An Extract From Reiner Stach’s “Kafka: The Years of Insight”

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(Ricardo Bofill.)

The easy possibility of writing letters–from a purely theoretical point of view–must have brought ruination to the souls of the world. Writing letters is actually communication with ghosts, not only with the ghost of the recipient, but also with one’s own ghost, which secretly evolves inside the letter one is writing or even in a whole series of letters where one letter corroborates another and can cite it is a witness. How did people ever get the idea they could communicate with one another by letter! One can think about someone far away and one can hold on to someone nearby; everything else is beyond human power. But writing letters means barring oneself to the ghosts, who are greedily awaiting that. Written kisses never arrive at their destination; the ghosts drink them up along the way. This ample nourishment enables them to multiply so enormously. Mankind senses this and struggles against it; in order to attain a natural communication and a tranquility of soul, and to switch off the ghostly dimension as far as possible, man invented trains, cars, airplanes, but nothing helps anymore. These are evidently inventions devised at the moment of crashing. The opposing side is so much calmer and stronger; after the postal system, the ghosts invented the telegraph, the telephone, the wireless. The ghosts will not starve, but we will parish.

 

The opposing side. The phrase reveals that his mythopoeic imagination had reached the next level. Although the recipient of this letter could not know it, Kafka had just written a novel about this opposing side. But in The Castle, the fiends (who work mainly at night) are no longer a chaotic mob but emissaries of a ststem, officials who are not free and are themselves subjugated to an unfathomable will. Somewhere inside the castle a highest authority lives; it is the castle of Count Westwest, without whose tacit approval not a creature can stir. This creature with the unearthly name is mentioned on page 20, only to disappear behind a smoke screen of endless chatter. And no one penetrates these walls by waiting patiently for them to become porous–as in Kafka’s “Before The Law” legend–or by the land surveyor’s challenge to a “fight.” The highest authority exists, but it remains unrelentingly remote, and thus the crucial question of whether it is hostile or even evil remains a matter of conjecture. Kafka himself was not clear on this. A few months before beginning the novel, he wrote:

The systematic destruction of myself over the years is astonishing, it was like a slowly widening breach in a dam, a purposeful action. The spirit that brought it about must now be celebrating triumphs; why doesn’t it let me take part in them? But perhaps it hasn’t yet completed its work and can therefore think of nothing else.

(trans. Shelley Frisch).

“Killing yourself makes just as little sense as continuing to live does” (Thomas Bernhard)

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Thomas Bernhard as a sorcerer in Klaus Gmeiner's "Enchanted Forest."

Thomas Bernhard as a sorcerer in Klaus Gmeiner’s “Enchanted Forest.”

Douglas Robertson, who runs the blog The Philosophical Worldview Artist, has for some time been translating a selection of Thomas Bernhard’s interviews, reviews, and letters into English on his blog. A very welcome resource for English readers of Bernhard, as there is a giant dearth of this secondary material available. Have a look here.

“I am learning to see.” (Rilke)

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Have I said it already? I am learning to see. Yes, I’m beginning. It is still going badly. But I want to make use of my time.

For instance, I never realized how many faces there are. There are lots of people but still more faces, for everyone has several. There are people who wear a face for years, of course it wears out, gets dirty, cracks in the folds, stretches like a glove one has worn on a journey. Those are thrifty, simple people: they don’t change it, they don’t even have it cleaned. It’s good enough, they maintain, and who can convince them otherwise? The question does arise, since they have several faces, what do they do with the others? They keep them in reserve. Their children will get to wear them. But it also happens that their dogs wear them when they go out. And why not? Face is face.

Other people put on their faces with uncanny rapidity, one after the other, and wear them out. At first it seems to them as if they have them forever, but they are barely forty and this one is already the last. That of course has its tragic side. They are not used to take care of faces, they run through the last one in a week, there are holes in it, in many places it is as thin as paper, and then slowly what’s underneath emerges, the not-face, and they walk around with that.

From The Notebooks of Malte Laurids Brigge. Translated by Burton Pike.

“A Country On The Far Side of Fiction” — Riffing Over Gerald Murnane’s Barley Patch

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Claude Lorrain’s "Landscape with Samuel Anointing David."

Claude Lorrain’s “Landscape with Samuel Anointing David.”

 

In my last riff on Gerald Murnane, I wrote about his book Inland, and that he wanted to “craft a universally mutable and relational ‘I.'” And I started off with a quote. I’m going to do that now. This is a short passage from Ludwig Wittgenstein’s The Blue and Brown Notebooks.

The word “I” does not mean the same as “L.W.” even if I am L.W., nor does it mean the same as the expression “the person who is now speaking”. But that doesn’t mean: that “L.W.” and “I” mean different things. All it means is that these words are different instruments in our language.

Think of words as instruments characterized by their use, and then think of the use of a hammer, the use of a chisel, the use of a square, of a glue pot, and of the glue. (Also, all that we say here can be understood only if one understands that a great variety of games is played with the sentences of our language: Giving and obeying orders; asking questions and answering them; describing an event; telling a fictitious story; telling a joke; describing an immediate experience; making conjectures about events in the physical world; making scientific hypotheses and theories; greeting someone, etc., etc.) The mouth which says “I” or the hand which is raised to indicate that it is I who wish to speak, or I who have toothache, does not thereby point to anything. If, on the other hand, I wish to indicate the place of my pain, I point. And here again remember the difference between pointing to the painful spot without being led by the eye and on the other hand pointing to a sac on my body after looking for it. (“That’s where I was vaccinated”.)—The man who cries out with pain, or says that he has pain, doesn’t choose the mouth which says it (67-8).

 

The “I” in Barley Patch, as it is ostensibly used in the literary sense, merely implies the presence of the author. The “I” is as much of a fiction as the collection of words around it. Barley Patch is a strange, strange fiction. I’m honoring the narrator’s/implied author’s/personage’s/ghostly presence’s/reader’s/image-person’s wishes by not calling it a novel, an essay, a memoir, an autobiography. And though Barley Patch is all of these forms, often simultaneously, ultimately it is a “report,” to use the narrator’s term, of how a story becomes removed from itself. Some questions BP asks: How do I know that am I me? Am I the imagined personage of a writer in a “country on the far side of fiction?” How do I know where I am is really where I am?

 

An Excerpt From Gerald Murnane’s Barley Patch

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After the young man of the upstairs flat had first disclosed his plans for the Black Mass in the building of several storeys, it became the custom on every Friday and Saturday evening for all of the young persons gathered in the upstairs flat, including the young woman who lived there, to spend some or another part of each evening in discussing how they might spend one or another Friday or Saturday evening in the building of several storeys after the young man of the upstairs flat had bought the building and had fitted it out to his liking. The discussions at first were simple. The young man of the upstairs flat owned a copy each of several issues of the American magazine Playboy, which had recently been allowed into Australia after having been previously a prohibited import. All of the persons gathered in the upstairs flat would look at one after another illustration of a bare-breasted young woman from the magazines and would cast votes in order to decide whether or not the young woman should spend some time as a guest in the building of several storeys. The young woman of the upstairs flat was interested in dance and music and would describe some of the items that she would later choreograph, as she put it, for performance by herself and other naked young women during banquets. The chief character tried to amuse the others by reading to them parodies he had composed of prayers from the Mass. In each parody words such as God, angels, and sacrifice were replaced by words such as Lucifer, devils, and farce. However, few of the persons in the flat knew anything about Catholic doctrine and liturgy, and the parodies aroused little interest. The only means that the chief character found for amusing the others in the upstairs flat was his performing a brief mime in which he took the role of a priest first turning from the altar towards his congregation with his head bowed and his eyes closed, then seeming to notice something was amiss, and finally looking aghast. (The chief character never held back from discussing with the other persons in the upstairs flat the details of the banquets and the orgies in the building of several storeys, but he was never able to imagine himself as taking part in an orgy. Whenever the chapel of the building of several storeys appeared as an image in his mind, it was always fitted with a so-called side-chapel, a sort of alcove with a few pews to one side of the altar. If an orgy seemed about to begin, he would slip unnoticed into the front pew of the side-chapel and would there masturbate quietly while he watched the goings-on in the sanctuary.)

An Excerpt From Karl Ove Knausgaard’s My Struggle II: A Man in Love

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She fell into a pit that autumn. And she reached out for me. I didn’t understand what was happening. But it was so claustrophobic that I turned away from her, tried to maintain a distance, which she tried to close.

I went to Venice, wrote in a flat my publishing house had at its disposal, Linda was supposed to follow and stay for just under a week, then I would work for a few more days and return. She was so black, she was so heavy, kept saying I didn’t love her, I didn’t really love her, I didn’t want her, I didn’t really want her, this wasn’t working, it would never work, I didn’t want it to, I didn’t want her.

“But I do!” I said as we walked in the autumn chill in Murano with eyes hidden behind sunglasses. However, when she said I didn’t really love her, I didn’t really want to be with her, I wanted to be alone all the time, on my own, it became a little truer.

Where did her despair come from?

Had I brought it with me?

Was I cold?

Did I only think of myself?

I no longer knew what it would be like when my working day was over and I went to her place. Would she be happy, would it be a nice evening? Would she be angry about something, if for example we no longer made love every night, and so I didn’t love her as much as before? Would we sit in bed watching TV? Go for a walk to Långholmen? And once there, would I be devoured by her demands to have all of me, making me keep her at a distance and have thoughts shooting to and for in my brain that this had to come to an end, it wasn’t working, thus rendering any conversation or attempts to get closer impossible, which of course she noticed and took as proof of her main thesis, that I didn’t want her?

An Excerpt From Gerald Murnane’s “Sipping The Essence”

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Even drunk on tepid beer we could not talk honestly. Our messages for one another were obliquely worded, or hidden behind childish mimes and antics. At a certain point in the evening Durkin would make a show of examining the tangle of blankets on my bed and finding evidence that a man and a woman had shared it not long before. I would point out what I claimed were signs that a young adult male had recently masturbated there, using a heap of pillows as a surrogate woman and seeing the furthest wrinkles in his blankets as the coastal hills of the Mornington Peninsula. Durkin would then tidy the bedclothes and demonstrate what I ought to do on the bed as soon as I had come to my senses and invited home one of the thousands of girls in Melbourne who were waiting every night by their telephones as anxious to meet a new man as Carolyn had been at Sorrento. Then, if I was drunk enough, I would argue that all those women must have once been to the Gold Coast of Queensland as Carolyn had been and must have learned there too much for a beginner like myself. And if I saw that he was drunk enough I would announce that my last hope was his sixteen-years-old sister. Had he guarded her honour? I would shout at him. Could he keep her from setting out towards the Gold Coast and deliver her to me instead? I would treat her honourably and do no more than read my poems to her until our wedding night and be a fine, boozy brother-in-law to him for the rest of our lives.

When his sister was mentioned he would offer to fight me, and we would grapple on the floor until our buckets of bottles were in danger. Whenever I was on top of him and had him by the throat I boasted that my strength came from my celibate way of life. But whenever he had pinned me to the floor I begged him to procure me his sister or any girl who would give me a strength like his.

Found in the collection Landscape With Landscape.

“…a pipe that springs a leak” (Karl Ove Knausgaard)

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Laura Sanders. "Faye Taking A Breath."

Laura Sanders. “Faye Taking A Breath.”

 

Now I saw his lifeless state. And that there was no longer any difference between what once had been my father and the table he was lying on, or the floor on which the table stood, or the wall socket beneath the window, or the cable running to the lamp beside him. For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.

“Actually I’m shocked by everything I’ve just written” (Correction, Thomas Bernhard).

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Thomas Bernhard died today in 1989. He was buried on the 16th. Three people were present.

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I’m getting closer to Altensam, but I’m not getting closer to Altensam in order to solve its mystery; for others to explain it to myself is why I am getting closer to Altensam, to my Altensam, the one that I see. While she lived I never asked my mother, never asked her all these unanswered questions, never once asked her a single crucial question, because I never could formulate such a question, I was afraid I might put such a question wrong somehow, and so I never posed it, and so I got no answer. Now the Eferding woman is dead, I can’t ask her, she can’t answer. But would it be any different now, if I could ask her, and she could answer? We don’t ask those we love, just as we don’t ask those we hate, so Roithamer. Actually I’m shocked by everything I’ve just written, what if it was all quite different, I wonder, but I will not correct now what I’ve written, I’ll correct it all when the time for such correction has come and then I’ll correct the corrections and correct again the resulting corrections andsoforth, so Roithamer. We’re constantly correcting, and correcting ourselves, most rigorously, because we recognize at every moment that we did it all wrong (wrote it, thought it, made it all wrong), acted all wrong, how we acted all wrong, that everything to this point in time is a falsification, so we correct this falsification, and then we again correct the correction of this falsification and we correct the result of the correction of a correction andsoforth, so Roithamer. But the ultimate correction is one we keep delaying, the kind others have made without ado from one minute to the next, I think, so Roithamer, the kind they could make, by the time they no longer thought about it, because they were afraid even to think about it, but then they did correct themselves, like my cousin, like his father, my uncle, like all the others whom we knew, as we thought, whom we knew so thoroughly, yet we didn’t really know all these peoples’ characters, because their self-correction took us by surprise, otherwise we wouldn’t have been surprised by their ultimate existential correction, their suicide.

An Excerpt From The Chapter “Mycobacterium tuberculosis” in Reiner Stach’s Kafka: The Years of Inight

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They had a difficult time with Kafka. His statements about the dangerous illness seem oddly self-assured, sensory, and at times downright theatrical, even to modern readers who have internalized the paradoxical forms of expression of literary modernity. But when we look over the correspondence of that little circle, it seems equally odd that Brod, Weltsch, and Baum had not developed any real feeling for Kafka’s psychological volatility after more than a decade of close personal contact, or understood his vulnerable, literally exposed life and his sense of reality, maintained in spite of it all. This sense of reality was what told him what to do and what not to do for his illness. But it was a far more basic need, over which he had little control, that compelled him to derive meaning from what had happened.

An Excerpt From Reiner Stach’s “Kafka: The Years of Insight”

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No sooner was Felice out of her mother’s sight, however, than she blossomed. At the train station in Marienbad, she greeted an anxious Kafka in the tender and natural way he had always hoped for in vain in Berlin. Even the stumbling blocks they had to deal with on their first days in Marienbad–switching hotels, constant rain, and of course Kafka’s sensitivities and rigid habits–did nothing to change that. “Tribulations of living together,” he noted on the third day, and although he was undoubtedly aware that Felice had far more reason to complain, he twisted the knife a little deeper: “Impossibility of living with F. Impossibility of living with anyone at all.”

Extract From Kafka’s “Letters to Milena”

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You must also consider, Milena, the kind of person who comes to you, the 38-year journey lying behind me (and since I’m a Jew an even much longer one), and if at an apparently accidental turning of the road I see you, whom I’ve never expected to see and least of all so late, then, Milena, I cannot shout, not does anything shout within me, nor do I say a thousand foolish things, they are not in me (I’m omitting the other foolishness of which I have more than enough), and the fact that I’m kneeling I discover perhaps only through seeing your feet quite close before my eyes, and by caressing them.

An Extract From Thomas Bernhard’s Correction on Death and Taxidermy

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… [But] one day I too shall no longer find a way out, everyone is destined, one day at some moment which is the crucial moment, to find no further way out, that’s how a man is made. … As I ‘d heard something that was different from what I’d been hearing till then, I’d gotten up and gone to post myself at the window, to look outside. The darkness was kept at bay by the workshop lights, Hoeller was busy stuffing a huge bird, I couldn’t see what kind of bird. It was a huge black bird which Hoeller held on his knees, cramming polyurethane into it with a stick. It was eleven o’clock, and inasmuch as Hoeller always got up at four in the morning, all his life, even as a child, he’d always gotten up at four in the morning, because his father also had always been up by four in the morning, everybody in the Aurach valley got up between four and five o’clock in the morning, and so because Hoeller is always up at four in the morning, keeping such late hours, such very long late hours as these in these circumstances, will undermine his health, I thought. From my window up in the garret I kept watching Hoeller down there in his workshop stuffing that huge black bird, how he kept cramming it with more and more stuffing, I thought I’ll watch him from this excellent vantage point until he’s finished stuffing that bird, and so I stood there motionless for a good half hour until I saw that Hoeller had finished stuffing the bird. Suddenly Hoeller had thown the stuffed bird down to the floor, he’d jumped up and run off into the back room where I couldn’t see him anymore, but I waited, looking into the workshop, until I could see Hoeller again, he came back and sat down on his chair again and went back to stuffing the bird, now I noticed a huge heap of polyurethane on the floor beside Hoeller’s chair and I thought this huge heap of polyurethane is now going to be crammed into thi bird which I’d supposed had already been crammed full long since. By stuffing this bird he is making the night bearable for himself, I thought (122-3).