A Friend, Not An Enemy

We need to reverse the polarity of our despair, W. says. To change its direction. To transmute it into hope.

He remembers what Wittgenstein said about madness. 'It comes to you perhaps as a friend and not as an enemy, and the only thing that is bad is your resistance'.

We will have to plunge more deeply into our despair, W. says. To experience it.

Supposed to Happen

Something was supposed to happen, W. says, as we watch the chests of the sleeping postgraduates rising and falling. But nothing happened. Someone was supposed to take notice, W. says, as the postgraduates sigh in their sleep. But no one noticed.  

Political Messianism

Messianic politics: doesn't that describe our commitment? What did W. write on his Facebook profile under religion? Messianic. What, under political persuasion? Again: messianic. What, under interests and hobbies? The messianic epoch. But W.'s never been sure what messianism really means. What does it mean to talk about the Messiah when neither of us is in the least bit religious? And what is the meaning of political messianism?

He knows that the figure of the Messiah is always accompanied by the apocalypse, W. says. The Messiah, the apocalypse: you can't have one without the other. The Messiah only arrives at the end of times, in the Last Days, W. says. It's only at the end of politics that politics might become messianic. And we are at the end of politics, he says. Politics really is over.

Our Politics

We've never been too sure of our politics, W. admits. What's our position? Are we communists or anarchists? Socialism or barbarism: is that our motto? Or is it anarchism or barbarism? Is Marx our master, or Bakunin?

Of course, it's never really mattered. We know what we're against! Isn't that what matters? We're anti-capitalist! Of course we are! We're full of anti-capitalist pathos! We feel very left-wing. Very revolutionary!

Ancestors and Descendants

He feels the hatred of the generations of the past, W. says. Of our philosophical ancestors who felt that something good might come of their struggles on the slaughter-bench of history. He feels their disappointment, those who expected something better to come.

But it's nothing compared to the hatred of our philosophical descendants!, W. says. They're not yet born, they've yet to appear on their scorched and burning earth, but he can feel their hatred even now.

Some of them, of course, will never be born. Some will be denied even the chance to appear. They hate us even more for that!, W. says. They hate him even more! 

A Mancunion Mistake

I'm exactly the kind of person who would be drawn to Manchester, W. says. Who would make the Mancunion mistake

Oh, he can see why I romanticised Mancunion despair. But didn't I realise that such despair was only the desire to leave Manchester, the same city in which I had now marooned myself?

Of course, I was closer to the state of things in my Mancunion existence, W. says. I was closer to the truth of the world. I understood the honesty of the city, W. says. He admires that in me.

Mancunion Gravity

There's a terrible kind of Mancunion gravity, W. says. A kind of Mancunion tractor-beam. I was lucky to escape, W. says. Did I escape? W.'s sure I carry something of Manchester in me still.

All the Way Into Cheshire

He knows you can see the hills from any tall building in the city, W. says. He knows you can see all the way into Cheshire. He tries to hang onto that thought as he walks the streets, W. says. He tries to remember that there's something outside the plain of Manchester. Something apart from Manchester, other than Manchester.

A Young Student

W. sees me as a young student, quite lost in the city. He sees me: a speck, an atom, rucksack on my back, trying to find my way around. Didn't I understand that the city was no place for me? That it was hard enough for those who belonged there?

My Rucksack

W. searches goes through my rucksack. A packet of corn nuts, and a packet of peanuts. Two packets of pork scratchings. And some obscure Indian snacks, sent over by my relatives. – 'Do you think you brought enough snacks?', W. asks.

W. loves to watch me filling my face, he says. He loves to watch me gratify myself. There's something innocent in it. Something charming.

Kim Il-Jong

He looks like Kim Il-Jong, I tell W. It's his grey trousers and grey top: he's a dead ringer for the Dear Leader. 

The Last Days

We musn't be afraid to see our world in apocalyptic terms, W. says. In religious terms. The language of the Last Days is wholly appropriate to our times.

A Bartleby of Politics

He's always understood me to be a kind of Bartleby of politics, W. says. 'I would prefer not to': that's what my indifference to social question says. Or, better: 'Fuck off, I'm eating'.

Are They Coming?

'Are they coming for us?', W. asks. No one's coming, I tell him. – 'Can you hear sirens?' I can't hear anything except birdsong and faraway cars.

The Opposite of Dawn

We know what is coming. We know that a new dawn – the opposite of dawn – will spread its dark rays from the horizon. We know that we'll have to close our books, and cease our note-taking.

Questions

More questions. ‘How many people do you think you’ve offended?’, W. asks me. ‘How many people have you irritated? Have you angered?’ And then. ‘How many people have tried to sue you?’, because he knows that some have. ‘How many people have tried to run you out of town?’

W. begins again. ‘How many appetites have your spoilt? How many people have you put off their dinner?’ And then, 'What would you say is your most irritating trait? Your most rage-inducing one?' And then, ‘What do you think your clothes say about you? What about your hair? Your shoes? Does the way you dress befit your role as a thinker? As a would-be philosopher?'

Still more questions. ‘Do you think you have a noble face? A dignified bearing? Do you think you have the physiognomy of a thinker? An intelligent face?' And then, 'Do your rolls of fat make you uncomfortable? Do you think obesity gives you gravitas? Presence?' He pauses. 'At what stage would you consider gastric bypass surgery? Have you ever considered liposuction? Do you think you come across as a happy fat man, or as a sad fat man?' And then, 'At what stage will you have your mouth sewn up?'

'Of what are you most guilty?', W. says. 'What is your greatest source of shame? What is your greatest failing? Do you think you’ve failed? Do you think you should be ashamed? Do you have any real sense of guilt?' And then, 'What do you think you add to the world? What do you think you subtract? What is your net worth to existence? Do you think you’ve added to the balance of goodness in the cosmos, or evil? Are you on the side of the angels or the devils?'

‘How do you think you can make amends?', W. says. 'Do you think you can make amends? Reparations? Damages to intellectual reputation? Emotional damage? Digestive damage? How many people have you put off their dinner?’

Gin!

Gin! W. demands. We wants a respite from his judgement.

W. is soothed by the Plymouth Gin botanicals. He can taste the oris-root and the coriander seeds. He can taste the orange peel.

Plymouth Gin is our realitätpunkt, W. says, our rallying point, our place of safety. Sipping Plymouth Gin is always a homecoming, W. says. Always a return to what is most important.

If only we had some Vermouth, we could make Martinis, W. says. In the Plymouth Gin cocktail bar, they swill your glass with Vermouth, specially imported from America, and then pour it out. Only then do they fill the glass with fresh Plymouth Gin and add a spiral of lemon peel, W. says. You need Vermouth only to pour it away, W. says, like an offering made to the gods.

The Chair of Judgement

My hotel room. W. takes his seat on the Chair of Judgement. It’s time to list my short-comings! It’s time to examine where I’ve gone wrong! To bury down to the root-cause!

‘Would you call yourself a moral man?', W. asks me. 'Would you call yourself a man of honour?', he asks. 'Do other people look up to you? Are others moved by you, inspired by you?' A pause. And then: 'Do you think you've touched other people's lives – in a good way? Do you see yourself as a man of thought, a man of profundity, a man who will leave a legacy?’

These are the questions that constantly circle in W.’s head, as he knows they do not circle in mine.

‘How do you think you’ll be judged?’, W. asks me. ‘As a serious man? As a man attuned to what matters most?’ And then, ‘Will you be remembered as a great soul? As a spiritual leader?’ A pause. And then: ‘How do you understand your failure? Who do you measure yourself against? What standards have you failed to meet?’

My Significance

What was my significance?, W. asked himself, back then when we met. Did I illustrate some broader trend? Was I a man of our times, or against our times? And then the true horror dawned on W.: Lars is ahead of our times, he thought to himself. He’s a prophetic witness. He’s a living sign, such as you might find in the Bible.

W. thought of the later prophets, who are no longer speak with God as Moses and Abraham did – as with a neighbour, face to face, or as the Bible says, mouth to mouth. He thought of the prophets who God commanded to incarnate the message they were charged to deliver.

W. thought of Isaiah, told to wander naked and barefoot for three years, in order to send a message to the king of Assyria to parade his prisoners naked and barefoot to shame Egypt. He thought of Jeremiah, whom God told to make wooden yokes and put them on his neck; and when a false prophet broke them, to replace them with yokes of iron, in order to send a message that Israel will not put its neck under the yoke of Babylon …

But I was a prophet who didn’t know that he was a prophet, W. says. I was a sign who didn’t know what he signified. Didn’t his own role become clear?, W. says. Wasn’t it obvious what he was put on earth to do?

Philosophy gives substance to our suffering, W. says. Philosophy gives sense to suffering by communicating it to others. Speech, dialogue: that’s what overcomes futility, W. says. That’s what does combat with the senseleness of the world.

W. was going to let me speak: that was his role, he says. He was going to hear the suffering of the world as it resounded through me. He was going to decipher my bellowing. The Jew in him would redeem the Hindu, W. says. His Catholic atheism would redeem my Protestant atheism. He would bring fruit trees to my waste, and calm to my troubled waters …

True Thoughts

The word, philosopher is an honorific, W. says. It’s a title that can only be bestowed on you by others. Do I think you deserve the title, philosopher?, W. asks me. Did I deserve it back then?

The desecrator of philosophy: that’s what I had become, wasn’t it? The destroyer of philosophy. I was at one with the apocalypse of philosophy, with the end times of philosophy. And wasn’t that why he was drawn to me?, W. says. Wasn’t that why he proposed our collaboration? I was close to the truth, W. says, despite everything.

True thoughts are those alone which do not understand themselves’: that’s Adorno, W. says. And I didn’t understand myself, did I?

The Blob

I used to sleep in my office, W. remembers that. I’d unroll the sleeping bag I kept in the cupboard, and lie under my desk. All the better to get my work done in the morning! All the better to keep working halfway through the night! I’d wake up, bleary-eyed, and eat a day-old discount sandwich at my desk. I’d wake up, and brush my teeth in the bathroom, before anyone had arrived at work.

And then I’d get to it, W. says. Or imagine I was getting to it. I’d work, W. says. Or imagine that I was working. Because I wasn’t working at all, was I?, W. says. I wasn’t advancing in my thought. I wasn’t testing myself, running forcibly against my own limits, was I? I wasn’t reading philosophy, and I wasn’t writing philosophy. I was administering, W. says. I was lost in administration. I taught, it’s true, but I taught like an administrator. I gave lessons like a bureaucrat. Really, I’d become a galley-slave of philosophy. I’d become a drone of thinking.

In the meantime, in the southwest, W. would spend whole weeks preparing his lecture courses. Whole weeks, distilling his latest researches into something teachable. He would spend months carefully crafting his lecture notes, going over them again and again, writing up the research notes he made for his own studies. And what would I do?, W. says. Crib something together from Wikipedia, or whatever they had back then. Cobble something together from Sparks Notes, or some other online rubbish. Draw on one of the innumerable introductions to philosophy, the introductions to this or that thinker, this or that idea, that everyone’s writing.

Of course, that was before I bought my flat, W. says. It was before I made my amazing decision to invest in a property. It was before my damp years! Before the years of rats! I hardly knew what a slug looked like, did I? I’d barely ever seen a mushroom up close. And damp was something I read about in books, W. says. Something I associated with slums, with tenements.

W. invested in a Georgian town-house, he says. In a former ship captain’s house with three stories and marble fireplaces. He moved into a house which didn’t need a bit of work. He made a study of one of the third floor bedrooms. He rose early each morning, and was at his desk before the sun had even risen above the Plymouth rooftops.

And what about me, W. says. Dare he ask? Dare he even consider the mess I had got myself into? It was like The Blob, W. says. It was like X: The Unknown, he says. I was living in the wilds, W. says. I was living in the philosophical wastes …

The electricity failed in my kitchen, and began to fail in my living room. The walls turned green, then brown, then black. Rats settled beneath my floorboards. What horror! What horror! And how did I respond to my new surroundings?, W. asks. How did I hearken to the philosophical muse? I wrote, W. says. I blogged. Because that’s when they began, my blogging years, didn’t they? That’s when the years of raving began.

A Man of the End

So the end of philosophy really has come, W. says. The philosophical apocalypse really is here. What has it shown? What’s been revealed? Lars lecturing. Lars publishing. Lars who actually has a job. If that isn’t a sign of the eschaton, what is?, W. says.

I actually think I earned my job, that’s the irony, W. says. I actually think I beat all the other postgraduates to full time employment because of my own merits.

‘What do you think they saw in you, your interviewers?’, W. asks. ‘Why do you think they gave you the job?’ Oh, he knows I struggled to find work. He knows that it took me years and years. I had a long period of whoring for work, just as W. had a long period of whoring for work. I had a long period of teaching an hour here, an hour there, of taking fractional posts in faraway places, just as he had long period of teaching an hour here, an hour there, of taking fractional posts in faraway places. I lived exclusively on discount sandwiches, just as he once lived exclusively on discount sandwiches. I drank only the cheapest vodka, just as he drank only the cheapest vodka. I worked, I worked night and day, just as he worked night and day. How I published! How he published! I spoke up at conferences! He spoke up at conferences! I tried to get my name known! He tried to get his name known. But I was a little more desperate than him, wasn’t I?, W. says. A little more keen.

W. got his job at his church college, where he taught no more than one hour a week, and I got my job at a northern university, where I taught no less than fifteen hours a week. W. worked with the warmest and gentlest of colleagues, who were genuinely interested in intellectual inquiry, and I worked with the most savage and difficult of colleagues, who had absolute contempt for intellectual inquiry. Administrative tasks at his college were equally shared out, W. says; everyone did his or her bit. Administrative tasks at my university were given to me, and only to me. W. was left to his own devices for research. He was given time – oceans of time! He was given lengthy sabbaticals of a year or more! I was denied any time for research. I was given no time – no time whatsoever; no sabbaticals, no research days. W. rose each morning and read and wrote all day. I rose each morning, and taught and administered all day. W. found it all very amusing.

I was a workhorse:  was that what the job search committee saw at the University of Northumbria? I would do anything whatsoever to keep my job: was that it? I was a man of desperation, that’s quite true, W. says. A man who feared unemployment above all other things: ytes, yes. But that wasn’t the only reason why they gave me a job, W. says.

It was because I was a man of the end that they employed me, W. says. Because I was a kind of wild man of thought, a man who’d emerged from the philosophical jungle. Not for my interviewers a candidate from a real university, like Oxford or Cambridge. Nor for them a properly scholarly applicant, a researcher fluent in several modern languages, and familiar with several ancient ones. Not for them a man of the archive, who had studied in the great libraries of Europe. Not for them a man of broad learning, a man of civilisation, a gentleman educated in the best independent schools of our country.

My interviewers knew things were at an end, whether consciously or unconsciously, W. says. My search committee knew the philosophical end times were here. So consciously or unconsciously, they decided to make a joke appointment, an appointment that laughs at the very idea of an appointment. They decided to create a parody of a lecturer, a position that satirisises the very idea of a lectureship. It was like Caligula appointing his horse as senator, W. says. It was like Cal, in 2000AD, appointing his goldfish as Chief Judge.

Pure Pathos

Will we have known what philosophy was?, W. wonders. Will we have understood what it might have become? No, they will never destroy philosophy, not entirely. Philosophy will survive so long as people suffer. But philosophy without an institution, philosophy without the university: what will it ever be but a cry of suffering, pure pathos? What will philosophy ever be but the roaring of the end?

Q. I got the impression that the film is not really about the horse but about Nietzsche's silence. It's almost a silent film.

A. Not only Nietzsche's silence – the silence of everybody. These people have a daily life. I wanted to show how it's difficult to be - how being is so hard, and so simple.

[…] Kundera talks about 'the unbearable lightness of being' – I wanted to talk about the heaviness of being.

Bela Tarr, interviewed in Sight and Sound

Pálido Fuego will will publish a Spanish translation of Spurious next year.

FronteiraD publish my manifesto, in Spanish.

The great Enrique Vila-Matas responds to the manifesto, in El Pais

Rough translation of Vila-Matas's piece (thanks Ellie!):

He says he was recently at a signing alongside a young guy who had written a book called 'A guide for bald people', and asked him what it was about. The guy unashamedly said 'it's a joke book', at which point Vila-Matas realised that he was a TV star, and that all the people queueing were there to see him. At one point this guy turned to Vila-Matas and said 'I'm here so they can see me'. And Vila-Matas thought: 'precisely.' At the exact moment that writers start to be 'seen', everything is lost.

He started thinking about the degradation of literature over the centuries, and how it's all come to this. Then he says that the end of literature is the central axis of 'Nude in your hot tub' by the young British novelist Lars Iyer. Then he summarises Lars's essay, pretty directly, so I won't translate that.

Vila-Matas says that the problem is that all people who write these days are called writers, though there's nothing else linking a writer of joke books to a writer in the old sense. Some try to explain this collapse by talking about writers' abandonment of moral responsibility, but that argument is insufficient. Though it's true that most writers today work with rather than against capitalism and market forces, it's also true that liberal democracies, by tolerating and absorbing everything, make texts useless, as dangerous as that may seem.

Everything's really already over when it comes to literature, he says, though thankfully you can still qualify that statement. Prose now is a commodity, and so, though interesting/distinguished/respected, it's irredeemably insignificant. But we still look for ways out, because now and again a writer comes along who captures the gravity of the moment, whose writing is absurd, exasperated, sick, but also authentic. These people are crazy, maniacs, the heirs of yesterday's hopeless misanthrope writers, but their works are honest and have a liberating power.

Some of these great writers: Beckett, Bernhard, Bolano. Talks about Beckett's irony, his characters' success in failure.

He quotes Lars on Bernhard. Says that losers making music for losers also points to literature's chance of survival.

Then he says: 

I'm listening to you, reader, and I won't deny that the party's almost over and that the black sky is indifferent to us all; but imagine, for a moment, that you take this last path that's left to literature. You're with the people of your own music at the last frontier, lost in the Sonoran desert, for example, at the end of all searching, or in Gatsby's gothic library, and your name is Owl Eyes and you're that guy with the thick lenses who wanders around dazed after discovering to his shock that Gatsby's books aren't fake.

Let's also suppose that there's a full moon and banjos in the garden.

"'Can't you see them?' you say. "I've checked. They're real."

Unexpected phrases like this, although charged with an exaltation at survival, make up the disturbed music of losers: phrases that are like soft, silent squalls, uttered for uncertain times, though not as uncertain as they would have us believe.

I am not preoccupied with the characteristics of my works or my person, insofar as it is related to my works; that is, I am not preoccupied with anything personal. If I can speak about anyone’s defencelessness, it is not mine, but that of those who are very far from being able to formulate this sense of defencelessness. If you feel that I am an outsider in any sense, this obviously comes from the fact that my heroes, or rather, the constant object of my train of thought, The One Who Is Always the Same Person, is indeed outside society, because my gaze works in such a way that I can see him and only him in a mass of people, it is only his eyes that meet mine, only his, whose glance betrays that no social force or fear or instinct can keep him inside—he is the expelled son, the one who was thrown away.

Someone who scolds the world constantly and with such volcanic force as Bernhard may easily deceive us, but it gradually turns out what it is all about. Bernhard appreciated greatness, genius, the power of thought and the creative triumphs of the human spirit. He appreciated and adored them. Bernhard was an enthusiast. That is why he hated whatever was not great, whatever was not a work of genius. 

My books are for those who read them. Therefore the fact that I intend them for anyone at all is not so important. However, those that I ‘intend’ my books for are all kinds of people, but they are definitely not aristocratic, definitely not part of the social elite, you can take my word for that. On the contrary, those I have been thinking of are far from being chosen ones, but exactly the opposite: they are those who will not be chosen but rather expelled, because they are injured, defenceless, oversensitive; they are those who drop out of the great Stirring Machine at the first turn. Perhaps you could reformulate this by saying that those we are talking about are the elite of the injured, the aristocracy of those who are helpless beyond recovery… This sounds different, doesn’t it? And as for me offering my works to them—I would rather say that they are The Ones Who Are Always the Same Person, the constant subjects of my thinking. I am immensely grateful to them. Without them, readers would not even understand what I am doing. Without them, it would not occur to me to write anything. They are there partly, at least in a tiny fragment, in all of my readers. 

Krasznahorkai, interviewed

I’m personally involved in the apocalypse… It’s interesting how your relationship to that changes in the course of your life. You think about it most when you’re young, particularly in connection with death, because you still have a certain courage that you’re going to lose when your own death is getting closer. Later you’re just afraid. When I was young, I didn’t feel the sanctity of birth. I tended to consider birth as the starting point of a journey toward failure, and I’d sadly look out the window for days on end into this grey light that was all that had been given to me. Anything that could arouse compassion had a great impact on me. I was particularly responsive to those aspects of reality and the arts that reflected sadness, the unbearable, the tragic. And I didn’t know what to do with anything positive or joyful. Happiness bothered me.

I generally spend my days alone, I don’t talk much; but when I do, then I talk a lot and continuously, never ending a sentence. Many people are like that. You may notice that the majority of people talk the way I write.

Perhaps young people are the hardest to influence; perhaps they like to be seen as free, and they like it even more if they see someone confronting anything and anyone for their sake. For them, nothing has been decided yet. I think we’re talking about those who haven’t yet decided how to deal with their forebodings, or where to hide their imagination, their desires and their dignity in this rotten world we live in. We’re talking about those for whom a book is not just a book; they know that while we hold on to the book forcefully, there is something before the book and something after the book, and that’s what the book is for.

[…] so-called high literature will disappear. I don’t trust such partial hopes that there will always be islands where literature will be important and survive. I would love to be able to say such pathos-filled things, but I don’t think they’re true.

You’re forgetting that human history is full of catastrophes, and it’s the catastrophes that force people to think. 

When did I laugh last? When I saw and heard you, I laughed for joy. Because of the way you ask questions. Because you care. And because I again have someone to talk to. Someone I can tell these things to.

Bits of an interview with Krasznahorkai