Going sane writing
Source: Going sane writing
Going sane writing
Source: Going sane writing
“Who among us can know what may seem today to be marginal graphomania might not one day appear to our descendants as the most substantial thing written in our time?
A premonition of blogging? No, but part of a profound essay on culture as the freedom of the human spirit.
Read more at http://wp.me/p6tMLx-Dx
(I am experimenting with curating my own material here. I hope readers don’t mind)
I thought I would reblog this post which commenced my 14 post series – 13 ways of looking at a bureaucrat – an essay of perspectives on my benighted profession.
You can read the entire series by following the links to the side.
I am reblogging this post on the intriguing Bernhard from this excellent blog focussed on Sebald and his family of writers
In reading Austerlitz last night, I stumbled on the passage in which the relayed memories of Austerlitz tell of his ambling into the strangely desolate town in which lie the ruins from which he has averted his attention for four decades. Here he finds the reason for his long avoidance of his personal and national history. Here he recovers the fate from which he fled as a Jewish child on a train. Here he knows again the loss, the unbearable trauma, that none of his family survived.
There he sees the gate of Theresienstadt, with its slogan in wrought iron decorating its upper border.
Arbeit Mach Frei.
None who entered believed this slogan of the powerful, this siren song of productivity.
Only the eerie freedom of death, if it can be known, was delivered here.
But we have forgotten. Again, we are led to believe that work will set us free.
We need to remember, like Austerlitz, and to turn and face the great destructiveness at the heart of our modern society – this turning of the necessity of work first into a compulsion, and then into a vocation.
Creative destruction? Innovative disruption? None truly believe that surely?
It is not work, but simpler perceptions that can give us all hope, that may set us free.
So says Zbigniew Herbert in “The Envoy of Mr Cogito”:
Beware of dryness of heart love the morning spring the bird with an unknown name the winter oak
light on a wall the splendour of the sky
they don’t need your warm breath
they are there to say: none will console you
Image: The gate of Theresienstadt in the Czech Republic, former German concentration camp
The mind errs. My mind errs.
The mind slips from its own grasp.
The mind believes the clouds that surround it are summoned by its will.
The mind, my errant mind, your proud mind, the mind we share in confusion lives by one illusion.
The mind calls this illusion, control.
Knowledge does not dispel this illusion.
Even though it claims to.
There is no enlightenment from this illusion.
Except in madness.
Kindness too, the humble gift of the unhinged, dissolves the clouds.
Then, in the time left to us, we see the madness of the day.
Its beauty. Its fear.
In that final abandon, we forgive control.
We live in a freedom we can never control.
After a morning during which I searched my ravaged memory for the concealed door to my troubles, I opened an old box which contained five old, forgotten notebooks of mine. Their black covers and red spines revealed nothing to me of when I last used them to gather observations, thoughts, fragments of lines, like a dark sponge wiping up the mess of my mental life.
I opened the first notebook of the pile, and flicked through the pages. Quickly I dated it to the months or years around 1999. There I have noted the words spoken by Steve Bracks on election night in 1999, when he defeated the apparently invincible, more despised, but more enduring figure of Jeff Kennett. Bracks: “a victory for decency, honour, compassion.” Beside it, I have scrawled thoughts that record my state of mind – “the joy of seeing a tyrant brought to his knees. The reminder that government is not execution. A child’s eyes pleading for mercy in the midst of horror. A reminder that there can be a reward for waiting and persistence. The heroism of enduring.”
They are not surprising thoughts, except I am struck today with the sense then that the dramas of even minor provincial politics still held for me this fascination to find ordinary virtues – “the heroism of enduring” – in my struggles as a lowly under-castellan.
But these residues of reactions to old news are not the most surprising finding in this notebook. There in the early pages I have written:
Francis Ponge wrote this (or something like this) “an artist has one duty to set up a workshop and to bring in the world for repair as he finds it in pieces.” So the experience, day to day, is transcribed and out of intuition, some poetry found.
Ponge was one of the many French writers who I came to know through my strange search for an artistic identity through the works of Jacques Derrida and Michel Foucault. I was in my 20s and at university, and my first sally into the world of adult identity had failed dismally, when I had sought election as a student politician and failed. I never really belonged to that world in any case, and my true affiliation was with the worlds of dream, madness, transgression and outlandish thought. It was this world that welcomed me as an outcast from reason, familial life and all practical careers, which I believed myself then to be.
Through them, and the ultimately futile attempt to think like them and not like myself, I discovered Ponge, and Leiris, Blanchot, Bataille, Rene Char, Beckett in a new way, Artaud, and the truly enigmatic Raymond Roussel. I tried but could not really understand the philosophy, but I completely absorbed the idea of consecrating my life through an unique and idiosyncratic practice of writing. Just now I picked up Leiris’ Manhood from my shelf, with its frightening, disturbing image of a naked Judith holding a knife and the severed head of Holofernes,
and read from the prologue these words, which spoke to me then and still do today:
My chief activity is literature, a term greatly disparaged today. I do not hesitate to use it, however, for it is a question of fact: one is a literary man as one is a botanist, a philosopher, an astronomer, a physicist, a doctor. There is no point inventing other terms, other excuses to justify one’s predilection for writing: anyone who likes to think with a pen in his hand is a writer. The few books I have published have won me no fame. I do not complain of this, any more than I brag of it, for I feel the same distaste for the “popular author’ genre as for that of the “neglected poet.” (Michel Leiris, Manhood, p 4)
Unlike Leiris or Bataille, to whom Leiris dedicated his self-inquiry, or Bataille’s friend Blanchot, I never gathered on my shelves the works of Francis Ponge. Where I learnt of the quotation that the artist brings into his workshop items of the world to repair one at a time, I do not know, and a cursory google search cannot conceal the sloppiness of my literary scholarship in that notebook, penned at a time of desperation, when I did not know how to continue being what I was, a literary man, and still succeed in the world.
All I remember of reading Ponge is struggling to find my way through Derrida’s essay Signponge – and wondering what it was that provoked such an extraordinary text. I think now, as I read more of Ponge’s attention to the thing itself, simple things, ordinary things, reimagined with puns, dad jokes, word play, that it was simplicity itself that so infuriated Derrida, and made him turn the pun of Ponge’s name into an attack on any aspiration to find meaning in things themselves, outside the endless commentary of differance.
At the same time I would deliberately set aside the too difficult question announced by this word; it escapes any frontal approach, and the thing [Ponge’s name, the thing that is not a thing, and yet is declared in Derrida’s sentence] that I am going to talk about obliges me to reconsider mimesis through and through, as an open-ended question, but also as a miniscule vanishing point at the already sunlit abyssal depths of the mimosa. (Derrida, Signponge, (1976, trans 1984) p. 4
The aggressive brio of the scholar. Shots fired a the podium. Words as weapons.
Derrida’s words no longer fascinate me. But through Ponge I discover things that can renew poetry. I read also that Ponge became a recluse in his later life. In this fate he shared with Blanchot, I see my own. The writer who is a recluse looks like Narcissus into the pool and hopes to see his psyche’s echo.
It reminds me of the poem I published in ars poetica IV in May 1997, a couple of years before I penned my thoughts in this notebook, at a time when I hoped to escape the dreariness of a life in servitude as a lowly under-castellan to a minor provincial government, an escape which I have never been able to effect.
In that small moment dream takes
to fly from memory and become
the nagging image of forgetfulness
the muted clank of psyche’s hold
I can turn too well in bed
and learn the pains of comfort.
Whenever these rivers of the night
Dry hard into red scorched beds
Depression takes over my daily self
Like the avenging angel of time.
Scouring winds rub out the image
Leaving behind the carcase of summer.
Suppose thought gave way to dream.
Bridges would collapse. Our simple talk
Would become a spree of metaphor
Not even poets could afford.
Self would reign over all meaning
And again the tower would fall.
But why do these solitary creations
reveal their meaning first to others
as if the dreaming tongue betrayed
its beloved solipsism? Eyes wrapped
in fabrics of truth and lies,
the dream asks its interlocutor: who?
A tree springs from my stomach.
Nebuchadnezzar’s madness overcomes time and reason
to plant itself in my soil
to come alive again as if
all history is compressed by night
into an image none can forget.
This drowning boat, this fish river,
this medusa returning as a bowl
of squirming snakes which I eat:
these dreams lie like abandoned gifts
but still share their secret being
with listeners to my night’s echo
Jeff Rich (1997)
(Image: Arthur Boyd, Nebuchadnezzar’s Dream of a Tree)
The first line of Derrida’s Psyche: Inventions of the other: “What else am I going to be able to invent?”
You can twist at the foot of the stems
The elastic of your heart
It is not like chenille
That you will know the flowers
When more than one sign
Your Rush to Happiness
He shuddered and jumped
Joined the butterflies …
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