "I" who writes remains at an inappreciable distance
from a "he."
Thus we have three terms defned by a certain relation: writing.
an I, a he; and the entire narrative stems from a constant and
dramatic inversion of these three terms, an inversion maintained
between them by the dissymmetry and infniry of their rclation.
But we immediately perceive, in (his formidable game, that one of
the hcrors risks predominating, even if it crases itself: it is the "I." It
alone. apparently, is certain; the others are nOti ro write. one never
Trut 22:
kn
oWS i f one writes, an th
.
e "he" n
de to s
,
.... ice and each time doubled: in history. and tn the wnung
wa}
,
al the margins of history. In history, where the cemer
.
of the rupture
" II-d Judaism In the writing, which is the very dlfculry of the
a .
. .
poet. the man who w
hing ex
lon of exegeSIS
hat
.
does not
h ,p ,igns but that sets Itself up In the gaps they indicate-the
wo
ran
of words, the poet, fc:ls involved, confrmed
:
but also
n-
J and in his rum. contesling. We can do nothmg concerning
testel.
his
inrer-ruption. On the one hand, we cannot answer hIS austere
criticism, because he is the guardian of Strictness and has de*
nounced poetic afrmation, [he neuter word that attests to no one,
neither recognizes nor leaves any traces. and dwells without guar
antee. Bur, on the other hand, how can the poet-the man without
authority and without conrrol, who accepts as his most personal
duty the ask of answering this imerruption that continually breaks
the seal of his word and makes it faithfully unfaithful-rely on a
frst message, the reference to the Unique, the afrmation of the
Transcendent Being that, through the distance between Creator
and created, pretends to give us the exact dimension of the imer*
ruption, and thus irs foundation, while at the same time intercept*
ing the message? And doubrlcs the poet is neithe
the support n
r
the substitute of muhiple gods, nor the unsc:tng face of their
absence. And neither is he the one, dedicated to the word, who
... ould turn this vocation and devotion imo something arrogam, an
idolatrous power, a privilege of enchantment, or a kind of magic
that could be manipulated, even in illusion, with absolute fre om.
He is neicher frc: nor in heteronomy, or more exactly, the heteron*
omy he is in is not that of a moral law. His discourse is dis*coursc.
And this dis-course makes him responsible for the interruption on
all its levcls-as work; as fatigue, pain, unhappiness; as inaction of
the work's absence-and constantly urges him to carry through the
act of breaking (a rupture that is the skill of rhythm), for he knows
that
the word, tOO, can become power and violence. a power, even
though forbidden and bearing interdiction, that risks beeo
.
ming
the
simple power that forbids (as perhaps comes to pass m
ethical systems).
"Do not forget that you are the (ssence of a rupture
.
" The two
exp
eriences, that of Judaism and that of writing, at once joined and
j
,,6 TruJ
separate, which Jabes expresses and afrms, the one through
other. but also through the patience and generosity of his double
vocation, have their common origin in the ambiguity of this
rupture that, even in ilS explosion. reveals the cenrcr (essence,
unity) while leaving it inract, bu rhat is perhaps also lhe explosion
of the cemer, [he decentcred point rhat is center only in t
shattering of irs explosion. "The way have taken is the most
arduous
.
. . . It begins in difculty-the difculty of being and
writing-and ends in difculty." A difculty that he succeeds g
maintaining, without attenuating it, in the masure of a jUst voice.
This is perhaps the book's most important characteristic: this
holding back. even when it must reply to the most painfl blows. It
is a book of discretion, not because he refrains fromsaying all that
must be said, bm because he holds himself back in the space or the
time of pause, where [he Law, the pure arrest of the forbidden.
comes to ease its severity, and where the cry becomes "patimc."
Ibr innocmu ofrbrcr." The tender endurance of the song. A cur
and broken word; but the gap becomes a questioning decision, and
then a narrative in which [he separated beings it evokes, Sarah and
Yukel (separated, because between them they bear the afrmation
of a profound community: separated, because they are united), are
evoked so discreetly, either spoken of or not spoken of, that they
live, maintained beside each orher in the folds and refoldings of the
book, in the expectation of their meeting and their always deferred
separation. It is interesting ro mention here-precisely because it
seems that Jabes has been in no way inAuenced by them-the
marvelous Hasidic tales, and Gog 4nd Magog, of Manin Buber.
which we can now read, collected, rewrinen, and almost rein.
vented by him, in a French version that I fnd extremely iIIuminat.
ing.t The relationship between the contemporary poet and these
legendary stories is not due solely to the medium of the Eastern
tale, that is to say, to genre and tradition. I L explain myselfberter
by what Marrin Buber tells us of one of the last representatives of
Hasidism, who was a contemporary of the crisis, a crisis whose
essence is still very much with us: he was, we are told, capable of a
modest silence without pretension, but which, nevertheless, was
Tmct
22
7
. ` neither the authority of ecstasy nor the efusion of prayer
I
Innll
h h id b k
. ressed in the silence, only "a voiceless cry, t e o mg ac
w:S n:p
h
.
I
[ tC tears
.
" This voiceless cry, adds Buber. IS t e UOlversa
o
Il U
. ,
.
b dl "
. " of [he Jews ro their great sufering: when It s gOing a y.
reac
tlO
.
c . r
thc
cry "is ftting." It is al
, at all tmes
:
the wor thai I mung
.
,or
[he
poem. and it is in thiS word, Its hIdden solitude. Its fev
nsh
.
,nd irs friendship thai Edmond Jabes has found. precisely,
pm.
:hc
ftTless.
!mmonr wmto o"r um
Mpsibl vid
TRANSLATED BY PAUL AUSTER
AND ELIZABETH ROTTENBERG
I
25 Gog and
Magog
In truth, what does the word Htidi smevoke in us? Almost noth.
ing: certain memories of medieval Jewish devotion, [he Calem, the
mysteries of the Cabala, the powers of occult men bound [0 the
divine secret, the hidden knowledge of the gheno. Bur precisely
of r evocations are already . The Hasidism of the cigh
recnrh cemury has almost nothing to do with the Hasidism of Ute
Middle Ages. If it receives certain themes from the Cabala, it doe
so by popularizing them and by retaining [heir most common
aspects. The Cabala is an esmericism.1 Hasidism, on the contrary
wants everyone to have access [ the secret. And the reacher of me
Hasicim is not a learned. solitary man. who remains in contem
plation of the august mysteries; he is a religious leader, responsible
for a community, which he has participate in his experiences and [0
which he teaches thCS experiences through his life and in a simple
and living language. Here, personality counts more than doctrine.
It is by spiritual power, the vitality and originality of strong individ
uals. that the Zaddikim (the Righteous Ones or the Saints), at least
for the fm fve generations, impose themselves and show the
authenticity of the religious movement. Their knowledge is in no
way comparable wirh that of even the most ordinary teachers of
rabbinical erudition. It is not science bur the gift of grace, the
charismatic force. the prestige of the heart thar marks rhem out
and assembles students, believers. pilgrims around them. '" did nor
228
Gog and Mago 229
'
0 to
the 'Maggid' of Mescrin to learn Torah from him, but to
ure
dea.
fery images and simple. painful visions. That such creations
:hould have been successfl in dosed places of pious erudition
might be explainable. But the immense re
rcus
.
ion of the Caala
for
centuries among the people and fnally In Universal culture IS a
mysterious phenomenon, a sign of the creative forces that afrmed
themselves in it and that had ties to the popular mytholog of the
Jewish universe; a sign also of the appeal, impossible to vanquish,
of certain mythical imagination, when it gives form to intense
themes, half. ay berween religion and thought (here is a subject of
refection for our own inner vagaries).
Indeed, to grasp the quality of enchantment at work in Buber's
book, one must make it clear. I think, that Buber is almost not the
author of the book. This is not to diminish its merir.s; on the
Contrary. it is to admire the naive assurance with which the book
has succeeded in making us live in the marvelous world of the
narralion. this tradition of narratives and stories in which events
and gestures of real people take place. The rwo protagonists of the
narrative, the Rabbi of Lublin, the "Seer," and his student, the
"saim Jew" (who oppose each other like rwo modes of spiritual
action, the one desiring to produce certain elecr. magically, the
other holding himself to a pure inner conversion), both belong. as
doall of the fgures of their entourage, as do the principal incidents
of their lives and even the words that are attributed to them, to [he
li\'ing
community of stories told and transmitted fromgeneration
to
generation. This is one of the wealths of Hasidism. Naturally, it
i nOI of absolute originality. since one of the creations of rabbinical
Iho
ught is, besides the Halakah (the Law), the Haggadah (the
Nar
ration); and Jewish fith has always succeeded in keeping alive
'J4 Gog and Mag
o
the narrative force that allows any believer to participate, in his rel
life, not only in the great biblical slOries but also in a prodigioUs
profusion of narratives in which earth and sky an: mixed in a spirit
of familiarity and marvel. In Hasidism, where docnine is almOst
nothing and the glamour of concrete action almost everything.
narratives are a parr of religious existence. Not only do disci pia
constantly tell a superabundance of stories abom their teachers,
but
the Zaddikim barely express themselves except by means of wee
dOle and, what is more, live in some sense in the mode of namnion.
From this results a very striking feature of literary enchantment:
when, in thdr lifetime. one attributes [Q [he great teachers of a
generation aeu that belong ro a tradition much more ancient, the
smallest details of which everyone knows and recognizes, what is
told appears neither less spontaneous nor less true-on the con
trary: something very ancient is, again, reproducing itself, afrm
ing the unweakening continuity of tradition, the intact state of its
power, its truth always in anticipation, the ability (0 realize itsdf
once again from the inexhaustible event.
History here is curiously divided among the cycle of immutable
religious cdebrations; the appearance of men of great stature, with
their very characteristic person31 features, who belong to a new
community in the process of creating its own legend; and fn31ly
the events of the profane outside world that cannot remain 31ien to
the destiny of faith. Whence a subde mix of legendary actions,
singular psychological features, and historical tension. That w
should be in the presence of an original version-and, all in 311,
spiritu31ly much richer-of Warald mo, this is what the reading
discovers with a Slan of interest and surprise. There is something
moving in the manner in which the formidable events of the
West-the French Revolution, the wars of Bonaparte. and then his
monumental glory as master of the century-come to be inscribed,
as from the greatest distance and reduced to a few minuscule points
on the retina of the Seer of Lublin, who, from the occult window of
his cell, silently contemplates them and tries to make them serve
his own designs. Tolstoy sought to humble historical individualities
by ascribing the most glorious initiatives of military art to chance.
Cog lnd Mlgog
'35
Here the change of perspective is even more impressive. In this
sep;rate world of the Jewish communities, what takes place on the
outside is so remote, so deprived of reality. and so outside the realm
of true life that it is rhe obscure Rebbe who becomes the fgure of
iga
ntic proportions, whereas the enigmatic man of war who tra
erscs hisrory in the name of a mission he does nOt suspect acquires
his
grandeur simply as an allusion to several prophetic verses.
The story, told by Huber. may also seem like the illustration of
the theme of Doctor Faustus. itself obviously derived from Hebraic
models. The relations between mysticism and magic have always
been extremely entangled in Cabalism. The Hasid of the Middle
Ages, the pious German Jew, is the true master of magical power:
without resources, abandoned, deprived of himself. sublimely in
diferent, he is capable of dominating all forces; he can do every
thing because he is nothing, an idea of which Greek stoicism and
cynicism had already raken advantage. Of the Hasid, onc could say
what Eleazer of Worms said magnifcently of the Ali-Powerful: "He
keeps silent and carries the universe." Later, in the prophetic
Cabala of Abulafa, mysticism, whieh has the great divine names as
its principal object of meditation, naturally associates itself with the
magical disciplines thai invoke the terrible powers of names. ^for
the Cabalism of (he Zohar, it is, to a certain extent, too haughty to
usc mystery tOward private ends, but magic then becomes meta
physical: JUSt as ma has the power to penetrate the secrets of the
contradiction of Being, so he has rhe power to embrace the means
proper to suspend this contradiction. If the common belief of
Cabalism consists in interpreting the problem of the world as a
problem of divinity, then it seems that "earthly reality must myste
riOllsly react upon that of the heavens, for everything. including
OUr activity. has irs dup root in the kingdom of the Scphiroth."
Whence (his maxim of the Zohar: "The impetus from below calls
!or:h that from above."
Following the expulsion from Spain. when the miseries o!exile
arc
transformed intO an unbearable spiritual drama. the Cabalists,
who had until then been more intercsu."d in (he beginning than in
the end of the world {the mystical path toward God being but the
2)6 Gogand Magog
reversal of the process through which we have dep3ncd from God.
this is the originary movement that frst had to be grasjd), wl
bring all of their power of elucidation to bear on the doctrine
of
return. This will be the pan of Isaac Luria, whose inAuence w
prodigious and perpetuated itself (by popularizing itself) in Hasi.
dism. One might think that the thought of exile, exile of man, =
of Israel condemned to separation and dispersion would ddini.
lively bring to a close the divine and earthly plans and deliver man
to the powerless wait. Bur exile cannOt be only a local event; it
nccessarily afects all powers; it is also the exile of God, the separa.
tion of one pan of God from himself, the sufering of panid
tight maintained captive in obscurity. One recognizes here
ancient conception of gnosis as it remained surprisingly alive: it
Sophia, the light fallen into darkness, a being abandoned and
divine, separated from its origin and yet nor separated, for sepa ..
tion is called timtand reunion, tltmit. In most gnostic doctrines.
it is through the sky alone [hat the divine soul, fllen ro earth, c
be recalled: there is only one possible action, that which is directed
from above to below. However, notes Buber, in Jewish mystical
thought, founded upon a relation of reciprocity, upon a free d
alogue between the earthly I and the divine You, man remains the
auxiliary of God. The spheres are separated so that man can bring
them together. All creation and God himselflie in wait for man. II
is he who must complete the enthronement of God in his king
dom, unif the divine name, return the Chekhina 10 irs Maner.
This anticipation on the pan of God, who shares in the exile, o
profound and moving: it illustrates the responsibility of man, the
value of his action, his sovereign inRuence in the destiny of the
Whole. "The Righteous Ones increase the power of the Sov
ereignty Above." A strong belief. but one that ofers the Righteous
Ones the greatest temptations of pride and spiritual domination.
How. in Buber's story. is Napoleon called on to collaborate in the
hope of salvation? There arc t"O levels of interpretation. According
to the lener, things are simple. Since a prophecy proclaims that the
Gogand Magog 2
)7
\.iclor) of Gog, from the land of Magog, will immediately precede
he
coming of the Messiah, there is great interest in letting the man
rom the West become the demonic force cpable of raising me
abyss and ofdrag ing the seventy peoples into it. But for this, he
!lUSl lruly be Gog. the being of unlimited darkness, and forhim to
bec
ome it. it is necessary for the greal Zaddikim, those who read in
Ihe sky and who are in touch with the powers, to cooperate in his
destiny and help him take on a suprahuman dimension. Indeed,
one understands that what is at issue here is a very risky and very
questionable interention. Should one fvor Evil, carry it to its
paroxysm, precipitate the catastrophe so that deliverance might
also be brought nearer? Should one hasten the end? The horrible
memory ofSabbateanism, to which no allusion is made in Suber's
narrative out of a revealing sense of discretion, is certainly in the
background of this entire action. I will recall the story brieRy.
Sabbarai Zebi is the Messiah of the seventeemh century who, in the
end, converted to Islam. What is strange about his appearance is
that his apostasy, hfromdiscrediting him, became the sign of his
redemptive mission. To profoundly vanquish Evil, one must de
scend to the unhappy depths and array oneself wim Evil itself. The
aposrasy, the renunciation of self, the obligation to live internally in
the refUsal of one's truth (which was precisely what w imposed on
the Morranos by the Church) is the supreme sacrifce of which the
Messiah becomes capable. Here we have. taken much fUrmer than
in Christianity, the paradox as mystical foundation of salvation.
The disciple of Christ, to recognize the Savior in a poor man
condemned to death and crucifed, certainly had a great efort of
faith to accomplish, but what must it be then when the Savior is an
apostate. when the act to glorif is no longer only an infmous
death but berrayal. when the Christ makes himself Judas? Scholem
says it well: the paradox becomes horrifing, it leads straight to the
abyss. What profound despair, what energ of belief must have
been gathered and abruptly tapped for so many men to have rallied
around such an oddiry and upheld it.
The adventure of Sabbatai Zcbi was a painfUl catastrophe. It
nlarked the advent of religious nihilism, the rupture with tradi-
.
Gog and Magog
tional values, under the jusrifcation that at the end of the world
Evil is sacred and the Ancient Law withom force; fnally, it gravel;
altered amhentic Jewish messianism. Although Hasidism is, a it
were, the heir of this aberrant movemem, it constilUtes its purifed
image. in the margins of orthodoxy and struggling against it. with_
am, however. ever breaking with the fith of tradition. Whence the
dramatic narureof the debates between Rebbes on the possibility
of
having Evil serve Good without the laner being engulfed, on the
right to intervene in the depths, and fnally on the meaning of the
aurhority that the great Zaddikim assume for themselves, very
templed as they necessarily are by dreams of power. Their role is
singular, their mission indecisive; they form a compromise of sora
between the visible Messiah, as Sabbateanism made him appear,
and what is perhaps the true Hebraic tradition: a rradilion accord.
ing to which the messianic force is not expressed in a single being
but is at work in everyone, in a hidden manner, everyday and
anonymous, in such a way that each person, obscurely and without
privilege, is responsible for the ultimate event thar is realizd
invisibly, also, at every moment. The Zaddikim do not claim me
role of Messiah by any means: on the contrary, they defend against
it, and the most pridefl with a movement of piety and fear. Firstof
all, there are a number of them, thirty-six manifest and thirty-six
hidden, and although the disciples are always ready, as is natural, to
place their teacher alone above all others, this plurality, as if given
by law, forms a secret defense against the vertiginousness of the
one. However, they are individuals who are surprisingly strong,
rich with an unlimited spiritual authority and often embodying a
dangerous will to power. The Zaddik is a man apart. He is very
dose to the simplicity of ordinary man (whence his inAuence and
often his grandeur) and he is the exception: the man capable of
seeing. who has dealings with Good and Evii, who conveys the
blessing from below to above and from above to below, the priv
ileged being who with more concemration than all mhers is turned
toward the salutary task. However, he is btl! a man; indeed, he is
the man par excellence, the "true man," as is said of the Seer of
Lublin, and the true man is more importam than an angel, because
Gog and M
'39
the
angel stands immobile, whereas the man passes, and i n passing,
con
tributes to maintaining. renewing the movemem of the world.
II is this incessanr renewal that is the principle oflife of the Zaddik,
in
whom is gathered, freed from rhe arbitrary and in order t rerum
to its origin, the process of creative becoming: the man thus
endowed with great powers who acts in view and in virtue of divine
unity. but not through himself alone. to the extent that, as a man of
exception, he remains bound to the community of simple men, of
whom he is but the representative and guide.
Buber's narrative speaks to us of this world, surprising, remote,
and dose, with simple persuasiveness. It has the charm of the
stories. their ambiguous innocence, which, in transforming teach
ing into image and image into truth, makes reading a kind of
mysterious dream from which one still awakens from time to time,
wondering if a mystery so perfecrly recounted were not solely fared
to be realized in tales.
j
26 Kafa
and Brod
)
Max Brod saw something in Kafka's glory that w nor
reassuring, something that made him regrct having helped it come
into being. "When I see how humanity refuses the salutary gift
contained in Kafa's writings. I sufer sometimes for having rom
the work from the obscurity of destruction into which its author
wanted t see it fall. Did Kafka sense the abuse to which his work
might be exposed. and is this why he did nor want (a authorizt its
publicadon?" It was perhaps a little late to be asking oneself the
question. The posthumous years having done their work, Brad was
not grappling with the discreet fame he might have wished for
but, from the beginning, had he not wanted it to be dazzling? Did
he nor sufer when Werfe! read [he frst writings of their common
friend and said, "Outside ofTeuchenbodebach. no one will under
stand Kafka"? Did he nOt recognize a part ofhimsdfin the glory of
which he complained? Was it not also in keeping with him, in his
image, not dose to Kafa's reserve but dose [Q Brod's swiftness of
action, dose to his honest optimism, his determined certainty?
Perhaps there had to be Brod beside Kafka for the laner to over
come me discomfort that prevented him from writing. The novel
that they write in collaboration is a sign of this joint destiny: a
collaboration about which Kafka speaks with uneasiness, which
engages him, in every sentence, to concessions from which he
sufers, he says, in his very depths. This collaboration ceases almost
Kfn nld Brod
24'
' TIlTllediardy, but it resumes after Kafka's death, closer than it had
\
'
en been before. heavier also for the living friend who has dedi-
, .d himself with extraordinary faith to bringing to light a work
ca I
dest
ined, without him, to disappear. It would be unfair-and
friv
olous-to say that there is, in every writer, a Brad and a bg
and
that we write only insofar as we satisf the active part of
ourselves, or else that we become famous only if, at a certain
moment, we abandon ourselves completely to the unlimited devo
don of the friend. The injustice would consist in reserving for
Kafka all the merit of literary purity-hesitation before the act of
writing. refusal to publish, decision to detroy the work-and in
charging the powerful, friendly double wim the responsibilitie
connected to the earthly management of a work tOO glorious. b
dead is intimately responsible for the surival of which Brod was
the obstinate instigator. Otherwise. why would he have made Brod
his legatee? Why, if he had wanted t make his work disappear, did
he not destroy it? Why did he read it to his friends? Why did he
share many of his manuscripts with Felice Bauer. with Milena. not,
no doubt, OUt of literary vanity. but to show himself in his dark
realms and in his lighdess destiny?
Brad's fare is also moving. At frst haunted by this admira
ble friend. he makes him the hero of his novels-a strange meta
morphosis, a sign that he feels himselfbound [Q a shadow, but not
bound by the duty to leave the shadow undisturbed. Then he
undertakes the publication of a work, of which he was the frst and
for a long time the only one to recognize the exceptional value. He
must fnd publishers, and the publishers evade him; he must collect
the texts. which evade him no lessi afrm their coherence, discover
in the scanered manuscripts. almost none of which is fnished. the
completeness that is hidden in them. Publication begins, it tOO is
fragmentary. Of the big novels. cerlain chapters are held back, one
does not know why. Here and there, one does not know how, a
cCf[ain page torn from the whole comes t light, a certain ray
cscapes from a hearth still unknown. shines, and is extinguished.
Ik-c31se one must protect the living, one excludes from the Dinr
documents that are tOO direct or notes that seem insignifcam; one
'4' Ka and Brd
confnes oneself to the essential, but where is the essential? How
ever, the glory of the writer quickly becomes powerful, Soon all.
powerful. What is unpublished cannot stay unpublished. It i,ike a
greedy force, irresistible, a force that digs abom in even the most
protected reaches, and little by little, everything that Kafka said for
himsdf. about himself about those he loved, could not love, is
handed over, in the greatest disorder, to an abundance of commen_
taries, themselves disorganized, contradictory, respectful, insolent,
tireless. and such that the most impudent writer would hesitate to
stand up [0 such curiosiry.
There is nothing, however, that one should nOI approve of in this
terrible bringing to light. Once the decision to publish is made, it
follows that everything must be. Everything must appear, (his is the
rule. He who writes submits to this rule, even ifhe rejects it. From
the time that publication of the complete works was undertaken_
it is reaching its end-the part left ro chance and ro the arbitrary is
reduced as much as possible. We will know everything, in the order
in which it is reasonable-though always contestable-to know it.
with exceptions as far as the letters are concerned: for example.
passages that implicate certain living people have still been deleted
from a few letters, but the living quickly disappear. Already, (he
ordeal of the war and the persecution, to an extent that it is not
necessary ro recall, has wiped out witnesses and the consideration
that they are due; it has also wiped OUt. it is true, the testimonie
and destroyed a large part of the work, already in part destroyed by
Kafka during his lifetime, and then. after his death, according t
the instruClions he had lef, by Dora Diamant, especially with
regard to the Diar. (The Diar is missing precisely for the last pan
of his life, from 1923 on, when he found, as we are told, peace and
reconciliation. This is what we are told, but we do nor know it, and
when, in reading his Diar, we see JUSt how difereOlly he judged
hirsdf from the way his friends and those who were close 10 him
judged him, we mllst recognize that the meaning of the cvenrs that
marked the coming of his end remain for us, for the moment,
unknown.)
But who is Kafka? While he lgan 10 bring to light the manu
Ka and Brd
+J
crip
tS of his friend according his means, and because fame. with
itS m
isundersmndings and flsifcations," was already trying 1
decipher the mysterious face. Brod decided to write a book that
II'ould better explain him, a biographical book, but also a book of
int
erpretation and commentary in which he attempted to bring the
".ork inro the proper light, the light in which he wanted it to be
seen.1 A book of great iOlerest bur, concerning the events in Kafka's
existence. necessarily reserved, a linle disorganized, and allusive
in short, incomplete, because a single witness does not know
everything. Brod, while recognizing the great complexiry and [he
central mystery of genius that inhabited his friend, always pro
tested against the very dark colors in which posterity, with a black
preference, immediately pleased to see this fgure and this
work. Kafka's other friends have, moreover, m recogniu, loved,
and celebrated the living force in him, the gaiery, the youthfulness
of a sensitive and wonderfully just spirit. "Was Kafka in perfect
despair?" Felix Welrsch asks himself, and answers: "It is very hard,
even impossible, to see this man who was open to all impressions
and whose eyes gave forth such a succoring light as someone in
despair." `Ingeneral," says Brad, "all those who have created an
image of Kafka for themselves on the basis of his writings have
before their eyes a tOnaliry that is essentially darker than those who
knew him personally." This is why the biographer acknowledges
having accumulated in his biography all of the features capable of
correcting this conventional picture. Important testimony that
l'Verything indeed confrms. But should one forget the other fce,
"the man with tOO big a shadow," forget his profound sadness, his
SOlitude, his estrangement from the world, his moments of indif
ference and coldness, his anguish, his obscure torments. the strug
glcs that brought him 10 the edge of distraction (especially in t922
in
Spindlermuhle)? Who knew Kafka? Why is it. then, that the
latter rejects. in advance, his friends' judgments of him?! Why are
those who knew him, when they pass from the memory of a young
man. sensitive and gay. to the work-novels and writings-sur
prised to pass into a nocturnal world, a world of cold tOrment, a
world not without light but in which light blinds at the same time
2
44 K nnd Brod
that
,
it illuminatcs; gives hope, but makes hope the shadow
0(
anguish and despair? Why is it (hat he who, in his work, P
as
from the
?
bjec(ivi
of the na
.
rrati
k.
The
spirit of the work has dLsappeared from Brods play as the
result of a spell; with the show of pathos and of humaniry. e
:
ery
thin
g that makes it so moving and. in efect, s human as disap
peared. but the emotion is one that slips away, r
nd a
certain cold indifference. in connection with the loss of all lOner
life. [he initial wound without which the search that animates the
work cannot be understood.
In such a way [hat everything that could be "positive" in the
work has disappeared from Brod's play-not only the background
o|the Castle. which no longer ofers even direction to the efons of
;|c exhausted vagabond (the Castle apars. at most, as an arbi
trary concentration of power, a quintessence of authority and
meanness. under the inRuence and fear of which the larvae of the
village develop their own linle tyrannical activities)-and further
more. everything has been lost that Tdiates strength on the level of
powerlessness, a concern for (he true in the depths of distraction,
an inAexible determination at the heart of the loss of self, a dar
iry in [he empry and vague night in which everything already
disappears.
Where does this come from? Why is it that Brod. who is so
convinced of the non nihilistic meaning of the work. has empha
sized only it surfcially unhappy side?
One of his errors is to have delibeTtely-oUl of a concern for
humanity and actualiry-reduced the myth of Tht Ctt ro the
Story of a man who searches in vain, in a foreign country, for
employment and the happiness of a stable fmily. Is this what K.
Wants? No doubt, but he wants it with a will that is not content
with it. an avid and dissatisfed will that always exceeds the goal and
always reaches beyond. To misjudge the nature of his "will," this
need ro wander, which is extreme in him. is ro put oneself in the
lfa and Brd
position of nm undemanding anything abom even the surfcial
intrigue of the narrarive. For, otherwise, how can one explain that
every time K. achieves a reult, he pushes it away rather than hold
on to it? No sooner does he obtain a room at the village inn than he
wants to stay at the Herrenhof. No sooner does he obtain a small
job at the school than he neglects i t and is disdainf!of
hit
employers. The hotelkeeper ofers him her intervention, he U
it; the mayor promises him his ki nd support, he does not want iL
He has Frieda, but he also wants Olga, Amalia, Hans's mother. And
even at the end, when he receives an unexpected interview from a
secretary, Burgel, during the course of which rhe latter gives him
the keys to the kingdom, an hour of grace when "everything q
possible," the slumber into which he then slips and which caUSQ
him to pass up this ofer is perhaps JUSt another form of the
dissatisfaction that always pushes him to go further, never to
yes, to keep a parr of himself in reserve, secret, thar no visible
promise can satisf.
In a smalJ frment that does nor belong to the edition of
Tu Clk. bur obviously refers to the same theme, Kafka write:
"When you want to be introduced into a new family, you seek oura
common acquaintance and you ask this person to intercede on
your behalf. If you do nor fnd this person, you are patient and you
wait for a favorable occasion. In the small country where we live.
this occasion cannot to present irself. If one is nm found roday.
it will be found tomorrow, and if it is not found at m,you will not
threaten the columns of the world for so lirrle. If the fmily c
manage without you, you kmanage without the family JUSt a
well. This is obvious; however, K. does not understand it. He has
gotten it into his head recently to make his way into the fmily of
the master of our estate, bmhe refses fO employ the ways oflife in
society, he wants to reach it directly. Perhaps the usual way seems
tOO tedious fO him, and [his is right, bm the path that he is trying to
follow is impossible. I is not thar I want thus to overstate the
importance of our master. An intelligent, industrious, honorable
man, but nothing more. What is it thai K. wants of him? P
employment on the cstate? No, he does not want this, he himself
Ka and Br 24
9
properry and leads a life free of such worries. Is it that he love
h:
daughter? No, no, we cannot suspect him of this."
K.. tOO. wants to reach the goal-which is neither the em
loym
em mat he nonetheless desires nor Frieda, to whom e is
;u<chcd-he wants to reach it wilhom passing through [h
tedlO
aths of patience and measured sociability, but dinct/, an tmposs\
le path, with which he is nor familiar and, furthermore, which he
only senses. a feeling that leads him to refuse all other routes. Is
this, then, his error. a roman ric passion for the absolute? In one
sense, yes; but, in another sense, nor at all. If K. chooses the
impossible, it is because he was excluded fromeveing
ible
a the result of an initial decision. Ifhe cannot make hIS way Mthe
world, or employ, as he would like. the normal means of life in
society, it is because he has been banished fromthe world, fromhis
world, condemned to the absence of world, doomed [Q exile in
which there is no real dwelling place. Towander, this is his law. His
dissatisfction is the very movemem of this error, it is its exprcs
sion, its reAection; it is itself thus essentially flse; yet, nonetheless.
always [ move further in the direction of error is the only hope
thai is lef him, the only truth that he must not betray and to which
he remains faithful with a rseveran that makes him thus the
hero of inAexible obstinacy.
Is he right? Is he wrong? He cannot know, and we do not know.
But he suspecu that all the opportunitia granted him are tempra
tions fromwhich he must escape. especially the more advamageous
they are: questionable is the promise of rhe hotelkeeper; malicious,
the benevolence of the mayor; rhe small job that he is ofered, a
chain destined [Q captivate him. And is Frieda's afction sincere?'
Is it not rhe mirage of his half-slumber. the grace that is ofered him
through the interstices of rhe law by the smiling secretary Burgel?"
All of this is appealing, fascinating, and true, but true as an image
can be true. illusory as an image would be, were one to become
attached to it with [he exclusive devotion from which rhe most
serious of perversions, idolatry. arises.
K. senses [hat everything outside of himself-himself projected
on the outside-is bur an image. He knows [hat one cannot trUSt
250 Kja And Brad
images nor become arrached 0 them. He is strong with a power
of
c
ants to
.
g
straight ( the goal. without passing through the
mu=rmedlafles, succeeds only in having the intermediaries as goal
and in making them not what leads ro the goal bur what prevents
one fro
reaching it: obstacles infnitely reRected and multiplied.
Would It thus sufce to be good. patient. ro follow the advice of the
ho[elkper. to remain beside Frieda with a peaceful and amiable
heart? No. fr of this is but image. emptiness. the unhappiness
of the imaginary. loathsome phantasms born of the loss of self and
a authentic reality.
K. 's death seems to be me necessary term of this progression in
which impatience pushes him ro the point of uner exhaustion. In
this sense, the fatigue from which h intimately sufered
fatigue. coldness of the soul no less than of the body-is one of the
forces of the intrigue and. more precisely, one of the dimensions of
the space in which the hero of ThCr lives, in a place where he
can only wander, far from conditions of true rcst. This fatigue
thar the actor, tOO vigorous for the role, tried to represent in the
play with a spectacular exhaustion does not, however. signify the
fatal slip toward failure. It is itself enigmatic. Certainly, K. tires
himself out because he goes back and fOfth without prudence and
withour patience. spending himself when he should 10t, in ae
tivi[ies destined not ro succeed, and having no strength left when
he needs it to succeed. This fatigue, the efect of a dissatisfaction
Kafa and Brad
hat
refuses everything, the cause of the stupor that accepts every
t
hing, is thus another form of the bad infnity to which the
: .. a
nderer is doomed. A sterile faligue, which is such that one
can
not rcst from it. such that it d not even lead to the rest tat is
death, ou for the one who, iLke K., even exhausted, contLnucs
to act. the little strength that would be nccessary to fnd the end is
lacking.
However, at the same time, this lassitude, which is secret, more
O\er; which he does not display; which, on the contrary, he dis
simulates through the gift of discretion that belongs to him
would it not be, as well as the sign of his condemnation, the way of
his salvation. the approach of the perfection of silence, the gende
and insensible slope toward deep sleep, the symbol of unity? It is at
the moment at which he is exhausted that he has, with the benevo
lent secretary, the meeting during the course of which it seems he
will be able to reach the goal. This takes place in the night. like a
interviews that come ftom over there. Night is needed there, the
deceptive night. the succoring night in which mysterious gift are
enveloped in oblivion. What is it. therefore, in this case? Is it
because of the exhaustion of ftigue that he misses the wondrous
occasion? Or is it because of the solace and the grace of slumber
that he is able to approach it? No doubt, both one and the other.
He sleeps. bur not deeply enough; it is not yet the pure, the true
sleep. One must sleep. "Sleep is what is most innocent and a man
without sleep what is most guilty." One must sleep. JUSt as one
must die, not this unfulflled and unreal death with which we are
content in our everyday lassitude, but another death, unknown,
invisible. unnamed, and furthermore inaccessible. to which it may
be that K. arrives, bur not within the limits of the book: in [he
silence of the absence of book, which, through a supplementary
punishment, Brod's play has unfortunately come to disturb.
27 The Last
Word
Because they made up the last volume of the Comp/u Won
when they were published in [he German edition (in 1958), the Ln.
Un seemed to constimte Kafka's last word. We were prepared to ex
pect from these ultimate writings (he fnal revelation that, as on the
day of the Last Judgmem, would give form to the enigma. Whence
OUf naively anxious reading. childishly disappointed. This is b
cause there is no Lst Judgmenr. no more than there is an end. The
strange nature of posthumous publications is to be inexhaustible.
Although the war, the persecutions, [he changes in regime have
made a void around him, detroying witnesses and testimonie,
there will cerrainly be, and will hardly cease to be, many docu
menlS, perhaps imponam one, perhaps insignifcant ones. In
quiries have been made about his childhood and his adolescence,
the results of which have begun [Q be collected. I n a certain way,
the biography remains to be written. I
Until now, what we know is
the fce and the life as Max Brad knew them; and this knowledge is
irreplaceable. The letters only confrm rhis to us: [Q no other was he
so dose, with such a lasting trust-I will not say through an
impulse of his nature. "Max and I {arel radically diferent." But it is
this diference that makes their friendship a strong and virile
understanding; even if Kafka admires Brod for his power of life, his
ability [Q act, his force as a writer, if Kafka thus purs Brod fr above
himself, he never humbles himself before him and in relation (
T" l, Wor
h
with the passion for self-abasement that he displays with
1
othe
rs. Bur precisely he was other with others; and with himself,
what was he? It is rhis invisible self that, in staying hidden from s.
rem
ains the object of our naive curiosity and our search, nnly
disa
ppointed.
The leners cover (Wenty years of his life. If they reveal to us less
chan we had hoped, there are several grounds for this. First
f al
.
l,
h,y were already partially known, because Brad used thcm hIS
,
h
.
biography and his other books. Furthermore, ey remal
very
fragmentary, such publications being always palllflly subject to
(he chance that preserves and destroys without reason
.
Thus we
have almoSt nothing ofthe letters exchanged with his family. From
his adolescence a little of the passionate correspondence was saved:
with his fellow student, Oskar Pollak, and then slightly later with a
young lady, Hedwige W., encountered during a st
y in Mora
ia
.
in
1907, the early stages of his tormented relations WIth the femllltne
world. Latet, the essemiai part is made up of the letters to Brod,
Weltsch, O. Baum, the frends of a lifetime (almost nothing of
che Icners to Werfel); still later, to R. Klopstock, the young medical
s1Udent, who. with Dora Diamant, was present at his end. A
chance woilld have it, the sparsest years of the Diar are the richest
in important letters: we now have a more precise account of te
stay in Zurau when the tuberculosis declared itself. of the stays W
Madiary, in Plana, and the years 192J, 1922, when he writes, rh
n
abandons T" Lm: certain allusions become dearer, certalll
obscuritie deepen; we feel ourselves confrmed in the mysterious
nature of certain moments. We have a better sense of the curve of
this rare existence; the negative side of the revelation is morc
pcrceptible to us.
Nothing, however, that by force of the unexpected
.
could be
compared with rhe Icncrs to Milcna.2 Also nothing that gIves us thc
feeling ofbcing dosc to crossing rhe threshold, as it happens in the
Dllry. This is because, as dose as he is [Q his corresponents,
rcvcaling to them what is most sccret to hin
.
l' spc
king o
.
r hImself
with ruthless candor, he maintains an inscnSlblc dIstance mtended
to spare both their truth and his own. "You must not say that you
'54
Th Lt \rd
understand me," he repeats to Brad. His friends are always ready.
convinced of his admirable pcrsonaliry, to represent (Q him all thl
reasons he has not to despair. But it is prccisely in this that [h
drive him to despair: nOt rhal he should be happy only with
complete unhappiness. but because any inlerprerarion that is too
fvorable by those who know him the best, by showing the inacces_
sible nature of the illness (unhappiness and pain) rhat i,..pecifc to
him, also shows the depth of this sickness and the poorwonh of the
solutions with which one soothes him. "What you say about my
case is right; from the outside, it presents itself thus; if is a consola_
tion, but, when the moment comes, also a despair; for it shows that
nothing of these dreadfl things shows through and that evry
thing lies hidden in me. This obscurity that I alone see, and I
myself do not always see it; already the day afer that particular day
I could no longer see it. But I know it is there and that it waits
for me."
One must add that Kafka always had an extreme respect for the
truth of O[hers; he kps them at as much of a distance as possible
from the dark experience in which he fnds himself and, in the
advice he gives them, in the judgments he forms about them, JUSt as
in the radiance of his light gaiery, persuades them of an opening
Onto hope, which he immediately impugns as soon as anyone
wants to make him participate in it. In a late lener to Klops[Qck
(July 1922), I fnd these lines: "If we were on the right path, to
renounce would a despair without limits, but because we are on
a path that only leads us to a second, and the laner to a third, and so
forth; because the [rue way will not come forth for a very long time,
and perhaps never; because, therefore, we arc completely given over
10 uncertainry, but also to an inconceivably beautiful diversity, rhe
fulfllment of hopes . . . remains the always unexpected miracle, yet
always possible on the other hand." Hr we have, rarely described
by Kafka, Ihe positive aspeCt of a sarch that appears only negative
(because the [rue way, which is unique, is 110[ given to us; there is
not one path but an infnite number, and we have something rhat is
infinitely varied and scintillating, Ihe incomparably beautiful scin
tillation of reRections, which brings us an aesthetic joy); howevr, I
Th r Word
do
ubt he would have accepted to have this consolation, which he
sh
ares with his discouraged friend. applied 10 himself Anmher
examp
le. Brod always called anent ion to this aphorism as the
centef of Kaf's faith: "Theoretically, there is a perfect possibiliry
of earthly happiness: to believe in the indestructible in itself with
out
striving to reach it." Bur we see. in a lener. that this thought
refers 10 one of Ma Brod's essays (Pagani sm, Christianit, Jfld
iJm):
"Perhaps one would come closest to your conception were
one to say: 'There is theoretically a perfect possibiliry of earthly
happiness: to bcliev in what is decidedly divine without striving t
reach it.' This possibility ofhappincss is as impious as it is inacces
sible. but th Grks perhaps cam clor to it than anyone else."
Would this then bKafka's truth, a truth proper to the Greeks? And
what is more, a "blasphmy"? This commentary would sufce
recall us t a prudence, which the generous optimism of Brod
sometimes mad him forget.
Kafka's life was an obscur fght. protected by obscurity, but we
dearly sec its four aspects, represemd by his relation with his
father, with literature. with the feminine world, and these three
forms of struggle can be retranslated more profoundly to give form
to the spiritual fght. Naturally. with each of thes relations. all the
others are called into question. The crisis is always total. Each
episode says everything and withholds everything. Th concern of
his body is the concern of his emire being. The insomnia, this
dramatic difculty of each of his nights. expresses all of his dif
cultics. The only interest in constructing his biography around
these four more or less hidden cemers would be, therefore, to make
us perceiv it momentarily according to the greater or lesser insight
that we have into each of these enigmas, the quality of which is very
different. We would observe. for example. that th problem of the
father with which he is occupied in such an obvious manner, and
although it develops along with the three others {we notice imme
<liately how he complicates the problem of his marriage to an
extreme, how he forms one of the obsessive themes of his writings.
Tu Lt Wr
how fnally he fnds himself implicated in all of the qucstions
of
Judaism), is probably the least burdened with secrets and the one
that accompanies him the least far. The most far-reaching is the
problem of the writer. The most dramatic. the one that provokQ
him at his darkesl moments is that of feminine relationships. T
most obscure. that of the spiritual world, necessarily hidden. g
cause it is shielded from any direct grasp: "I cannot speak of t
essential; it is, even for me, enclosed within the obscurity of m
y
breast: (here it lies next to the illness. on the same common bed."
The leners bring us, if not insights. at least the poisibility of a
more prudent and more nuanced understanding of each of the
forms of himself. Above all. we have a better sense of the movemem
of this entire life, a life that, although it is rooted from youth in
extreme afrmations from which he no longer seems to depart. w
not cease to transform itself It is this movement in the immobile
that makes it rich and enigmatic. The words of adolescence, those
of maturity may appear superimposed on one another; they are m
same. they are very diferent, and yet not different. but somehow
the echo of themselves at more or less profound levels of @m
menr; and at rhe same time. rhe becoming is not purely internal;
hiswry is important, a history that. on the one hand, is his personal
history. his encounter with Felice Bauer, Julie Wohrek, Milena,
Dora Diamant, with his fmily, with the countryside at Ziirau,
books, illness, but that, on the orher hand, is the history of the
world, of which the voiceles rumblings have not ceased to precede
him through the tragic problems of Judaism.
Of course, this history and this movement come together in the
movement of literary creation, which will always remain the truth
loward which he tends. Until the end. he will remain a writer. On
his deathbed, deprived of strength. voice, breath, he is still correct
ing the proofs of one of his books ( T" Hlmg" Arti st). Because he
cannot speak, he nores on a piece of paper for the beneft of his
companions: "Now I am going w read them. This will perhaps
agitate me wo much; yet I must live it one more time." And
Klopstock reports thar when the reading was fnished. tears rolled
down his face for a long time. "II was the frst time that I saw h
Th Lt Wr
'57
jlway
s so master of himself, let himself be overcome by such a
vemem of emotion." The only severe and almosr ferce letter
nP
d
1
finds irs place in the collection he wrote to prOtect liS so Itu e
t lat
. . .
as a
writer. 1 will quote it in order w show that 1 spite of hiS
\\.ondcrful alentiveness to others, there is a limit that he cannot
aUow to be crossed. Klopstock, th young medical student whose
acquaintance he had mad in Madiary and who
"
' he likes, m
.
or
:
f
the writing, I know its value all tOO well, but rather with the value It
has for m. And this is why. in a trembling of anguish, I protect
writing fromanything that might disturb it, and not only writing
but the solitude that belongs to it. And when I told you yesterday
that you should not come Sunday night, but only Monday and
when rwice you asked: 'So, nOt in the evening?' and I had to answer
you, at least the second time: 'Get some rcst,' this was a perfect lie,
for my only aim w to be alone."
On the cemral problem of the necessity of writing, which is both
a fatality and a threat, we fnd in the Lur twO of the most
important texts. They are dated July and September :2I. Impor
lant in themselves, they are also important because they reveal to us
the circumstances in which Tu Ctlwas abandoned. I will pardy
summarize and pardy quote these texts, which arc rather long. I
will begin with the more recent: "I have been here [in Plana] for a
week once again; I did not spend it gaily, for I had 10 abandon,
manifestly for ever, the story of the Castle; the latter could not be
Tu lt \r
taken up again because of the 'collapse' that began a week
WOft
the trip to Prague. although what I have writren in Plana is not a
bad as what you know." Ktells how his sister Ortla (who lived
with him) was soon obliged [Q retur to Prague for good and how
the servant had ofered to prepare his meals for him so that he
might continue his stay in a place he liked so much. He accepL.
everything is decided: "I will stay the winter. I am still thankfl."
"Immediately, I w barely at the rop of the stairs leading to my
room when the 'collapse' occurred . . . . I need not describe the
external side of such a state, you T also familiar with it, but you
must think of what is most etreme in your experience . . . . Above
all, I know that I will not be able [Q sleep. The force of sleep has
been gnawed away t its very center. I already anticipate the
insomnia, I sufer as if/ast night had already been without sleep. I
go out, I cannot think of anything else, nothing occupies me but a
monstrous anguish and, at dearer moments, the anguish of this
anguish . . . . What can this be? far as I am able to penetrate it
with thought, there is only one thing. You say that I must meet
with bigger subjects. This is right . . . bm I also fnd myself tried by
my mouse hole. And this one thing is: fear of complete solitude.
Were I to remain here alone, I would be fully solitary. I would not
be able to speak [Q people, and were 1 10 do it, the solitude would
only be increased. And I know, at least in an approximate way, the
frights of solitude-not so much of solitary solitude but of the
solitude among men, the frst limes in Mar/iary or a few days in
Spindlermiihle. but I do not ^ to speak of this. How is it with
solitude? Solitude is my one goal, my greatest templation, my
possibility, and, admitting that one could say that I have orga.
niled' my life, then it has been organized in order that solitude be
at home in it. And, in spite of this, anguish before what I love A
much."
This desire, which is anguish-anguish before solitude when jt is
there, anguish when it is not there, anguish again before any
compromise solucion-this, it seems, is whal we understand well,
but let us not be in a hurry [Q understand. In a slightly earlier lener,
Tb um Word
Kafk
a clarifes, but in a more enigmatic way, the entanglement of
all
of these relations. Once again il is a maner of a serious crisis. He
wa
supposed ro go ro Georgental to stay with his friend Baum. He
had just written to him to say that he accepted. Everything pleased
him abom his trip, or at least he did not b any reasonable
objeclion to it. And yet "the collapse," the infnite
.
anguish,
.
the
night without sleep. " While these thoughts were commg and gomg
between my pained temples during this night without sleep, I was
again conscious of what I had almost forgotten in the past
lher
peaceful days: the weak or even inexistent ground upon whICh I
live, above the darkness from which the tenebrous power emerges
its whim, a power lhat, without regard for my stuttering, de
stroys my life. Writing sustains me, but would it not be more
correct to say that writing maintains this SOrt of life? Naturly I do
not wish to claim that my life is better when I am not writing. It is
much worse, altogether unbearable, and can only lead to madness.
And yet, it is true, it is incumbent on me even if, as is the case at the
moment, J am not writing, to be a writer nonetheless; and a writer
who docs not write is all the same a monstrosity that clls forth
madness. But what is it. then. about this, being a writer? Writing is
a charming and wonderful reward, but who is paying us for what?
AI night, with the clarity of a child's lessons, I saw distinctly lhat it
was the salary for services rendered to (he demon. This descent into
the dark powers, this unleashing of spiriu normally under control,
Ihese dubious embraces and everything that can happen down
Ihere, about which one remembers nothing when one writes stOries
in the light of the sun. Perhaps there is another way of writing, I
know only this one; in the night. when the anguish docs nOt let me
sleep, I know only this one. And what is diabolical in it seems very
dear to me. It is vanity and concupiscence that ceaselessly circle
around my person or around an unknown person and derive
pleasure from it, in a movelllent that only multiplies itself, a real
solar system of vanity. The wish of {he naive man: 'I would like to
die and see how I will be mourned,' stich a writer constandy
accomplishes ii, he dies (or he docs not live) and constandy mourns
,60 Th Lt Wr
himself. Whence his terrible anguish before dCalh, which doa not
necessarily express itself as the hof dying, but also manifests irsdf
in the fear of change, fear of going to GeorgeoraL"
But why this fear of dying? b distinguishes rwo series of
reasons that. he says, may perhaps become confused. And, in efttt
they seem to come down t this thought: the writer is afr.id
of
dying because he has not yet lived, and nOi only because he has
missed OUt on the happiness of living with a woman, children,
fortune. bur because, instead of entering the house, he must
content with admiring it from the ouuide and crowning its roof
tOp. excluded fromthe pleasure ofthings bya contemplation that is
nOt possession. Here is this writer's kind of interior monologue;
"What I played at will really happen. I did not redeem mysdf
through writing. I have spent my life dying, and what is more, I
will really die. My life has been gender than others' lives, rydeath
will only be more terrible. Narurally, the writer that is in me will
die immediately, forsuch a fgure has no ground, no realiry, it is not
even made of dust; this fgure is possible, only a littlc possible in
earthly life at its most senseless, and is but a consuucrion of
concupiscence. Such is the writer. But I mysdf cannot continue to
live, because I havc not lived, I have remained clay, and the spark
that I could not rum into fre. J have only madc it serve to
illuminate my corpse." "It will b a strangc burial," adds Kafa:
"the writcr. something that does not aist, conveys the old corpse,
thc lifelong corpse to the grave. I am writer enough to want to
enjoy this flly in the full oblivion of myself-and not with lu
cidiry; the oblivion of self is [he frst condition of thc writer-or,
what amounts to the same, t want to tell it; bm this will no longer
happen. And why only speak of true death? In life, it is the same
thing . . . . " A little frther on, Kafka makcs thcse twO remarks: ")
must add that in my fear of traveling the thought that for several
days I witl be separated from my writing desk plays a role. This
ridiculous thought is in realiry the only legitimate one, for the
existence of the writer really depends on his table, he does not have
the right to move from it if he wants t escape madness. he must
hang on to it with his te(th. The defnition of the writer, of such a
Tlu Lt Wr
wrilcr. and the aplanation of the action he exerls (if there is one):
hc is the scapegoat ofhumaniry, he allows men to take pleasure in a
sin
innocently, almost innocently."
Without claiming to givc a commcntary on thcse lines, what one
(an nonetheless remark is that the afrmations that follow one
another here are not on the same level. There are clear afrma
tions: to write is [Q put oneself outside life, it is to take pleasure in
one's death through an imposture that will become a frightening
realiry; the poor, real ego to whom one ofers the prospeCt of a short
Hip is literally beaten, tormented. and thrashed by the devil;
henceforth, the world is forbidden, life is impossible. solitude
inevitable: "With this. it is decided th.u I no longer have the right
to leave Bohemia, soon ) will have to limir myself to Prague. then to
my room, then to my bcd. then to a ccrtain position of my body,
then to nothing. Perhaps then I would frcdy be abIc to renouncc
the happiness of writing-yes, frcely and with rejoicing, this is what
is important." Thc anguish of being alonc herc is almost captured.
Writing is thus a bad activiry, but not only for these rcasons: also for
others more obscurc. For writing is a nocturnal thing; it is to
abandon oneself to the dark powcrs, [0 descend imo thc regions
down there, give oncself to impure cmbrace. AJI thcc apres
sions havc an immediate truth for Kafka. Thcy kc thc tencbrous
fscination, the dark glow of dcsire, the passion of what is un
leashed in the night in which evcrything cnds with radical death.
And what docs he mean by "thc forces down therc"? Wc do not
know. Howevcr, increasingly hc will associate words and the use of
words with roc approach of a spcctral unreality, grcedy for living
things and capable of exhausting any truth. This is why during his
lasr year hc will almoSt ccase to writc, even to his friends, and ave
all he will cease to spcak of himself: "It is true, I am not writing
anything, but not because ) have something to hide (insofar as this
is not my life's vocation) . . . . Above all, as I have made it a law for
myself these last years for strategic reasons. I do not have
onf
dence either in words or in Icttcrs, neither in my words nor 1my
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letters; I am pcrfecdy willing 10 share my hear! with men but
nOI
with the specters [hal play with words and read letters, longues
hanging out."
The conclusion should thus calegorically the following: no
longer to write. Vel it is altogether diferenl (and for twenry years it
did nor vary): "Writing is for me what is most necessary and most
important." And he did nor fil to make the reasons for this
necessity known to us, and even t repeat Ihem to us in his
diferenl leners: thar ifhe did nor write, he would go mad. Writing
is madness, is his madness, bm this madness is his reason. It is his
damnation, but a damnation that is his only way t salvation (if
there remains one for him). Berween the rwo certainties of losing
himseif-Iosl if he writes, lost if he does nor write-he tries to
create a passage for himself, and {his by way of writing again, but a
writing that invokes the specters in the hope of warding them of.
In the lener to Brod in which he speaks in such a d(squieting
manner about his words being i n the hands of ghosrs,4 he adds the
following in passing, which gready clarifes for us perhaps his hopes
as a writer: "It sometimes seems to me that the essence of an, the
existence of art, can be explained only by such 'strategic consider.
ations': to make possible a true speech from man to man."s
I would like to translate the impression left by the leners written
during the lasr year. h, whom the least move disrupted, made
the decision t live in Berlin, far from his family and friends, with
Dora Diamant, whose acquaintance he had made in Murin in July
1923 (he died in June 1924; rhus he lived with her for only a few
months). Until then, it indeed seemed that, although ill, he w not
yet dangerously ill. The illness was worsening, bur slowly. It is [he
stay in Berlin that proved f[al to him. The harsh winter, the un
fvorable c1imale, the precarious conditions of existence. the scar
city of this big city starved and agitated by civil war represented a
threat that he could only be very conscious of, but from which,
despite the entreaties of his friends, he refused 10 remove himself; it
rook the inlervention of his unde, "the COUntry doctor," 10 make
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him decide to change residences several weeks before the tubercular
laryn
gitis declares itself. This indiference 10 his health is a new
henomenon. It is also marked by this feature: whereas until 1923
is least discomforrs occupy him greatly, he almost refrains from
speaking about them as soon as the si
.
ruation t0m
more se
rious; and it is with a remarkable sobtlery and discretion rhat he
makes his condition known, henceforth disastrous: "If one comes
to terms with the tubercular laryngitis. my condition is tolerable, I
can swallow again, for the time being." And in the last sentences of
his last lener 1 Brod, afer the latter had come from Prague to see
him one last time, he is anxious to point out that {here are srill
joyful moments: "Aside from all these subjects of complaint, there
are also naturally several minuscule gaieties, but it is impossible t
describe them or they have to be saved for a visit like the one that
was so miserably spoiled by me. Goodbye. Thank you for every
thing." This refusal ro complain, [he silence about himself that, in
their reticence, almost all the Berlin letters make sensible, is the
only sign of the change that has occurred in his life. A silence that is
tense, watched over, voluntary. "There is little to tell about me, a
life somewhat in the shadows; he who does not see it directly will
notice nothing about ir." "In realiry it is very calm around me,
never too m. moreover." And to Milena: "My state ofheahh is
nor essentially diferent from what it was in Prague. This is all. I
will not venture 10 say more; what is said is already too much."
One cn interpret this silence.6 Does he refuse to speak of
himself because his fate is tOO close to rhe fate of another being of
whom he does not consent to speak? Does he want henceforth to
keep his secret for Ihis being? Or else, with grealer force and
coherence than ever before, has he closed himselfin on his solitude,
become even for himself the "man buril. - in himself, imprisoned
within himsdfby foreign locks" of whom he speaks to Klopstock in
1922? Does he truly diStrust written words and the ghostly way of
communicating that wears away truth by entrusting it to deceitful
and unfaithfl messengers? This last point. though it does nor
explain everything, is certain. Even on ,he subject of his litcrary
writings, he remarked that fction shows reality the way. Thus, in
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the COlllll Doclor, in which he describes a strange bloody wound.
he sees the anticipation of his hemopryses, which occur shortly
thereafter. An even more impressive coincidence when, in March
1924, the terminal phase of the illness bq;ins with an extinction of
the voice: he has JUSt completed his narrativeJosph;,u, in which he
writes about a singing mouse who believes herself blessed with an
exceptional gif for chirping and whistling, because she is no longer
cpable of the means of expression that are in by her prople. He
then says to Klopstock: "I think I undertook my research on animal
chirping at the right momenr." How not to evoke here his remark
about the anguishing discovery of the writer when the latter, at the
last moment, sees himself taken at his word by reality? "What I
played at will really happen." Was it like this for him? The play of
spttCh coming visibly and painfully to its end, did he refuse to
speak funher of it, henceforth applying all of his attention to
greeting in silence the silent approach of the event? Yet this distrust
of words does not prevent him from pursuing his task of writing to
the end. Much l the contrary, no longer able to speak, he is
permitted only to write, and rarely has agony been so written as his.
Aif death. with the humor that is particular to it, had thus sought
to warn him that it was preparing to change him enrirely into a
writer-"something that does not exist."7
28 The Very
Last Word
Commenting one day on Kafka's letters that had JUSt appeared in
their original text, I said that the Complm Works would always be
missing a laS( volume because the nature of posthumous publica
lions w to make them inexhaustible. Why? FirS( of all, for reasons
of faCt. Missing at the time were the leners to his 6anc. Felice
Bauer, letters that a difcult negotiation had momentarily excluded
from the edidon. Information that w capable of shedding more
lighl on the encounter with Dora Diamant, the en
ounter
.
,
ith
which his life ended, w also missing and no doubt WII! be missing
for a long time, not to say forever. (By this I mean not the outside
testimonies that can still be gathered, but Kafka's judgment, his
speech, the notes of his Dinr.)
This commentary is approximately len years old.
I
Now (since
October 1967) that we are in possesion of all of the letters to
Felice B., wim few exceptions, including those to Grete Bloch, the
enigmatic friend of the couple (that is to say. a volume of more than
700 pages); now that we have in hand the documents collected
slowly and conscientiously by Klaus Wagenbach (the frst volume
of the biogt3phy he is working on appeared in 1958 and was
translated in the Mercure de France Editions; then there is the
Knfn-Symposillmedited by him with several amhors.
hich
.
brings
together documents on diverse and unelucidated P01Os, 10 par
ticular a chronolog of the texts. as well as a long and Imporrant
266
n Lt Word
icner, addressed to lhe sister of Julie Wohryzeck. the second fan_
ccc; and fnally there is the little book from Rowohlt Editions.
a
SOrt of Kafka by K(and by WagenbachJ. the restricted form
of
which makes it easier for us to recognize what is known, what is not
known, or what is nOt yet known of a life henceforth too manifes
d,
we are closer, but also almost deAected from asking the true que
tions, because we no longer have the strength [0 let them come to
us in their innocence. to hold them away from the biographical
reports thaI attract and engulf them by giving [hem fuel.
t. lI us try to bring tOgether several fearures in order to h
ourselves of them. Afer reading the letters as if in a single move
ment, we should perhaps ask ourselves if they teach us anything
new, other than the always hidden becoming of what is said in the
hope of being clear. First, what is confrmed: every time Kafka
enters into a relation with the feminine world, it is a son of grace,
levity, a seductive and seducing temptation. His frst letters are
borne by a desire to charm, which charms. Even when he writes to
Mlle. Bloch, of whom, at least in the beginning, he asks for nothing
except a friendly sympathy or a conract in confdence, he docs not
fil to write in such a way that the young lady, still very young, will
be visibly troubled by them to the point. voluntarily, involuntarily,
of contributing to the rupture of the frst engagement, and then
later, of perhaps inventing a strange episode, an imaginary child
that she attributes to Kafka. (Lt us JUSt say that this is a hypotheti.
cal episode that K. Wagenbach makes the mistake of transforming
into a certainty when it remains at the limit of the probable
improbable.)
Even if the difculries come very quickly-and in some scn
almost immediately-they are ar frst part of a movement of young
passion, which does not lack a certain happiness. It is during this
relatively happy period (with utterly black moments) that he writes
T" MtmoTp"osis (of this narrative he says t . "It is such an
exceptionally repulsive story that I am putting it aside to rest and
think of you: it is more than half fnished. and on the whole. I am
the end of the chapler.
Thi Vor Lt Word
not displeased with it. but it is infnitely repulsive, and. you see.
such things come from the same hean in which you reside and
which you tolerate as your residence"). He mct her. who will rwice
c his fancee, in August 1912 (in Prague. at his friend Max Brad's
parents' house); he writes t her a few wks later (end of Septem
ber) and soon thereafter almost every day or several times a day. It is
at the beginning of 1913 thar rdations all of a sudden become more
gloomy. On several occasions. Kafka confrms this change: "I
diferent from the way I was in the frst months of our correspon
dence; this ts nor a new transformation, but rather a rdapse and
one that threatens to last. . . . 1 w diferent in the beginning, you
will concede this; it is not anything that could not be repaired
except that it is not a human development that has led me from
here to there, but. on the contrary, 1 have been entirely transported
back onto my oid path and between roads there is no direct
connection, nO[ even a ziglg communication, but a sad path
through the air followed by specters." Why? To this question we
can give only inconclusive answers.
It is approximately at this lime thar, prompted by his feeling
and no doubt solicited by his friend, Kafka considers traveling to
Berlin. afer evading an encoumer at Christmas: a trip that appeals
to him, repels him, and will nonetheless take place on March 23
Almost all the encoumers will be disappointing. Reading the leners
(we do not know those or the young lady except indirectly), we
have the feeling that Fdice appears more reserved than afectionate
and, as socially vivacious as she proves to be when she is with
others, she seems lifeless, distraught, or tired when, rarely, they
happen to be alone. This, at least. is Kafka's impression, as he
formulates it to her (bm that should not be accepted tOO readily;
JUSt as when he declares himself incapable or social relations, he
contradicts the testimony of his friends who saw him. amiable, at
case, and often warm. although sometimes. it is Hue, withdrawn
and strangely abscm). About Felice. he always said he recognized in
her the qualities he thinks he docs not have: she is a young woman
who is sure or herself. active, courageous, knowledgeable in busi
ness; from which ir would be tOO easy, and no doubt deceptive. t
,68
conclude that she attracts him through what he lacks; physically,
she is fr from pleasing him right at frst; in his Diary. he describe
her in terms of an almost cruel objectivity and, what is wor, he
will speak of her to Mlle. Bloch with a certain repulsion (her
spoiled teeth. her spotted, rough skin, her bony skeleton). And at
the same time he loves her-passionately. desperately. At rhe same
lime: in I" Jm tm; this is all thar can be said about it without
fulling imo psychological fmiliry. Should it be added that she
reprms life, the chance [Q live? The possibility of a reconciliation
with the world? This is true, but according to what truth? I would
say instead-and this is the fealUre she has in common with MiJena
and perhaps with Julie Wohryzeck as well as with rhe unknown
woman from Zuckmantel and [he adolescent girl from Riva-that
she bears, in the manner of a memory, the trace of the absence of
nace, that is, of a non.culpability, which does nO[ signif innocence
exactly. On the frst day of the frst encounter, when he notes in his
Diary, "Mile FB., . . . bony and empty face openly bearing its
emptiness," the word mpt, here not only repeated but bared, not
as a fearure of insignifcance but as the discovery of an enigmatic
possibility, makes him feel the attraction of a Raw that is like the
absence of error, this "outside error" whose obviousness the femi
nine world incarnates, but also already incarnates, in its presence,
the equivocal separation. From this world, in effect, all temptations
come (which should nOt, however, be understood in a naively
Christian sense as seduction of the fesh, although Kafka has here,
roo, as we know, his difculties).l It is rather the temptation of a life
that attracts him because it seems so strange in its remoteness from
guilt, but such that the attraction immediately makes the one who
is subject to it forever guilty by turning him away from himself
doomed henceforth to the deception of the turning away and fated
to the enchantment of oblivion: this will be one of the meanings of
Tlu Trial and also, in part, of Th CItt, both of which wefe
written under the provocation of the strangeness of the feminine.
(In a letter to Wcltsch, at a panicularly unhappy moment, Kafka
explains himself with his unfailing lucidity on what his friend, also
very lucid, calls Kafka's happy feeling of guilt: "YOl think that my
Tlt r Lt Word
feeling of guilt is an aid. a solution. no, I have a feeling of guilt only
because for my being it is [he most beautiful form of remorse, but
one does not need to look at it very closely to se that the feeling of
guilt is nothing but [he exigency to go backward. But immediately,
much more formidable than remorse and fr above any remorse,
[he feeling of freedom, of deliverance, of measured contentment
already rises." To feel guilry is to be innocent because it is to strive,
through remorse, to erase the work of time, to free oneself from
error. but hence to render oneself rwice guilry, because it is to
devote oneself to [he idleness of the absence of time, where nothing
more happens and is thus hell or, as Kafka himself says in this lerrer,
[he inner courtyard of hell.)
I. Yet why, aner the frst months of an alliance passionately in
search of itself, does everything become more unhappy? I spoke of
the trip to Berlin; nothing can be explained by this. What does he
himself say about it (for our task is only to repeat him)? During the
same period. as he wrote in tormented but impetuous bursts. and
an almost timeless regularity (every night in the infnity of the
night: Tht Vrict, JUSt one month afer having met FB. and rwo
days afer sending her the frst lener; then the continuation of his
novel. Amtrika; and at the same time, Tht Mttmorphosi), sud
denly the writing stopS and comes (0 an end. Not only this, but in
rereading the "notebooks of [he novel," he is convinced that, with
the exception of the frst chapter, which does not depart from an
inner truth, "al of the rest was written only in memory of a gret
but radically absent feeling and must be scrapped, that is to say. of
the more than 400 pages only 56 have the right to remain."
It is a commonplace to show Kafka struggling for the solitude of
writing and Kafka struggling for the exigency of life, which passes
by way of the necessary relations with men, which thus passes by
way of marriage or salvation in the world. Numerous passages of
the correspondence-numerous: let us say almost innumerable
would confrm ir. He has barely begun to write (0 her with whom
he is not yet on fmiliar terms, than he confdes in her without
reserve: "My life consists and has in fact always consisted in trying
k
Tu Lt Word
to write and most often in failing. BUI were I nor to write. I would
remain stretched OUI on the ground, dt'erving nothing more than
to be thrown away . . . . As thin as I am . . . there is nothing in me
that, with regard to writing, is not already superfuous and Super_
fuous in the good sense . . . . Even the thought of you is related to
writing, only the ups and downs of wriling determine me, and
surely. during a barren period. I would never have had the courage
to rurn to you." Felice soon takes fright at such outbursts and
advises him, as a reasonable person, more moderation: "My heart
[he responds] is more or less in perfect health, but it is not easy for
any human heart to hold out against the melancholy of bad writing
or against the happiness of good writing . . . . Were you to con
sider my relation to wriling. you would cease ro advise me 'Maj
lind Zi/,' moderation and limitation: human weakness is but too
drawn to setting lil1il5 to everything. Should I not engage every
thing I have in the one thing I able to do? . . . It may be that my
writing is nothing, but then and certainly I am truly nothing."'
Then comes the surprising lener of January 15, 191), in which, to
her whom he already considers to be his life companion, he de
scribes the ideal existence that he proposes to her: "One day you
wrote that you would like t sit beside me while I wrOlc; but think
of it, then I would no longer be able to write (as it is, I barely can),
but in that cse I could no longer write at all. Writing means
oning oneself to measurclessness; the extreme openness in which
a person already feels he is losing himself in human rclarions and
from which, if he is a being of reason, he will always try to
withdraw, stricken-for every person wants to live for as long as he
is alive-this openness and this gift of hean arc not enough for
writing, nOt by far. What from the surface is recovered below by the
acr of writing-unless it goes mherwise and the sources of rhe
depths silent-is nothing and collapses the moment a rrue
fedingcomes to shaner this ground situated above. This is whyonc
could never be alone enough when one writes; rhis is why there is
never enough silence around one, when one wrires; night is still not
night enough . . . . I have often thought that the best way for me ro
live would be to set myself up. with my wriring material and a
Tt r WI Word '7'
lamp, in the innermost room of a spacious locked cellar. I would be
brought food, but always far away from the place in which I would
be sitting, behind the cellar's outermost door. My only walk would
be to fetch this food, in my bathrobe. through the many vaults of
the cellar. Then I would rerum 10 the table, I would cat slowly and
solemnly, and inullediately afer I would begin writing again. The
things I would write! The depths from which I would tear it!
Without efort! For extreme concentration knows no effort. The
only reserve being that I would not be able to keep il up for long,
and at the frst filure I would fall into a grandiose ft of madness,
perhaps impossible to avoid even in {hese conditions. What do you
think, my dearest? Do nOt shrink from your cellar dweller!"
This narrative (for it is one) is impressive, bur ar this date, still
enlivened by (he illusions of youth: Kafka frst seems to believe
(does he believe it?) that when Felice understands the necessity of
the underground life, she will be happy with it, happy with [he
cellar. bu the cellar will also belong to her (a ultr, " he will
say a little further on, "a sad possession for you all the same");
hen
he seems to believe (but does he believe it?) thar rhe cellar might
sufce for his isolation and bring him aid: the cellar, the emptiness
of a presence full in its retrear, habitable and comforrable; in other
words, madness itself, but well convertt- and as if protected (in the
years 1915-1916, when he looks for a room in the city in which t
work, he cannot even tOlerate that it should be deprivM of a
horizon, bur this is because he is [hen in the [ruth of solitude, no
longer in his musing). It is indeed true that almost all of his
behavior with Felice seems capable or being explained by his sole
desire to prOtect his work and by the wish not to deceive his fancee
about the conditions of their future together, if ever there is a
ruture: barely. he says, will they see each other for an hour a day.
Later, afer the rupture of July 12, t914 (when he is brought to trial),
when, in November, he again rakes up his explanation with the
young lady, il is this truth that he will propose to her with new
authority and auslerity: "You were unable to sec the power that
work has over Ille; you saw it. but only incompletely, very in
completely . . . . You were not only the greatest friend, you were at
Tu V Lt Wr
the same time the greatest enemy of my work, at least considering
things from the point of view of work, and as the laner loved you at
its center beyond aJl limits, i t had to defend itself againSt you with
all its might in order to protect itsel( . . . You want me to explain
why I behaved thus, and this explanation consists in this: your
fear, your disgust were constandy before my eyes. It was my duty to
watch over my work, which alone gives me the right to live, and
your fear showed me and made me fear (with a fear much more
intolerable) that here w {he greatest danger for my work. . . . This
is when I wrote the letter to Miss Bloch . . . . Now, you can turn the
whole thing around and say that you were no less threatened in
your essence than 1 and that your fear was no less justifed than
mine. I do not believe that this the case. I loved you in your real
being and it is only when it touched my work with hostility that I
feared iL . . . Even if this is not ahogether true. You were threat
ened. But did you nor want t be? Ever? In no way?" (A question
ing traversed by the movemem of sovereignty that was also the least
visible, the least comestable part of b: of the writer in him.)
). The confict of writing and life, reduced to such simplicity,
can ofer no sure principle of explanation. even if t explain here is
but the deployment of afrmations that call forth one another in
order to pm themselves to the test withom limiring themselves. To
write, to live: how could one hold oneself to this confromation of
terms that are precisely so poorly determined? Writing destroys life,
proreccs life, demands life, ignorant oflife, and vice versa. In the
end writing has no relation to life, ifit is not through the necessary
insecurity that writing receives from life, JUSt as life receives this
necessary insecurity from writing: an absence of relation such that
writing, as much as it gathers itself in the absence of relation by
dispersing itself in it, never refers to itself in this absence, but to
what is othtr than it, which ruins it, or worse yet, disrupts it. Kafka
is made aware of this " otlur than" -the other in the neuter-that
belongs to writing insofar as writing cannot belong to itself. cannot
designate a belonging, through the obstinate, imerrupted, never
broken, never questioned attempt to be united with Felice, to
TJu Vtr lt Word 273
rejoin her (rejoin the disjunction). His relations with the young
woman = frsr and foremost established on the level of wrinen
words, consequently in the place that words connol and under the
truth of the illusion that they necessarily provoke. When he tells
her (and before rhey meet in Berlin for the frst time), "It some
times seems to me that this exchange of letters. which I almost
incessantly long to gel beyond in order to arrive at reality, is the
only exchange that corresponds to my misery (my misery, which
naturally I do nOI always experience as misery) and that were we to
cross [his limit that is imposed on me, we would be led to a
common unhappiness," he is still only expressing the apprehension
of an enCounter frightening in all ards, but he also senses the
contradiction to which he is exposing himself. Through lerrers
this mixed communication, which is neither direct nor indirect,
neither of presence nor of absence (he designates il as a hybrid or
bastard. Zwitur)-he shows himself, but to someone who does not
see him (one night, he dreams that Felice is blind), and if he rhus
wins the young woman, it is in the mode of non-possession and
also of nonmanifstation, that is, of non-truth (I am going to
Berlin for no other reason but to tell and to show you. who have
been misled by my leners, who I really am").
In a cerrain sense, at least in the dramatic course of the year :y:],
which will lead. even before the ofcial engagement. to a frst
rupture, the only thing at Slake for him is the truth: the truth about
him or, more precisely, the possibility of being true. How to avoid
deceiving the young woman? How to convince her of what he is, as
he is in the depths of solitude that he reaches only in the nights of
writing? How to unveil himself in such a way as to be seen as he
searches for himself through invisibility which is outside of all
veiling and all unveiling? "My letter today will arrive torn; I tore it
on my way to the Station in a movement of impolent rage at not
being able t be true and precise when I write to you, such that
even when I write, I am never able to hold you frmly or to
communicate to you the beating of my heart. there being nothing
from this moment on [0 expect from writing." And a li[[le earlier,
in a manner thai is cven more striking: "Naturally, I cannot forget
1rr Lt Word
you when I am writing to you, because I can never forget you at aU,
but I would like in some way not l rouse mysdffrom the diziness
of the reverie without which I cannOt write to you, by calling your
name." Practically speaking, this movement can be translated in
this way: lO say everything (and not only to her, but to the father of
the young woman, as to the higher authority), which means to tell
how he will make her unhappy or, more precisely, the impossibility
of communal life to which he is condemning her; and this with
nothing to make up for it, so that she may accept it and see it
precisely as impossible, fromwhich it will follow that none of the
answers that she gives him can satisf him. For if she says lO him,
perhaps out of levity, out of afection, perhaps also Out of a proper
concern for nuances: "you speak tOO abruptly about yourself," or
else "things are perhaps as you say, but you cannot know that they
will not change when we are lOgether," this hope [hat she main
tains despairs him: "What do I have lO do? How can I make you
believe the unbelievable? . . "There exist hindrances that you
know to a certain extent, but you do nO( take them seriously
enough and you would still not take them seriously enough, were
you fully aware of them. No one around me takes them seriously
enough or one neglects them OUt of friendship for me . . . . When I
see how much you change when you are with me and the indif
ferent fatigue that takes hold of you then, the young woman
normally so self-assured, whose thinking is quick and proud . . . the
result of this is: I cannO( assume the responsibility, for I uthat it is
too great, you cannot assume it, for you hardly see it."
This on the one hand. But on the OIher hand if, convinced or
eventually hurt, she takes her distance, becomes reticent, formu
lates doubts, writes less, then he becomes all the more despairing,
for he has the feeling that she misjudges him precisely because she
knows him, thus deciding according to the knowledge he gives her
of himself, instead of deciding, nm blindly, nOt by weighing the
reasons, but in all clarity under the anractioll of the impossible.
There are, he says, three answers; there are no others that she can
make: "It is impossible, and therefore I do not want it." "It is
impossible, and for the time being, J do not walll it." " It is
Jhr Vt1 LI t \rd
impossible, and therefore I want it." This third answer, the only
correct one (which might, inspired by Luther, take this form: "I
cannot do O(herwisc. in spite of everything"), Kafa will one day
deem to have received it-he. tOO, out oflassitude, fromher whom
he then calls his "dear fancee." nOl without adding: "I will say for
the last time that I am insanely afraid ofour future and of the un
happiness that may arise as a result of my nalUre and my faults in
our life together and that must frst afect you, for I am at bottom a
cold. egoistic and insensible being, in spite of my weakness that dis
simulates but docs mitigate ir." Where the impossible speaks, a
relation of strangeness (of transcendence?) is introduced that can
not be designated as such, a relation in which it would be deceptive
tosec any trait of the sublime (in the romantic manner), but which
Kafka nonetheless refuses to perceive in terms of practical reason.
When Felice. overwhelmed, and perhaps rightly so. writes to him:
"Marriage would lead us both to give up many things; we do not
walll to weigh the side on which the greatest weight would be; for
both of us, it would be great," he is deeply hurt. precisely because
she reduces here the impossible to a sum of possibles, producing
thus a sort of bargaining of accounts. "You are right. we must keep
accoullls; unless this is. not unjust, but deprived of meaning . . . .
This is, in the end. my opinion." And fnally the exigency of truth
always returns: `7lasting life together is impossible for me without
deception. just as it would be impossible without truth. The frst
glance I would cast upon your parents would be deceptive."5
4. Before going on, I would like [0 quote twO or three texts that
arc among the most serious. I quote them as ifin parentheses, not
because they are of secondary imporrance but because of their
seriousness. They explain why (this is not the only reason; it is even
a reason that Kafka expressed himself. to himself, only at very
critical moments), when he belitves he is losing the young woman
who seems so remOte from him. he is immediately certain oflosing
himself. " In my letters, my perpetual concern is to free you of me,
and as soon as I have the appearance of success, I go mad." It is not
the madness of a lover split between movements of opposing
passions, it is madness itself from which she, Felice-and she alone
because she forms his only and essential human bond-can stili
protect him, for she is still capable, when he is not writing and at
times when he is. of keeping him away from the monstrous world
that he carries in his head, a world that he does not dare confront
except in the nights of writing. "Traversing the nights in a fury of
writing, this is what I wam. And to perish thus or to go mad, this is
also what I want, because it is the long-anticipated consequence."
But immediately the other afrmation, the desire t fnd in her,
against this threat, a recourse, a protection. a furure: "It is a
jUSfifable anguish that prevents me fom wishing you were coming
to Prague; bur more justifed still and much exceeding it, the
monstrous anguish that I will perish if we an: not together soon.
For if we are not together soon, my love for you, which does not
tOlerate any other thought in me, will direct itself to an idea, a
ghost, something altogether unattainable, altogether and forever
necessary, that would, in truth, be capable of tearing me from the
world. I tremble as I write this. Which I will permit myself to
translate in this way: I tremble with writing. But what writing?
"You do not know, Felice, what a certain literature can be in certain
heads. It creates constant havoc like monkeys in the trtops
instead of walking on the eanh. It is being lost and not able to be
otherwise. What should one do?" Whence. again, no longer the
desire or the hope of being protected by Felice, but the fear ofbeing
exposed to a more serious threat while under her protection and
the worse fear of also exposing her to a danger he cannot name:
"At present, I only torment you in my lerrers. but as soon as
lived together. I would become a dangerous madman ft to be
burned . . . . What holds me back is, in some sense. a command
from heaven, an anguish that cannot be appeased; everything that
seemed of greatest importance to me, my health, my small re
sources, my miserable being, all this. for which there is some
justifcation, vanishes before this anguish, is nothing compared to
it and is used by this anguish only as a pretext . . . . It is, to be
perfectly fk. and so that you are able to recogniz: the degree of
my madness, the far ofl" uniof wilh the most beloved being and
Tu VL WI Word
'77
precisely with her . . . . I have the definite feeling that 1 will be
exposed to doom, through marriage, through this union, through
the dissolution of this nothingness that I am, and I will not b
exposed alone, but with my wife. and Ihe more I love her, the
swifer and more terrible it will be."6
5. When, in Berlin for the frst time, he sees her whom he had
approached only through the detour of leners, he will be as if
repelled from all living relations. And, upon his rerum, he writes to
her: "My true fear-certainly nothing more grievous could be said
or heard: never will i be able to possess you. In the most favorable
case. I would be limited to k. ssingyourcasually abandoned hand in
the manner of a crazily mad dog, which would not be a sign oflove.
bur of (he despair that you would f1 for an animal condemned to
muteness and eteral separation . . . . In short, I would remain
forever excluded from you. were you to lean toward me so fr as to
bin danger." To Brod. he will confde the next day: "Yesterday. I
sent the big confession." Thus it is a confession. We must not give
it tOO simple a meaning, however, one that would contradict what
we know of his various brief afairs about which his friends speak.
In 1916 in Marienbad, when he se in Felice a being he could love,
more than from at a distance, he writes again to Brad. I will rl
three features of (hese very controlled reAections that he then
composes for the beneft of his friend. "I did not know her at all"
[until the fnal days in which he established intimate relations with
her),' "what bothered me [prevented me], other scruples not with
standing. was, essentially, the fear of having t regard as real the one
who writes letters to me." Here, therefore, and very distinctly, the
retreat before the reality of presence is expressed, not as such but
through the relation of writing (the non-presence of writing, [hat
is, the refsal to pass from one to the other, the impossibility of this
passage. Second indication: "When [at the moment of the ofcial
engagement ceremony] she crossed the great hall and came to my
encounter to receive her engagement kiss, a terrible shudder ran
through mei the matter of Ihe engagement, accompanied by my
parents, was for me and at every step a constant torture." From
l
The w_t Wrd
which one must remember. however. that what is disagreeable to
him to the point of horror is not conran with a feminine face but
rather, through it. the approach of conjugaliry, the flsehood of his
institutional oblig:lions and also, certainly, of everything that the
word "J"iag evokes for him. and frst of all. conjugal intimacy.
which in his parenrs always flled him with disgust. b'ause it
reminded him thaI he w bor of it and still always had to be born
in connection to those "distastefl things.'" It is the very idea of
marriage-the law, in other words-both solemn. sovereign, but
also sovereignly impure (and sovereign becausc impure) that, as
Felice crosses the great space of the hall to make her way toward
him, an infnite insurmounrable space. tises up and imposes its
sanction on him, a sanction that is like a punishmenr in advance.'
Finally, and this is the third feature-the Strongest, perhaps-he
will say to Brad, evoking his new fmiliarity with Felice: "I have
now seen the confdenr inrimacy in the gaze of a woman and could
not remain closed t it. A laceration as a result of which many
things that I had always wanted to keep protected (it is not
anything in particular, but a whole) are brought to light [al
r;s m. are lOrn from me] and, through this laceration [Rij] so
much unhappiness will emerge, this I also kow. that the emire life
of a man cannot sufce, but I did not mforth this unhappiness. it
was imposed on me." I think this passage is important. It gives not
only the meaning of what happened in Marienbad in 1916
10
(this
fnally changes nothing as to the difculry of their relations. which
confrms [hat this difculry had yet another origin). but perhaps
the meaning of the entire Story with the young woman, a Stor the
decisive nature of which Ka never misrecognized, even apart
from his own feelings, for he knew that it helped change him
almost radically, in the sense that it unveiled him before his own
eyes and constituted a warning that it was his dury never to forget.
Through it, in efect, he w pUi IO the test of "the laceration"; the
circle in which he had thought he could keep himself pure, as
much by the constraints of isolation as by the pressure to write
pure, this means without falsehood, which docs not mean true
(this he never thought but, rather, outside falsehood, JUSt as outside
truth)-was broken. and with a break that did nOl take place at
'79
such and such a moment or because of particular eventS, but
revealed itSelf as always having taken place, as if beforehand. before
any place ad before any event. A revelation thar, in turn. did not
occur at a specifc moment or progressively, no mort than it w
empirically or internally experienced, but was implied, put into
practice in his work and in his relation to his work.
6. This, then, was the great "warning." The letters to Felice only
confrm it. in my opinion, and they do this in (wo ways.
A) During his entire youth as a writer-a youth that came to an
end (markers are still needed, however indecisive and however
deceptive they may be) with the "failure" of his youthful novel
(Amerika)-he had confdence in writing, a tormeilled confdence,
most ofen unhappy, but always intact again. His thought was that
writing-if ever he could write-would save him, this word under
stood not in < positive sense but negatively, that is, would defer or
delay the sentence, would give him a possibiliry and, who knows?
Provide a way out: who kows? Who knows? To live in the cellar, t
write in it endlessly and without any end save writing itself. to be
the inhabitant of the cellar and thus dwell (live, die) nowhere bur
in the outside of writing (but, at this momelll, for Y. this
outside is still an inside. an intimacy, a "warmth," as he writes i n
this very revealing sentence: "I cannot be lhrown out of writing. for
I have sometimes thought that I am already settled at its ceiller. in
its greatest warmth."). ``A. if only I could write. This desire
consumes me. If above all else I had enough freedom and health for
this. I don't think you have understood that writing is the only
thing that makes my existence possible. It is no wonder, I express
myself so badly, I only begin to awaken in the space of my inner
fgures. " From which one must conclude that in this space, he
maintains the hope of reaching a cerrain awakening. However,
linle by little and always suddenly. without ever renouncing the
exigency of writing, he will have 10 renounce the hope that this
exigency seemed to carry: not only is writing essemial1y uncertain,
but to write is no longer [0 maintain oneself intact in the puriry of
the closed circle, it is to attract Ihe dark powers toward the upper
reaches, to give oneself to Iheir perverse strangeness, and perhaps to
,80 Jh
O
Ll Word
join oneself [Q what desuoys. I am nor saying that he needed the
interminable filure of his Story with Felice (he certainly ned
much more, much less as well) to arrive at this insight-hidden,
moreover-about his fture as a writer, but Ih two movements
point to one another by way of each other. not bause they a
directly linked but because they repeat at diferent levels the condi.
lion of absence-of aheriry-{thc rupture, but in the rupture. the
impossibility of breaking it of) that preces and ruins and sup
pons any possibility of a relation, be it the very relation engaged in
the movement, removed from any afrmation of prestnce, that is
the movement of writing.
S) Barely has he begun [Q correspond with Felice than he makes
her this essential confdence: "It is one of my failings that I cannot
write down in the fux of a single continuous movement what has
gathered itself in me according to a preestablished order. My
memory is defnitely bad, but even the best memory could not help
me to write down even a short part of what had been premeditated
[thought out in advance] and simply marked, for within every
sentence, there are transitions that must remain suspended [in
suspense) befort the actual writing." In truth, if he thus confdes
himself to her whom he still does not m Felice, it is because six
days earlier he had been victorious in his attempt at unimerrupted
writing, having completed Jh ctin an eight.hout stretch, in a
single nocturnal stroke. an experience for him decisive, which gave
him the cerrainry of a possible contact with the unapproachable
space, and he noted in his Diar immediately: "My certainry is
confrmed, it uonl thM that one can write: with such a fow of
coherence, with such perfect openness of the body and souL"
Search for absolute cominuiry-the unimerrupted in a senses:
how to maintain an outside of writing, this lack where nothing is
lacking but irs absence, otherwise than by a perpetuity without
dissidence-a transparency, as it were, compact, or a compactncss,
as such, transparent-given in time as outside of time, given in one
time as infinite repetition? "I need isolation in order to write, not
like a 'hermit' but like a dead man. In this sense wriling is a deeper
slumber, thus a death, and just as one will not tear a dead man from
his grave, at nighr I cannot be lOrn from my table. This has no
1 v
O
WI Word
immediate bearing on my relations with men, but it is only in
this rigorous, cOlllinuous, and sYStematic manner that I can write
and thus also live." Yet, the characteristic of such a movement
the interminable according to all dimensions-from which it frst
seemed to him that only his manner ofliving (the ofce work) kept
him at a diStance, but with which he indeed had to recognize that
this di stance was in a relation of "essence," always deferred because
continual and, by this cominuiry, united with difference; K
was only slowly persuaded and always had to persuade himself that
he would never possess this movement except as lack (rupture or
absence), and that it is on the basis of this movement as lack that he
might also-perhaps-be given lO write: no longer, rhen, the unin
terrupted in its becoming, but the becoming of imerruption. This
was his eternal struggle. All of his unfnished works-and frst of all
the frst novel, the incompletion of which was as if his condemna
tion as a writer, and thus also his condemnation as a living man,
incapable ofliving with Felice" -pul in some sense before his eyes
their own completion, this new way of completing themselves in
and by interruption (under the spell of the fragmentary). However,
unable (0 be anything but bUndto what could be read there, unable
to reach it except through an exigency that he came up against in
order to detroy himself and not confrm himself in it, he had to
agree (and so it is every time for the writer without indulgence) to
see the power to read himself taken away from him, unaware [hat
the books he believed not to have wrinen and that, from that point
on, he intended for defnitive destruction, had received the gifT of
being almost freed from themselves and, by erasing all idea of a
masterpiece and a idea of a work, of identifing themselves with
the nbsmu of book, thus suddenly for a moment ofered to our own
powerlessness of reading, nbsrnu of book soon itself deprived of
itself. overturned, and fnally-become work again-reestablished
in the assurance of our admiration and our judgment of cuhure.
7. Kafka-the correspondence confrms it-did nothing (except
at certain moments when he lacked the strength) t break, by
means of deliberate initiative, with Felice: contrary to cerrain
biographical afrmations, when he stands trial in Berlin in the
Th Vny Lst Word
Askanischer Hof, in face of a tribunal consisting of his fancee, the
sister of his fancee (Erna), the friend of his fancee (Grete Bloch).
and his only ally and friend, Ernst Weiss (but hostile to Felice and
to this marriage), in no way is it his design to be done with a
situation by which he.e himself condemned. whatever the result.
Before leaving for Berlin, he writes to his sister Ott/a: "Naturally I
will write to you from Berlin; for the moment nothing certain an
be said either about the thing irself or about me. I write not as I
speak, I speak not as I think, I think not as J should think. and
forth imo the greatest depths of obscurity." Nothing can be inter.
rupled, nothing can be broken of The illness itself (which
imervenes barely a month after his second engagement; the ofciaJ
engagements never lasted more than a few weeks), to which he gave
the all tOo clear meaning of a spiritual symptom, could decide
nothing: all still depended .upon the young woman ("Do not ask
me why I draw a line. Do nor humiliate me thus. One word, and I
am again at your feet."). The tuberculosis is only a weapon in this
fght, a weapon that is neither more nor less efective than the
"innumerable" weapons he has used until this point and that he
enumerates in the next-to-last lener of the correspondence, when
summing up all the cvents of the past fve years: the names by
which he designates them, not without a cerrain irony, include
"physical incapacity," "work," "avarice," designations that all tend
toward what cannot be designated, cven when he adds, "Moreover.
I am telling you a secret that for the momem I do not believe
(although the obscurity that fl s around me as I try to work and
think might convince me of it), but that muSt be true: I will never
be in good health again. Precisely because it is no longer the
tuberculosis that is being stretched OUt on a deck chair and tended
to, but a weapon the external necessity of which will survive for as
long as I am alive. And the two cannot remain alive tOgether."
However, he also says the most likely would be toraI Slrtg/,
that is, the impossibility of putting an end to it. When, a year later,
in the StUd I pension in Schclesen, he meets Julie Wohryzeck, with
Sec che end ofche chaprer.
Th Vr Ll t \rd
whom he becomes friends the followingscason under conditions of
extreme physial and moral deprivation. through a new engage
ment immediately broken; when, almost at the same date, he
abandons himself to Milena's passion and to his passion for her,
and would like to bring the young woman to break up her marriage
in the prospect of a ver uncertain union; when, fnally, he appeals
with Dora Diamant to the sky itself. through the intervention of a
very revered rabbi (Gerer Rebbe, friend of the young woman's
father), for the authorizalion of marriage and receives, with a shake
of the head of absolute denial, a silent refusal, ultimate response
and, as it were, consecrared (yet, all the same, a response that
indicated, be it negatively, in the form of an impugnment. a
recognition of sorts from above), it is always to the same rupture
that he exposes himselr, experiencing it each time at the limit,
as the impossibility of breaking of or, more profoundly, as the
exigency of exclusion, which. having always already been pro
nounced, muSt always again be solicited, repeated, and, through
the repetition, erased, in order-by perpetuating itself-w repro
duce itself i n the powerlessness. infnite and always new, of its lack.
Is it therefore the world and life with which he would like w be
reconciled by these anempts at marriage, the real nature of which
he does everything in advance to exhaust? It is rather with the law
that he pursues the tragic game (provocation and interrogation),
the law, which his obstinacy-gentle. that is. infexible-expects to
pronounce itself, nOt by authorizing him or even by striking him.
but by designating itself as that which cannOt be made attributable,
in such a way that he might be able to sense why writing-this
movement fromwhich he had hoped for a kind of salvation-has,
always and if forever, put him olltsid the law or, more precisely,
has led him to occupy this space of the olltsjd, radical (aorgic)
exteriority, about which he cannot know-except by writing and
by writing to the point of non-writing-whether, exterior w the
law, it indicates rhe limit of the law or indicates itself in this limit.
or else, provocation of provocations. exposes itself as disturbing or
preceding all law. It remains striking that even before the marriage
with Dora Diamant has been challenged by the highest court.
Jh \r wt Word
h carries on regardless and, in opposition to social mora,
arranges with the adolescent girl a son of conjugal life together.
Dora is nineteen years old, he is forry: almost his daughter or his
very young sister (precisely, he never hid his preference for the
young Oula, abom whom he said, i n all innocence of language,
thar she was his sister, his morher, and his spouse). A always, the
transgression-the decision to in what could not exist-pre
cedes the promulgation of the interdiction, thus rendering it possi
ble, as if the limit were to be crossed only insofar as i t is impossible
to cross and reveals itself to be uncrossable only by the crossing
itself. The "No" of the rabbi brieRy precedes his death. Was K
fnally allowed to break of? Liberated, could he fnally write, that i s
to say, die? Finally. Bur already eternity was beginning: the posrhu
mous hell, the sarcastic glory, the exegesis of admiration and
pretension, the great sealing of of culture and, precisely here, once
again this last word ofering itself only in order to simulate and
dissimulate the anticipation of the very last.
Obscure and unhappy SlOry. This is what we know of it. at least what
I know of it. Grete Bloch, 22 years old at the time and a recent frend of
Felice, went Prague on Felice's behalf and met Kafka in October 191J.
She lived and worked in Vienna. I begins to write to her, and what
results is a correspondence made up of approximately 70 published
l(([eT, from October 29, 191}, to July}. 1914. On July 12, the engagement
is broken of. In the month of October 1914. the young woman writc
[0 Kafka in an altempt to reerablish relations belWeen the formerly
engaged couple, relations she had contributed to ruining; Kafka ansY'rs
on October 15; i[ is the last leuer (to G.B.) that we have. Accoring to the
editors. Erich Heller and Jtirgen Bor. there is no proof [hat Kafka
continued to write to her. (I fnd, in the Diar for the date October 8,
t917, when, having fllen ill. he must take back his " wor" from his
fanc&:: "accusatory leiters from : G.B. threatens ro wril: me.") He
sometimcs speaks of her to Felice, either to ask for news or to nd his
regars. even advice. and also, at a painful momeOl, signs of deep
sympathy. We know that Felice. Grete Bloch. and Kafka lOok a vacation
trip together in Bohemia on May 2} and 2. 1915. Let it be added that Ihe
lellers. published IOday, although marked bya desire to please. of len with
Tu \r Lt Word
very affectionate, almost Suctive words, remain at the same time rather
ceremonious: "Dear Miss Grete" is the most tender address. What e1.do
we know? This: Max Brad published pans of a letter that Grete Bloch.
n
April 21, t940
'
sent from Florence to a f
iend in
.
Is
e1
.
She reveals to him
,hal she had a son who dit' suddenly m MUOlch In 1921, when he
Sfen yers old: an "iIlegi(imate child who father not named. ut
the addrastt of Ihe leuer (BrO's only guarantor in this Story) mai
tained that Grete Bloch regarded IUfa as the father of the child. What is
there to say? In a cerrain manner. obviously nothing. let us indicate the
reasons for doubt, reasons that are themselvc dubious. Wgenbach
asserrs that beginning in the &II of 1914. a regular and iOlimate corr
etheles, one
could imagine that he kept silent in order not to comprmise G.B. Such
a strangely equivocl situation. The following testimony must also
.
be
mentioned: fiends of Grete Bloh said that the young woman, dUring
her suy in Florence (thus a[ the moment when she ed te Story of
the child), gave signs of profund melancholia or deh
lous dlStfS
:
But
what is such an assenion worth? It is as vague a it is grievous. m
the child of which Kunaware had this spectral ei stence. ~.
.
J rl-unrel, that does not allow one, for the momeOl, to gIVe It I e
outside dreams. Grete Bloch and Felice remained friends until the end.
When she had to leave Germany. Grete confded to her friend one part
(approximately half) of the letters she had received from K.The rest
she deposited in Florence with a notary who later put photostats o them
at the disposal ofMa: Brad. Twelve of these leucrs
.
had bttn torn In twO
in a "tather biurre manner," but with the excep"on of one, they were
able to be put back together b'au onc of the halves was in the h
nds
f
Fdice the other with the notary in Florence. Grete Bloch, who Ilvcd In
Israel
'
rrom the time she left Germany. had the misfortune to return to
286 The 11 Lurr Word
haIr and, when the country fel under Nni occupation. she was taken
away with many mher Jews and died during the dep:nion or in a
camp: an inquiry by the Red Cross has nOl allowed it L be known with
cenainty. Felic escaped from such a fall: married, she lived frst in
Swirurland and then in ,he United States, where she died in 1960. I will
also add: in Kafkas Dilr. in January and February 192., during his
solitary 2nd very mlgic Slay in Spindlermuhle-he is stilt ffiends with
Milena, bUI without hope-cerlain notations can be read in which the
initial G. aprs; thus on January 18: "A liule peace; on Ihe mher hand.
G. is arriving. Deliverance or aggravation. one or the other. On Febru.
ary [0: "New aHack of G. Attacked from the right and from the lef by
cXlrcmely powerful enemies, I cannm escape." And on January 19,
ahhough no name intervenes and in a manner that is enigmatic, which
led me some time ago, perhaps rashly, to read these passages in the light
of an almost "mystical" obscurity: 'Juack on the way, at night. in the
snow." "I gOt awayfromthem," and later. on March 2: "How I am spied
on; for example, on the path on the way to the doctor, on the path
constantly." Texts of an oppressive strangeness. Wagenbach, who knew
the manuscript of the Di 1r. seems to have read: "New attack by Grete."
I give this indication. without knowing more.
.. To offer beller proof of this to myself, I would like to establish a
short chronolog of the rupture, at least during the course of the frst
years. They begin almoS[ at the same time as the correspondence,
which begins, it should be rccaJled, on September 20, t912. Already in
mid-November, Khwrites (the young lady had remarked without
malice that she did not always understand him or that cerrain traits of his
made him str:nge Lher): "let us be done with it, ifour life is dear L us."
Distraught, the unfortunate Felice then appels to Brod. who answers
her: "I beg you to let many thing pass with Franz, given his pathological
sensitivity: he obeys his mood |nmmu] of the moment. He is some
one who wantS the absolute in everything. . . He never accepts a
compromise." On November 20, Kafka writes again: "But I do not have
any news from you. I must therefore openly repeat the adieu that you
silently gave me." Fo[[owing which their written relations take up their
passionate course once again.
In the beginning of January [9'3, the change, which is no longer one of
circumstance orof mood, begins to rake place in Kafka, one that will not
cease to aggravate itself without, howt'Ver, attenuating [he relalionship_
Tht VtrL:r Word
dt-pening it. on the COntr:ry. On March 2}, meeting in Berlin. Aer
which, the leiter of confession: My true fear: never will I be able to
gsyou." which for him does nOi at all signify [hat he is movingaway
from her. but she seems L take it otherise: she spaces out her letters,
lakes advan(age of a trip L Frankfurt L interrupt them, with a c;ualness
that almost drives Kafka mad. On May f+ another mt-ting in Berlin
during the vacation of PeOlccost. This mttting gives him a I
.
itlle ho
,
the hope that one day, at least, he "will be able to seriously dISUS with
her [about their future] a certain number of dreadful things and thus
little by little to rech fresh air." All the same, he adds: When I was
packing my bags in Berlin, I had a completely different text in my head:
'Without her. I cannot live, nor with her either. '" The torment of the
truth comes, and ar the same time, in a letter begun on June to, which i s
interrupted, then courageously fnished on the sixtttnth: "Would you
like L think it over and consider if you want to become my wife? Do you
want this?" Following which there is a debate that will come to an end on
July t (1913) with these words: "So you want, in spite
.
of eve
yth!
g, t
take the cross upon yourself, Fdice? To attempt the ImpoSSible. It IS
after this that the frst serious breakup occurs. The couple-engaged out
of intimate feeling, not ofcially-do not meet up to spend their vacation
IOgether. Felice has a rather chttrful stay in :esterland ("What
wailS
you is not the life of the happy people you M Westerland, not a Joy
chauer arm in arm, but a cloistered life at lhe side of someone who IS
morose, sad, silent, disconrented, sickly, bound to liteT2ture by invisible
chains"). goes of to Vienna under the pretext of a congress. then
to haly, where he writes that he will stOp writing to her: "I $ no longer
go forard, it is as if I were ensnared. We should
pa
te" (Sc
tember 16,
19t}). He remains fr some time in Riva, bccommg friends with the "ery
young G. W., the "Swiss wom
n."
, . .
' .
Back in Prague, he will receive Grete Blochs ViSit: she IS sent by Felice
to try to clear up the misunderstandings. The correspondence is far from
starting up again with the same impetus. On No\'ember 8, hegocs to Ber
lin for an interview and manages to catch only a glimpse of her in efect.
Iescaping OUi of intention or negligence, we do not know. At the begin
ning of March t914, still in Berlin, an
Jplanalion lea
.
ves hm ah.ogether
discouraged, and he notices that Felice tolerates him wHh difculty.
Meanwhile, the correspondence with Miss Bloch continues to b'ome
more and more cordial: "You are tOO important to me . . . . Your little card
made me happier than anything [ received from Berlin . . . . Dear Miss
,88 Tu Vtry Last Wr
Grete, I ha\'t an ardent desire to see youand as if a manifest nostalgia . . . .
Who in Berlin, for (hC love of L.1 have designs on your head OIhef
than to caress il" And when Felice says [0 him, "You seem $Q bvery
anach to Grete," hedoes nO! defendaginst il. However. on the rwelfh
and thineemh of May, the encounter take place during which theofciaJ
engagement is dtided. nne ceremonial celebration, with invit:uion,
kiss, and congratulations. will be observed on June I.) Khcomments
on the event forGrete: "Berlin neither good nor bad, bUI in any C
a neces ary for my undeniable feeling." And for Felice: "In spirit; I
am united with you in a manner so indissoluble [hat no blessing of any
rabbi could touch il." But Kcontinue ro writ( LGreu:. sharing with
her his dinchamment, e'len his repulsion: "Sometimes-you are the
only one to know it for the moment-I really do nm know how I can
assume such a responsibility, nor how it came to my geuing married."
This is one of the letters that Grete (with what intention?) communicates
to Felice, as we learn on July J, 1914, when he writes to Miss Bloch.
breaking in sodoing, or shortly thereafer, with her: "Youshould not have
qumed IweTs. . . . Well then. I have therefore convinced you, and you
begin to see in me not Felice's 6anc bUI Felice's danger." There are also
painfl debates on the material conditions of their future; Felice desires
an apartmem to her taste and comfortably furnished (the apartment,
moreover, will be rented). jusl as she dos not wish to give up a normal
social life. K is fnally brought to rrial at the Asbnischer Hof on
July 11, 1914, and the ofcial break of the enggement ocurs, much rothe
horror and surprise of both fmilie.
I will StOphere with this shon history of the ruplures. The correpon
dence rume in November 1914. again through the mediation of Grete
Bloch (in Ihe Diary, on Ocrober IS: "Today. Thursday . . . letter fom
Miss Bloch, I do not knowwhal L do abUi it. I knowit is certain that I
will remain alone . . . . I also do not know whether I love F (I think of the
disgusl I fet at seeing her while she dancing . . . ). but in spite of
everylhing the infnite lemprarion returns," but never again at any mo
menl will the exchange of leHers regain Ihe same Row as in the begin
ning. Khhas changed and is changed: since July 29 (thus ffteen days
afer his condemnation) he has begun Th Trial writing every evening,
L'Very night. for three months. In January 1915. he will sec Felice again in
Bodcnbach, without any real inner rapprochcmellI. II will take the happy
reunion of Maricnbad in July 1916 for il L be again a question of
engagemem and, with the engagemem, also a question of newruplures.
29 Friendship
How coul 01l agru 10 spak ofthisfrimd? NitlMr in praiu nor i
Ih intmt ofsom truth. Th traits of
,
hi s cha
:
,Itr,
.
thfnns ofhu
oistmce. th pisods ofhis li. wn /I kupmg WIth
h
:
.
uarch fr
which brflt himsl mpomib/ to Ih poim ofirspo'Iblltt. belong
to no on
.
Tha art no wil1ssn Thouwho Urcloust say onl
.
w/
at
was cwu to Ihnn. not tlu distanct that afrmd itslin this prXImIt.
and distnce ctaJn aJ soon aJ pmmce ctaJts. Va!n/ d U
.
g to
maimain. with our wort. with Olr writing. what Ibsmt; Ilm
.
/d
U offait Ih Ippal ofour mtmorin and 1 JOrt offgur. tht jyof
rining with th dy. liprowngtd b a llliu.llpptaranu.
ar onl loking to fll void. U cannot btar
.
th
,
pam: tlu 1falt
n
ofthi s void, Whocoul @to rtctil its imlgnijCI71ct-ln lrul
t
if
(Inu so nlonnous that U do not Iml mtmory capak
.
of
ont1nllg
it msuch that U oumll must alrtady sl i1l0 obh
rtr to
msta;n it-tht timt oftbis stippagr. t!u wry mi tIm Im/
ijcanu
"mOlts? Eltrythillg U Jy ttt 10 wil th Ollt ajnl lJon: thm
twrything must fd and that w can "majll loya Oll so long aJ. U
wllCh Ollr thi s fding molmtnt, to whieh somrt/Jng In Mthlt "uts
umtmory alrldy b/07lgs.
s himul his tbouglJ optm it/to us, blt pmrwd in this vry
"!lton, and what pmtrvs it is not onl tlu mobilir of li {this
woul b Vtry lttk}. but tht unprdictnbi/ir imrodlud into thi s
thought b ru slTngmm of th md. And this movmwlt, IInp"dict.
abl and always hid in it innitt imminmu-that of dying.
p"hnps-anJts not bCus its tn coul not b giWl ;l ndva1lu, but
buaus it 7 conslitl t!S an vmt that taks plu. wn wlun it
ot
n, "
to
wbich al oftht simplcit oflimun, ptmn b wayofth rcltln
oftil common stmgmm that dos not l1w 410 sptak ofOlr fimd
but onl to sak to thtm. 1I0t to mak ofthml a topic ofco,wmatio1lS
{or t!ays}. bill th mowmmt of"ndrsflndilg il which. splkilg to
M; thr mn-w, t!Wn on lht most fmilar uru, nn i,iniu d,JtalU,
th fWmmtnl splrtion 01 th btli s ofwhich what StPlrtt
buonm rtio1l. H" dismlio" lis "ot il th simp/ "ftllJ t put
frwnrd confCt! {how vulglr this woul b, Cto think ofit}, bill
it is tlu ilural. tht P"" illurnl tlJt, /om nu to thi s otl"r who i sn
fimd. mm nil thnt is btflm a Iht ilumlptiol ofluing thnt
lIt!r Il1thorius m 1 ,/t him, or my knowl ofhim {w it to
prais him}. lnd thil, fr fom pmlfnting uucommunication, brings
tog!htr il mr dif"lIU lnd sOlutimts th silet ofspuch.
His trl t Ihm at II cerrain momm! this disc"tiol btcomrs th fssllr
ofdath. coul imngin that in Olt sms nothing hilS changd: in tlu
"ucret" btlwun lI thm WilS cpnbl oftaking p!u. il th comillit of
disCOINt, witbolt inurrllpting it, thtrt WI ,drtndy.fom thr tim il
whicb W wa ill rbr prtUlU of0111 IlorhtT, this illlminem prunct
.
though tlcil, ofncfnal discmiol
,
Ild it is on th blsis of this
diJcntion tbat th p"mltion offimdl worm cIllmf nfmud 1IS1f
Frimdhi p
Wmfm on shor to Ih olh"shor, spueh mpondingto somo,
who spalt fm Ih oth" sho" and wh, wn in our li, tlu
mllu"k!l uoftlu mowmmt ofdyingwoul hto eompku iul
And pt wlu,t th l it.ulcomN, n bring this chang: not th
dming ofth sparation but iu mU"; not th wiing oftlu
caNura but iu 1ngout and th diipation oftlu voidImn I
whn frm"1 th" dlpd tlu /mnknm ofa "/tion without
hi stor. In such a waythat at pmmt, whal was cluto M not onl hll
uasdtoapproach but has lst rom thtruth ofn(rm di stanu. Thl!
talhhas IJufl virru ofapparing10 "rum to intimac thouwho
hav bun dividb gv dmt.
Thi i s brralwith dath
all that uparam, di sappan. What sparaus: what puu authmticaUy
in r/tion, th v"Jabu of"ltions in whichlis, withsimplicit, tlu
ammt offtimdly affrmation that is always mainainul
Wsholk not, b ma1 ofartifu. pmmd to carry 011 a dialue.
What brurdawayfmus alo trMaway.omthaipart which
was olr pmmu, and must kamthaiwhmspuehsubsi, a spuch
that fr pangawiUlto an "aigmcwithout rear" it i s1ot onl
this aigmt spuehthat hl uld it is tM sik1lu that it mad possibk
and.fom which it mumd akmg an i11!ibk slp toward tlu
anxit oftim. Undubtd wil!tilb abk tofllw th sam
paths. can kt imaN com. can appal toan absmc that 1 wil
imagin, b tuptiV! comoltion. to b our own. Wcan, in a word
"mnnlNr. But thought knoU that on dN not "mmlNr: without
mmory, without thought, it al strugkin th invi sib/ whnr
rothingsinks backtoi1ldf nu. This i sthoughtsprofund grii. H
must accompanJfomdhip into oblivion.
Notes
Chapt"T
I. Georges Baraille, (PtlNr prlhilloriqll: Lasca/I M mnamallct
dt la7t (Skira). . .
2. The word transgr ioll certainly does not have the same
eamng In
each of these 1momenu. It would require lengthy c1aborauons try
and justif the uof this word in the frsl L. II Sttms, however, r1
laler. when man in progress comes to surround himsdf with cerraln
prohibitions. il is ou of the fortuitou5 "transgression" of tC gaps
through which nature has, as il were, exceeded and tn5grs :wI!
mback U the distnt Dropitl1 Astrange U thIS may appear. the
subsequeOl possibility of prohibition perhaps always arise ho and
forms itself upon. an inidal lransgression. Firt we "tran5g
.
lo wou
.
ld agree with Ihis. Still, the fCt remains that lhe concept of
need IS not Simple. and need itself $ be misreprescmed, in the same
way that in a crtain state of oppresion. men can below their needs.
Cbapur 1
I . This manifest, in a striking manner, in May 1968.
Cbapur II
I . III 1956, Jaspers gave a talk on the atomic peril. which was then
broadcast over the radio. It created a considerable Slir. Jaspers thought it
Note to Pagr 121] 297
neces L take up the qution again and even rCine all of the
problems thai arose in relation to this reaction. The reult a book
almost beyond mesure, which wa published in Grman in t958 and is
now published in French through th efforts of Edmond Saget and the
Buchet-Chastel Press (L &mbr atomiqur Cl'wnir d l'hommr: Con
scirepolitiqurd nomtrmps). I will cite th following pasfrm the
prefce written by Jaspers afer the frst edition, which indicat the scope
of his project: "The mailer of this book is, properly speaking, the
political conscience of our time. That the thrat of the atomic bomb
should nCrily give another st.ructure to political conscience for all
time: this faCt is what brought about the main title."
2. With exemplary simplicity, Karl Jaspers describes in his auto
biography the evolution of his development and in particular of his
political development: from Ma Weber he inherited a liberalism that
was never failing (Autobiogphir philhiqut, translated by Pierre
Boudot; Aubier).
J. In order to grasp what is true-partially true-in this ide, one
should think of what the urtai"I of being abl to destroy the universe
would mean. This is, precisely, being crtain of one's determinate exis
tence and in some sense crating it . .
4. I refer here to Andre Glucksmann's book u Ducours d k_
(t:Herne).
Chnpur 12
I. Rponse L the inquiry of a Polish magazine: "In your opinion,
what is the inRuence that the has had on literature aer 1945?"
Chnpur 1
I . Exceptionally, I will indicate when and where this litll tcxt
publishl- for the frst time: in October 1958 in 14 juil, no. Z It was
written shortly after General de Gaulle's return to power, brought about
not by the Ristance this time but by th mercenaries.
Chapur 1(
. I refer frst and foremost IL the book Dltrtirtdit-rllr. by Marguerite
Duras (Editions de Minuit).
Nom10 Png! lI-19
CbapUT1y
I. Louis Ren des ForclS, L&vrd(Editions Gallimard and Collee
lion 10118).
2. L Oambrdmfi mts (Editions GalJimard).
j. I would likc to rccall a note of Kka's in his Diarin which, it
seems U mc, an allusion is made U onc of thc hidden Huths of Ihe
n
rr.lliV( we ha\'e JUSt read: "What Mi[ena has said of Ihe joy of chaning
wnh people, without being able U understand fully thc lruth of whal shc
said (there is also a sad pridc justifed). Who else but me could lakc
pleasure in chancr?"
ChapUT )
. L'Agr d)mm( (Edilions Gallimard).
'
2. La Rigld'ljm: I. Bif ms, II. our| n(Edilions Gallimard). Since
tIS co
.
m
entary was writlen, the third volume has appeared under the
m[e F/rln; howev
rall of a P9rt
.
k, in
which I would readily a just malediction thrown on the etermty of
being. (It is like a new and fascinating version of the myth of
.
Ed One
will pronounce the name posis; perhaps wrongly, perhaps nghtly. If,
however, the connection is made, it should nOI be made in order to age
an essentially modern work, but ruhcr, in the same way that K w
.
as
able, in writing, not writing, to imagine that his work, had he written II,
would have given rise ro a new Cabala. Let us recall certain traits of [he
resemblance. Gnosis is nOi a Manichaeanism. it is ofen a very nuanced
dualism. From the role that the refeclion of God plays in it, [0 the
attraction to what is below provided by the g of self, it pose the
problem of the repetition of the Same and thus in[uce plurality in
unity. With or withoUi 5ynctism, it introduce. In many {,
n
eigency such that the pagan mysterie and the Christian mystene
succeed in passing into each other. It give a certain place to the gret
feminine fgures and to sexual clements (androgny, sod
?
my). I make
the idea of circular lime its own (and even metempsychOSIS), but Morder
10 fght against what it calls the "cycle of death" wd a
.
moement of
retur, of a rising toward the above, which would reqUl h
te to be
transformed into an eternal return. It makes room fr the obliVIOn that
appears as a more profound memory: he suddenly a od lcarn
-he
had forgonen it-that he is not the frst God, that there IS, ave h
i
m, a
God more silent stm, more ungraspable (and it would be tempting to add
and so forth"). It is essentially a narr.nive, a cosmic narrative ruled by
complexity, an immobile narrative in which truths arc e
gendered b
y
being recounted through an indefnite muhipliC2tio
.
n. It IS trUC
.
tat
:
,
t
lacks, as the Gospels lack. the "supreme manifestanon of the dlvlnc :
laughter, the laughter thaI "bursts forth from the eplhs of the truth
itself" and that is the gif of the work of Klossowsh
}O2 Notto Page 187-95
ChnpUT20
I. hcsc rccctonsWcrcalmost_t\cn tomcbythcWorkolLcmcncc
Kamnoux, itld pr((;qI [dtttons Klnckstcck), a book olWts-
dom
Qtcd to add: t
.
lthcmyth1 tntcrQrctcd Whcn tt_tvcstsrto tWo
scrics Who
ccD
1'hcch
,
honc bctn_no: smQy thc Larth butWhatsbcncath
thc hrcsho!d [WIth ambt_utty: Pm ! carrcd by thc Larth: Pm !
cn_ulcd byWha
nccoudasos
__cstanothcr:oudtnotbcthc_cncao_caaccount
tscl that
.
tcs Itscl [thnks tscl) by ctttn_ ttscl bc tod undcr ths
doubcscrIcsonthconchand, thtn_sand QhrascscaQabc olbc_ctun_
and olconscQucnccs, on thc
.
o
tcdlyna
cdasrcbus,J. Pt_htthctrQcPt_htthcn,as
Pi_ht accordm_ to thc thtcc namcsolLmth: No K' , h . , r , anatos;
t
n,
.
ctc accordn_tothcrtnycs:Lhaossthcnamo!t thcrc,tnour
vI
m
.
Ity), cn1cstod cstabshcsbcIwccnLhaos(Whch sbcoW)and
cxIsttn_thm_s,orthctrmts,sourccs,orroots,a molunshakabc
btonZ,Wccan nthcthrchod thcbotdcrthatsbc_tnnn_andcnd,
a
.
nd Wccan asorco_nzcn t t thctmQassabcthrcshodolthc ntcrdc-
tIon.c alsocan rctatnonythctcrm JbnB0mandstrtvc,as auLcan
cn_a_cs us to do. 10 thnklrom thmholto thmhol
CJ}pur 21
1. !n an cssay, ttr 1 HtrJparm(Ldttons Lamard), dcvotcd to
lrallgrr. Kobcr {hamQt_nydscovcrstn thc atcr a olthc trats ol
QIcurcan
)sdom,Whch,t t s:ruc,a:dccstvcmomcntscxtcndsaslaras
thc_rcat vstons olthc Qrc-bocratcs.
NomtcPagJ 197-217 JOJ
`or thc hrst ttmc tn avcty on_ tmc, 1 thou_ht olmaman . . . .
hcrc, thcrc too, n that homc Whcrc vcs Wcrc Qassn_ aWay, cvcntn_
v asa kDd olmcanchoc rcsQttc. boOosc10 dcath, maman musthavc
lcthcrsclbcratcd andrcadyto rcvccvcrythtn_. Poonc, noonc had
thc r_ht to cry ovcrhcr. Pnd ! toO lc:rcady to rc\ccvcrythn_.
3. Lnc olthc most cxQrcssvc Qassa_cs n ths narratvc ts thsonc:
`Acs, lc bctn_s Wcrc morcnatura than !. Ny harmony Wth h
total, ! adhcrcd toWhat t + uttcry, rchisn_ noncolts rontcs, ts
_rcatncssandtsscrv:udc.lthsmanlcls_ultylor nothavn_IncdU
savcthc droWnn_Woman, thcaut tsnottobcloundonthclcvcolthc
sou but olthc body. thsbodyolactty dWccrWho salrdolthccold
and alrad olWatcr. !I ts ccrtan that lor thc btran_cr , W th hsyouthhi!
v_or, thshcrocactWoud havc bccnthcstmQcstolacts. Lnccoudsay
[ths ts onc ol :hc c_ttmatc rcadtn_s) that, tn ths dark narratvc,
\amussttyn_to_tasQ-tnWhathasscQaratcdhtmlromhtmscltom
naturc, lrom hs naIura sQontanctty, and has acnatcd hm by turnn_
hm 10 thcWorkolttmc[andthctaskolWrttn_)amovcmcn: thatuso
bcon_s to thc Qcrtod, a movcmcnt :hat shoud hnd ts luhmcntn thc
rcturn fO a ncW QctccQtton ol thc natvc cxQcrcncc, thc rcturn to
smQtcty hcncxtchaQtcr(`hc1a:hc_ht), hoWcvcr, QroQoscs
unothcr rcadn_ olLCun.
Chap'"2)
I. Pndrc loO, Lr Trairr. lorcWord by]can-au ant [dtttons du
cu).
Z. 1oWnot tocokc hcrc ohons attcmQttSchizo tl kl mn_uri;
dttons la!tmard):anattcmQt that ts. hoWcvcr, vc:\ dthcrcntou,
lor ohon, thc Work bcats Qrccscly on hs oWn an_ua_c, such that
Whcrcthcrcatonol Words tothn_s has bccomcmatcraandnoon_cr
a rcatton olst_nhcattona rcthcd rcattononc hnds thc mcans ol
Qushn_astdc thc bad, sck mattcr, thcharmlu matcrna obcc:
Chap'" 24
I. ]ucqucs uQin, A|betm Gilcom"', nrr _ur 7C approch, [d-
ttons Nac_ht). hc ttc ! havc_tvcn thcsc rclcctons ts ntcn:tonay
borroWcd lrom Lrnst mochs vcry rtch book, ]ltrrrl, Whch aQQcarcd
thrty orso ycars a_o and Was rcccnty rccd
cm(Gallimard).
4. I am alluding nOI only [0 a peculiarity of personal history. bUt
another SOft of truth: to be Jewish" etracts no morc fomthe fatality (or
dignity) ofbcing-undcrstood as race, as biological or C biographia!
vocation-than a power that is unconditionally frt. One could even say
thai it comes from OUf belonging 10 " humanity," no doubt; and thaI
is why both belongings go through the same vicissitudes. One does nOi
become a Jew through gracious consenc. One is a Jew before being one,
and al the same lime this anterioriry that precedes being Jewish and, in
some way, history, does not root it in a namre (in the certimde of a
namral identity), but in an already formed otherness, which, even so, has
never yel occurred, and which must be answered, without being able to
mrn down the responsibility. From this "the condition of the Jew" is the
most refexive, and at atimes uby an afrmation more inveterate
thal namre, more necessary than it, and from which one would not be
able to hide, even if one ran from it.
5. In Ihe book Dif dk Libml (Editions Albin Michel). in which
Emmanuel Lcvinas, with his customary depth and authority in speaking
of Judaism. speaks of what concerns us all, I fnd, among many ntial
reRections, the following: "The oral law is eterally contemporaneous to
the written. Bcrwccn them mere exists a relationship whose intellection is
the very atmosphere of Judaism. The one neither maintains nor destroys
the other-but makes it practical and readable. To penetrate this dimen
sion every day and to maint2in oneelf in it the work of the fmous
study of the Torah, the celebrated umm that occupies a central place in
Jewish religious [ife."
6. Martin Buber, Ln RldthMmquC(Plon). The translation, worthy
of the original-an original without origin-is by Armel Guerne. This is
what Buber says about working on the collection: "It was transminoo to
me [the legend of the Hasidiml through popular books. notebooks, and
manuscripts, but I also heard it from living lips, from lips that had
received its stammering message. I have not adapted it as if it were JUSt
any piece ofliterature, I have nOI worked on it as if it were a fable: I have
told it in my turn, [ike a posthumous son . . . I amonlya [ink in the chain
of narrators, I repeat in my turn the old Story, and if it sounds new, it is
because the new wa in it the frst time it was e\cr to[d."
Nottto PagC 228-43 105
] would mlike to recommend another book, by Robert Misrahi, f
Colnicn "j;/t /' l Ommr juif (julliard), and in partic
r a chapt
r
tided "The Signifcance of Nazi Anti-&mitism as the <ngmal Expen
enc. of (he Modern Jew." From it I take the followmg passage fr
consideration: "For the Jew, the enormity of the Nazi catastroph. revels
the tpth to which anti-Semitism has been 'ancho: and nmanti
&mitism to be a rmalrlpssibility . . . . Consciousness o th. Cta
trop}r, as if derived from a renewed Jewish conscousness, I
a
.
son
f
sinist.r com'ersion, nOl to light but to darkness. ThIS pt brmnmg, UlS
primitive experi.nce beyond which it is impossible to
.
g
,
.
c
ns(it
.
ut
:
s
'
in
effro, for Jewish consciousness a method of sombe
l
.
nmallon:
.
11 IS the
apprenticehip of wisdom and fear. "To be a Jew IS somethillg
.
mat
cannot be defned for th. cultured, assimilated Jew, except paradOXically
and circuitOusly: by the mrrr fctof always being susceptible to gratuit
us
murder because ofbeingJ.wish." The whole of society becomes for him
a permanent possibility of mutation and from now on ,
:
ill con
tilUte a
latent menace. R. Misrahi adds, "Nazi anti-Semitism IS not Simply a
historical phenomenon for which we can determine the
.
causes and
sociological suucmres . . . . If it is that, it is also some
hm
.
g cv: the
maniftation of pure violenc. addressed without mOIlV3n
.
on to
"
the
other, simply because he incarnates the scandal of anorb"C1MM.
Cbu]u2]
I. One would have to qualify this assertion.
Z+ "Be n me and you." says a maxim ofHallaj, "there is an '] am' t
torments me. ^! Remo\', with your '] am' my'] am' from b.cn us.
3. G. G. Scho[em, Ln Grutm Couruurrdmmptiqlt jui/, t
nslat
by M.-M. David (Payot). I would like to make it clor that I cerlalOlydld
not fil to use this remarbble book for this commentary, as !!a the
following works of Buber: Djr cIasidchr &tuhaf and Stlum (An-
fng und Ausgalg).
.
4. Go f Mago. Chroni,,u d /rpoplt lapo/lonmmr, translated by
Jean Lawenson-Lavi (Editions Gallimard)
.
Chaptn2
Besides the biography, Brad dedicated seve
al ,
:,
olumes t
his
.
friend
in which he specifies what were, according to hiS Views, the bebef and
teaching" of Kh.
)06
Nom 10 PtgJ 243-5
Z+ Din'. note from May 3, 1915.
j. In a lal:r chapter. Pepi, Frieda's replacemem, who Hies 10 uce K.,
explains $J K. at great length [he intrigue in which Klamm's girlfriend has
engaged hersdf by throwing herself around the neck of a stranger, to
attract 3ucmion through sandal and 10 tovcr a linlc of the prlige
thai her fccblc physical auractions and her disagrtt2ble character have
causM her to lose. Moreover. is she Klamm's girlfriend? Everything leads
one 10 think that Ihis is a fble, cleverly concocted by the ambitious
Frieda. Such is Pepi
'
s point of view, in keeping with her own miserable
liule existence. K. himself puts no fith in ii, though he is u:mpted to fnd
refuge in the underground passageways of a sad servant's life. "You are
wrong," he says. In the fnal page, he nies. nO! without success, to strike
up ; new intrigue with the wife of the innkeeper of the Herrcnhof. Thus
everything begins again, but [his incessant beginning-again of situations
also shows that everything is stuck, even the book, which can only
interrupt itself:
4 In a fragment, an observer from the village makes a mockery of
what he calls "the adventure" that K. has had with BilrgeL "It is all tOO
comical," he S3ys, "thai it had to be BilrgeL" Bilrgcl is, in cfect. the
secretary of Frederic, an ofcial of the Castle, who has for some time
fallen into disgrace and no longer has any inAuence. ^Ithe more reason
for it 10 be Bilrgcl, who is bUI a secretary of the lowest rank.
Cbapur 2)
I. II is Ihis biography Ihat Klaus Wgenbach has undenaken to write,
a work that is very insnucti\'e |fmKfa, i"r Bioraph'r srilrr jl
t958). Cr the neCl chapter, de\'Oled to the leners wrinen by Khto his
f1 fanctt, Felice Bauer, leiters excluded from this fm volume of the
correspondence as a result of an editorial agreement.
Z. I would remind the reader thai the Lmn:oMifma were published
as a parlle volume in 1951.
J. He writes to Brod: "The bad opinion that I have of mysclfis not an
ordinary bad opinion. This opinion constitutes rather my sole virtue: it is
thai which I should never. ne\'er have to doubt, when I have drawn
reasomlble limits for it in the course of my life: il pUIS order in me, and
for me. who in the f
.
1ce of whal I cannot embrace break <Iown irmne
diatcly. it makes me passably peacefuL" This reAcction is from 1912: the
bad opinion is still but methodical: moreover, circumscribed and mea-
)07
sured. "What I ha\'e written." he says in the same letter, "was wriuen in a
warm barh, I did not live Ihe eternal hell of real writers." The lene
,
rs
confrm what we sensed: that the dramatic relations with life begm
around his thirtieth year, when on the one hand writing becomes the
absolute exigency, and on the other he encounters his fanett. Te year
1912 precisely mkthe rupture. Unlil then, during the )'ea domll\at
by the father, he is cenainly alrody "in despair."
.
bUI it is a dep;lr
illuminated by humor, scinlillaling ;nd almosl hghl, thretcned by
aeslhelic plure, of which Ihc following is ;n cxample: "For 1 ha\'e
been, as I saw Ihis morning before washing up, in desp;. ir for (O yers,
;nd only thc more or less distant limit of Ihis despair determines my
mood of the moment. And herc I am ;t ; caf. I have read several preny
thing. I am doing well, and do not speak o my despair wit as mu
h
conviction as I would have liked 10 at home (1908). What 15 therc In
common with this cry: "In the felds, oUiside the madness of my head
and my nighls. Such a being am I. such a being am I. I torment hcr, and
myself to death" (19t6)?
. . +
4. The S3.me is Hue in Ihe last letters 10 Mllena, bUi 10 Mllena wnh
morc humor.
5. We mknow from many other tCXIS th;1 he docs no
hod his art
originally responsible for Ihe life outs
.
ide th
worl? to
:
h1ch II
ms
him: it was frst imposed on him by hIS reialLons with hiS fther; 11 IS by
him Ihar he was exiled from lifc, pushed outsidc the borders, condemn
to wander in eilc. An but transl;led, exploited, and deepened
earlier faliry. Kh.fnhermore. is fr from always speaking unf\'Ora
bly of Ihis life oUiside Ihe world, which, on the COnt
'
ry, he sout OUI
wilh unrelenting smngth. In June 1921, to Brod: The fm shghtly
peaccful day after fflttn d;Ys of martyrdom, This life-ou
.
tside-thc-v-rld
thai I lcad is nOI in itself worsc th;n the other, Ihere IS no reason 10
complai n aboUi it. bUl when Ihe world, desecrator of tombs, bgins 10
scream even into this life-oUiside-lhe-world, I come of my hinges and I
really knock my head ;g;insl the door of madness. which is always bUI
half-open. The It Ihing sufces 10 put me in this
,
slalc.
.
6. One must also mention Ihc circumSances: dunng thiS penod, ra
Brod is in a painful emotional stale-married in Prague, hc is passion
ately attached to a young woman who livcs in Hedin. Kafka ofcn sees
this young woman, and he knows Ihat it is hr of all ofhcr that he mllst
speak to his friend.
7. During his last days, Kafka held himself strictly to the ordcrs not to
JoB Not tc Pags 265-7
sak, even in whispers. He conversed until lhe end with his friends by
writing OUt shOft sentences in which the sensitiviry and originality of his
language. always alive, continue 10 oexpresed.
Chapur28
t. cr. the preceding chaprer.
+- I refer 10 the Ictler thar wrole 10 Milena in which he de
scribes with his implacable candor mfrsl night" ("L&hec de Milena,"
POSlf2tt 10 volume VIII of X (UI cmp/ul; Ccrde du Livre
Pr&ieu).
3. One day when Felice ke his "bem for writing": "NO! a bent, I
have no bent, writing is my whole self. A bem, one could wipe OUt or
reduce. BUI it is myself. Certainly. one could do away with me, but what
would be left for you?"
4. In particular on the day of the trial when he gives up justifing
himself and also when he 'writes a Iwer to Mlle. Bloch in which,
although recently engaged, he speaks of his horror of marriage, a lener
that his correspondent wrongly shows co Felice, such Ihat Felice is SHuck
with a feding of painful duplicity, for Ihe Irulh, of which she had been
wed so many time by Kdirccdy, had become a power of deadly
objcclivity (a it always happens) as soon as it had beencommunicated 10
her by somcone else.
5. On the relation 10 "uuth," one would have 10 cill: the letter of
Sepl. 10, 1917-the ncxHQ-lasl letter, I believe-already partially pub
lished in the Diar: "For fve years you have been kept informed a to the
progress of the strugle, by word and by silence and by a combination of
the [WO, :.md most ofen it hbeen a torment for you . . . . If you ask
whether it has always been in keeping with the truth, I can only say thai
with no one else but you h2ve I held myself so slrenuously from con
scious lies. There have been certain anenualions [ :Hcnng], but
very fewlies, assuming that in what concers lies it is possible for there 0
be 'very few. '' The continuation can be read in (he Diar with. at Ihe
end and in form of a verdict, the following: "In summary, it is only the
tribunal of men that is imponant to me, and it is this tribunal, moreover,
that I wish 10 deceive, though without deception."
6. On "literature" and the danger it represents, responding 10 Felice,
who judged herself, in everything, 0 be less than he: "I would be 'more
advanced than you in everything'? A small capacity for judging men and
Nott' to PagN211-81 JO9
for putting myself in their place Out of symp:nhy. this I ha\e. . . . !have
no memory, not for things learned, or read, or experienced, or heard; it is
as if 1 had no experience of anything; I know les about most Ihing Ihan
the smallest schoolboy. I cannot think: in my thinking. !conslantly come
up against limits; certainly, I still able to grasp this or that i solated
point, but a coherent thought, capable of elaboration. is impossible for
me. I C2l not even tell a Story. or even speak . . . . All I have arc certain
powers that kthemselves in view of literature at a depth that cnot
be rccognized under normal conditions. powers to which I do not dare
give myslf over in my present professional and physical state, ouin
fce of the inner demand of these powers there arc as many inner
wing. Werc I ablc to give myself to these powers, they would
Straightaway carry mc, of this I am sure. out of all of this inner desola
tion" {must one specif? out oflifel.
7. On these new relations, there is a very brief note in the Di ary that
Max Brod judged himself not authorized to publish but that Wagenbach
read in the manuscript.
S. I refer co the letter (on his relations with his family), an important
excerpt of which is published in the Diar (Lct. t8, 1916).
. According 10 convention-convention!-Kafka is obviously the
one who should havccrossed the great spacc and gone to his fancee, bUI
Kafa '"i s bound like a criminal; had I bn put in a corner, with real
chains . . . it would not have been worse" (Diar, June :().
10. About the slay in Marienbad, Kafa also write in the Di lr, on
Jan. z, :zz.a he takes fright al lhe thoughl that Milena might come:
"It rcmains [0 solve Ihis onc enigma: why !happy for ffcen days i
Marienbad and why, consequently. I might also perhaps be happy here
with Milcna, aer the most painfl btking and frcing of barricrs, of
course. BUt it would probably be much more difcult than in Marien
bad, my ideolog is frmer, my experiences more vasl. What then a
thread of separation is now a wor a mountain. or better yet: a grave."
ti. It should be recalled that he abandoned Amrla one night and
with no mind to take it up again (except to writc the last chapter in Oct.
t914 and perhaps also, at the same date, tile episode ofBrullclda) when e
reread the 400 pages he had already written and could not rcgrasp ItS
nrhMW uho|c.
A L K l | ! ^ I
Crossing Aesthetics
Maurice Bhnchol, Frimdship
Thomas Keenan, Fabl ofRrspDnsibiir; Abrrmlio./S and rdicammt in
Ihialnd /filia
Cornelius CaslOriadis, "r i" Fmgmrn/s
Emmanuel u..inas, Prop" Namn
AI(nder Garda DUnmann, AI Owilh AIDS: Thinkin: (nd
Tl ing (boUII Vrus
Jc.-Luc Nancy, T Mu
Massimo Cacciari, !/hurous Propl; V,mla &1n 7i On/rn
D.\id E. Wdlbcry, T Spufl MomtM. eli &rJ LJrif and lIl
&inning of Roman lid 1m
Edmond Jabb, TIl Lil/I Book ofUnsuspmn Sublomion
Hans-Jose Frey, Sudin in l'tli( Dis(uf': M(IL""I. HIlMlni"_
Rimbaud, Hi n
Piere Bourdicu. TN Rlilts of Art: Gmrsis (lnd S,rut'''" of,br iilmlrY Fi"U
Nicolas Abfham, RJrI/Ju; 011 tN '/ork. 7:""'S/,lIioll, IlId l'dlli/ysis
Jacques Dcrrida. Olllht Nlmr
DvidWills, Phnis
MuricBb.nchOI, T "'rAofFi"
Jacques Dcrrid, linn. . . : /nrn1int , 1974-1994
J. Hillis Millet, TPphin
Philippe Lacoue-Labmhe, MusicI Fi((FigumofWlgntr)
Jacques Dcrrid;, Apori
Emmanuel Levinu, OUfirthrSubjt
Jean-Fr:nois Lyolard, Ont AnalyticofthrSubimt
Petcr FcnvC$, "Chllfr:' L andHiJtorin ItrAtaard
Je;n-loc Nancy, ThtErrimuofFrudm
Jean-Josph GOUlI, Ordipus, PhilJplJ
Haun Saussy, ThtProbkm"fa ChinAnrhttk
Jon.loc Nancy. TIBirrht Pr mu
Lihrary of Congrcu Cataloging-in-Publiction Dara
BlanchOt, Maurice.
Amiti. English]
Friendship I by Maurice Blanchor : rranslated by
Iib:hROflenbcrg. 1997.
p. cm.
ISIN 0-80-7-1]S8-9 (dolh) *ISBN o-8047-17S9-7 (pbk.)
I. Anand 5iCl).
Z. Polilic and culture.
I. Roflenbcrg. I|bth.1969 I.J1tIc.
1o "ISo.s6BSS81} 1997
]O'.1'01-dc10 96-j8101 1
e Tbisb kis primed on acid-fr\ ned paper.
Original priming 1997
Last fgure ~Iowindic:(($ year of ,his priming:
06 os O- OJ 01 01 C 99 98 97