The Door is Closed

Our comparative prosperity is a continual source of bewilderment to W. How did we survive? How did we find employment? It's a sign of something, W. says, but he's not sure what. How were we able to make our way in the world, even if we did not get particularly far? Who left the door open just a chink, merely a chink, so that we could gain admittance?

Of course, it's completely shut now, W. says, there's no doubt about that. The door is closed, and there are no more to come after us. Our end will come soon, W. is sure. Maybe no one will notice us. Maybe we'll slip beneath their attention. That they're too busy to deal with us, says W., is all we can hope for.

The End

What are the signs of the End?, I ask W. – You. You are a sign of the end, says W. Actually, we both are. The fact that we have careers or flourish at all is a sign of the End. Of course, the fact that we won't have them for much longer is a sign that the End is coming closer.

One writes neither for the true proletarian, occupied elsewhere, and very well occupied, nor for the true bourgeois starved of goods, and who have not the ears. One writes for the mal- or "disadjusted", neither proletarian or bourgeois; that is to say, for one's friends, and less for the friends one has than for the innumerable unknown people who have the same life as us, who roughly and crudely understand the same things, are able to accept or must refuse the same, and who are in the same state of powerlessness and official silence.

Jean Mascolo, Le Communisme

from James Gavin, Deep in a Dream: The Long Night of Chet Baker:

Wilson (critic for the New York Times), 1973: 'His playing is still laconic to the point of listlessness, delivered in a stark, rather unshaded monotone'.

Gavin writes of a concert in 1974: 'Few who head it could forget Chet's version of 'The Thrill is Gone', which he counted off at a tempo so slow that the music seemed to float in space'. 'This is the end, so why pretend …', he sang, pulling listeners into the black hole of desolation where he seemed the happiest. Then came a trumpet chorus so drawn out and full of silence that it felt as though he were groping through the dark for the next note'.

And of one in 1976: 'Baker wrapped himself in a cocoon onstage: eyes closed, head and shoulders curled in, utterly withdrawn from the audience, whom he barely acknowledged. Only the most pained and fleeting smile ever crossed his lips as he visited some hazy inner place'.

And one in 1978: 'Every tempo had slowed to the "junkie beat" of his 1959 album Chet, made at the peak of his early addiction'.

Endress: 'The music is the only thing that kept him alive. I didn't dare approach him. He seemed so broked and sad'.

Gavin evokes ' A chilingly stark musical skeleton', and writes of 'his hollow, otherworldly singing'.

Norris: 'everything was closing in on him. He knew this'.

Stilo: 'He was a man completely lost, you understand? Asking someone to show him minimum reason to live'.

Masy: 'I saw death in his eyes. He was awake, but in another world'.

Baker to Weber: 'You can't help me. I'm too far out'.

Fevre: 'Taking speedballs the way he was, I think he was trying to escape from himself or from life'.

Gavin: 'The implication that he had committed a sort of passive-aggressive suicide – opening a window and letting death come to him – perfectly fit the profile of a man who, by his own admission, had never had the courage to confront tough decisions'.

Mihály Vig and I were walking along a street in Pécs together, and I was complaining to him that young people today are so terribly far removed from anything spiritual and intellectual. I said that when I was young, there was at least a handful of us who used to read, compose music, or paint pictures. In other words, we were thinking beings and were possessed by a search for something, which connected us. I was saying that this seems to have died out.

To this, Mihály said to me that he thought I was wrong – the people I am thinking of still exist in the same numbers today, but they are not visible. And, pointing up at the windows there, that evening at Pécs, he asked me, “How do you know there is not one sitting up there right now? It is just that they don't want to meet you as an ‘author’. They are busy. They cannot bear this world and are in some way testing a different one. Perhaps by creating something. Perhaps they are just sad and that's why they can't come. And that sadness will lead to something. To another gap for seeing out of the intolerable through to the tolerable. Or,” said Mihály, “he or she is sitting up there alone, reading your book, of all people's.”

László Krasznahorkai, interviewed

Stupidity

Do you think it's possible to die of stupidity? I ask W. Do you think a creature could have been who was so stupid they died of sheer stupidity? I ask him. Not as a consequence of that stupidity, I note, but from stupidity. And shame, I ask him, do you think you could die of shame, I mean literally die? And what about boredom, I ask him, do you think you could die of that? Because I'm burning up with stupidity and shame and boredom, I tell him. I'm burning up and I think I will explode from stupidity and shame and boredom, I tell him.

Old Europe

We've opened our veins to the future, W. and I agree. Our wrists have been slashed and are open to the future; we hold our upturned bleeding arms ahead of us. Death, that's what we want, and that's where we're headed. We're pledged to death, but in great comfort. Our flats and our houses will bear us forward, but in truth, they are only ships of death, just as our country is only a supertanker of death.

Europe still belongs to history, W. and I decide; but we are essentially posthistorical. England has risen like a new island in the middle of the sea. It has removed itself from history; there's nothing here. Oh, there are castles and so on, but they are meaningless. There's the present, and barely even that -but we live from the future, from the brave new future that will see returns on our investments.

Our country is nothing but a trading floor, W. and I decide. Nothing is historical; nothing has any historical weight. Europe, of which we are not a part and can never be a part, is essentially old. The phrase, old Europe is an oxymoron. Old Europe is where things once happened, and continue to happen in their way. The Europeans live in history, as we do not. We are plugged directly into the future, but they are rooted in the past. They speak all the languages of Europe, but we only speak English, the language of the future, the language into which everything will be translated.

Of course this translation will always be incomplete, we decide; there will always be languages and idioms of languages, just as we will always be idiots. But the need to translate is all – the need for the brightest, the best to make themselves understood in English is everything. Translation is imperative – it is the streaming of vapour trails in the sky, infinitely far above the languages and idioms of old Europe.

Europe is fallen, we decide, and we, who are not European, can only pass across its surface like skaters. Old Europe may well be old, but only to itself, we decide, and not to itself. It's historical depth is something of which we are only half-aware, we decide. It troubles us, it makes us feel guilty, but in the end, we can have no relationship to it.

Wars were fought across the body of Europe as they have not been across the body of England. The English fought their wars everywhere except England, and so the body of England has always remained untouched. But of course, there is no body of England, not really, not anymore. It's been seized as investment potential; its value has not yet been realised. How much we would earn if we ever sold our houses! But we will never sell our houses. Our mortgages pledge us to the future, which is to say, to our death.

When the great ice sheets come down as far as Nottingham, it will only be what we deserve. When they scour London into the earth, it will be our just desserts. We'll have nowhere to go, they won't want us in Europe. They'll have their own problems over there, we decide.

Meanwhile, the great work of translation is ongoing. The best and the brightest Europeans speak English much better than we do, we decide. They're better than us, more intelligent than us, but they are still weighed down by history, we decide. They're still historical beings, whereas we are posthistorical beings, with no roots and no memories. Because we don't remember anything, we decide, not anymore.

We've lost the past, although we've no idea we've lost it, nor what it might mean to have lost the past. We don't miss it. It's gone the way of the welfare state: it's a relic, its root have been cut from it. It's senseless, in this, the new world. When the glaciers come rolling down from the North, it will only confirm this great senselessness, we decide.

For our part, W. and I have long been reconciled to the apocalypse. 'It's coming.' – 'What will we do?' – 'My God, look at us! What do you think we can do!' In the meantime, stay at the peripheries, each at our own end of England. In what European cities haven't we been drunk? What European skies have we not seen from the gutter? But we stick to the periphery in our own country. Best not to be noticed. Best not to be seen.

Gluttony

Food is a sacrament, W. has always believed, which is another reason why he thinks I am so disgusting. You have no sense of food, he says, you could be eating anything. For a long time, he remembers, I lived only on discounted sandwiches from Boots.

He remembers me telling him of my circumambulations of town in search of discounted sandwiches. Your long circumambulations, W. says, that would take in every possible shop that sold stale, discounted sandwiches.

For a long time, W. remembers, I ate only gingerbread men, five a day. I would buy a packet of five stale gingerbread men from the discount bakery and a fourpack of own-branded supermarket lager from Kwik Save, the very worst.

No wonder you were always ill, W. says. No wonder you were always complaining about your stomach. Of course, I was poor then, W. remembers, but that was no excuse.

Gluttony has always appalled W., who has a small and delicate appetite. He always undertakes special measures when I come to visit him, to make sure there's enough food in the house. It was part of the reason why he brought his new fridge, W, says.

When I text him from the airport to tell him I've arrived, he opens a bottle of Chablis or Cava and puts the glasses on the table, and then unwraps a block of Emmenthal and brings out his sliced meats, along with olive oil and relishes. He'll have bread, which he will have made himself, and slices of smoked salmon.

Only the best!, says W. Only the best for my friends! Food's a gift, W. says, the greatest of gifts, which I descecrate every time I visit him.

Monk Years

W. and I both had our monk years. It surprises everyone who knows us. It surprises us, too. What do you remember of them, your monk years?, I ask W.

He'd taken a vow of silence, W. says, and lived a life of great simplicity. Of course, his fellow monks were all having affairs. Not with each other, W. says, but with hangers on. There are always hangers on around monasteries, W. says. You'd know all about that, wouldn't you? Was I a hanger on?, W. wonders. I was the guestmaster, wasn't I?, he remembers.

It was a lay religious community, wasn't it? W. recalls how I told him of welcoming monks and hermits from all over the world. Copts, Dominicans, Ukranian Catholics, the lot. I even taught them, didn't I? I was an English teacher and guestmaster, and lived for free in the highest, coldest room in the house. Of course we differ, W. notes, in that he, for a time, had genuine religious belief, whereas I never had any. It was entirely lacking in you, W. says.

But W.'s monk years had to come to an end, he says. There were barely any monks in the monastery, for one thing. They rattled around a huge building designed by the architect who had planned the Houses of Parliament. It was on a island in the middle of nowhere. W. used to take walks in the afternoons, he remembers, where he would surprise monks who were having affairs, walking hand in hand with men and women on the rocky shore.  

Non-Belief

At the busstop by the hospital, W. shows me the dedication of book he's recently added to his collection. 'To my Rabbi …' It's dedicated to his Rabbi, says W.,wonderingly. W. has always wished he had a Rabbi to whom to dedicate his books. Or rather, he now knows that is what he should have wished for all along.

A Rabbi! He would have been part of something. He would have had a sense of belonging. Despite his interest in Jewish topics, W. is not really a Jew. His family were Catholic converts for one thing, W. say. And for another, he is not capable of believing in anything, not anymore. There's no-one more boring than an atheist, W. sighs.

Of course he looks very Jewish, W. says, especially since he's grown his hair long.  But however Talmudic he appears (and he has looked increasingly Talmudic in recent years, with his beard and long ringlets), there is the reality of his non-belief.

I was born into a predicament and a country where a person accursed with a heightened aesthetic and moral sensitivity like me simply cannot survive. It is enough to have an oversensitive and vulnerable person on one side, and the brutality of the other side will instantly produce mortal danger. Naturally, there are various strategies to help you survive in some way. I used to drink myself quite drunk whenever I could. I went on doing this until my health suffered so much that I was at risk of becoming a dramatic hero in an age which does not give a shit about drama – in an age which thinks no more of a dramatic ending than the Great Bulldozer thinks about a particular shell as it grinds up tens and tens of thousands of shells while driving along the sea shore speckled with herons drowned in oil. Had it meant anything at all, had it drawn that lethargic attention to anything, had there been one single oversensitive youth to draw strength from such a dramatic ending, I admit I would not have hesitated for a moment to act this role. But it would not mean anything; it would not draw attention to anything and would not restore anybody's strength.

László Krasznahorkai, interviewed

Since happiness is an important matter in comedy […] it is worth pointing out that Characters (in the strong sense of the word) can be individuals who are not particularly happy: they are often paranoid, miserable, even bitter, constantly worried about their It, unable to trust anyone.

Yet this specific paranoid or overprotective passion in relation to their object reveals a more interesting configuration: the other side of the misery of the character's Ego is the happiness of his It[….] it is only their It that is happy. 'They' on the other hand, do everything and go to great lengths to make and keep the It as happy as possible; this can indeed put them in stressful and often miserable positions.

However, we should go a step further here and recognise that they do not really mind this misery at all. They might constantly complain, yet this does not indicate that they are not satisfied with things as they are. They do not feel unhappy because they are miserable and in a constant state of stress. On the contrary: they are quite content insofar as their It is content, and insofar as they manage to keep it content.

Alenka Zupancic, The Odd One In: On Comedy

[Comedies] are never 'intersubjecive'. Although comedy, as opposed to tragedy, is above all a dialogical genre (whereas it would be difficult to have a real tragedy without a few great monologues), the type of comic characters we are discussing is fundamentally 'monological'.

What is at stake is not merely a parody of tragic monologues, though this aspect also exists, and often plays its part in comedy. The crucial point is that these heroes are extracted, by their passion, from the world of the normal intersubjective communication – they are quite content, one could say, to converse solely with their 'it/id'. Yet they remain a part of this same world, which will not leave them in peace.

This configuration brings about a specific comic genre of 'dialogical monologue' in which the characters, technically in dialogue with othes, are in fact absorbed in a dialogue with themselves, or with their 'it'. The comedy of such dialogues does not come from witty and clever exchanges between two subjects, or from local misunderstandings that make (comic) sense on another level of dialogue, but from the fact that the character is not really present in the dialogue he is engaged in.

Alenka Zupancic, The Odd One In: On Comedy

Infinite Judgement

W. confides that he thinks he's on the brink of an idea. He's never had an idea before, so he doesn't quite know what it's like. But he thinks this is it: he's on the brink of an idea; a new horizon is opening before him. Have I ever had an idea?, he asks. Of course not, he says, why is he asking. Have you ever thought you were on the brink of an idea, and that people would haul you up on their shoulders and carry you around, cheering? 

Of you course I never thought I'd have an idea for a moment, did I?, W. says. I actually repel ideas and intelligent thought, W. says. Never for a moment would I be capable of thinking, W. says. Not for one moment!

When he was young, W. was sure that one day, if he worked hard enough, he'd have an idea. He lived in only one room of a house, in which there was only a bed and a work table. A bed and desk, W. emphasises. He rarely left it, his room, W. says. He worked night and day. Reading and writing were all that mattered.

What happened? He discovered drinking, says W., and smoking. He came late to both, but when he discovered drinking and smoking that was it. But he also wonders whether he began drinking and smoking from a sense of disappointment, from the knowledge he'd never have an idea and that there was no point in going on, he says. Yes, that's what happened, W. says: disappointment, and then drinking.

Since then, he's lived in the ruins of his impression of himself as someone capable of having ideas. He's felt ill for years, says W., which on top of his drinking and general disappointment may have prevented him from having an idea (until now), or be the result of him having an idea (until now). But W. thinks he may be at the beginnings of an idea. At its rudiments, he says.

W. points out a strip of trees from the window, which looks towards Plymouth and the sea. It's ancient woodland, he tells me. That's all that's left of it, that strip, he says, which runs right up to Dartmoor. There's a species of tree unique to the area that grows there: the Plym pear, he says. You can't eat the pears, though, they're like crabapples.

Why has he brought me up here? Why this vista from the staffroom window all the way towards the glistening sea? Infinite judgement, he says, mysteriously. That's my idea. Infinite – judgement. It's from Cohen, he says. Well, it's from Cohen's reading of Kant.

W. has been sending me his notes on Cohen for months. He barely understands a word of Cohen, W. has always admitted. In fact, he is singularly unqualified to read Cohen, lacking any understanding of mathematics, which is essential, or any real religious feeling.

Infinite judgement. Whatever does it mean? W.'s not sure, but nevertheless, he feels he's on to something. He's not sure, he says, whether he has made a genuine breakthrough, or whether it is all nonsense. Is he at the summit of his creativity or the peak of his idiocy?

Canadians

Even now, despite everything, W. dreams of Canada. Everything would be okay if he got there, W. says. He could start again in Canada, turn over a new leaf. Imagine it! W. in Canada, close to the wilderness, as everyone in Canada is close to the wilderness, W. peaceable and calm, as everyone in Canada is peaceable and calm. He would be a different kind of man, says W., a better one.

Every year, I write long and elaborate letters to places of employment in Canada on behalf of W. I write of him as the finest thinker of his generation, or as the thinker surest to mark the age with his name. I take dictation from W., who speaks of his commanding presence and his extreme intelligence. He is a man-God, says W., no don't write that down. He is the best of the best of the best, says W., don't write that down either.

But we hear nothing from the Canadians. They remain silent and distant, as remote as Mars. To console ourselves, we imagine the endless plains of the Yukon. The Canadians are busy in the wilderness, we decide. They're boating on their many lakes or hiking through their many woods. They're an outdoor people, we decide, and not given to replying to letters of absurd overpraise.

Peripherism

It's our great fortune to live at the periphery, W. and I agree. He feels an enormous love for his city in the southwest and I feel enormous love for my city in the northeast. Conversely, I am always overjoyed to visit his city just as he is always overjoyed to visit mine. There's nothing better than visiting a city on the periphery, W. says, just as there's nothing worse than visiting a city at the centre (although, he grants, there are peripheries to every centre).

And likewise our own peripheriness, W. and I agree. We are essential peripheral. Who is threatened by us? Who bothers with us? No one, we agree. We have been fundamentally left alone. No one watches out for us, but on the other hand, no one has really noticed us, so we can get up to what we like. We are blips on no one's radar. Our fates matter to no one, and perhaps not even to ourselves. That's one thing that marks us very strongly, we agree: indifference to our own fate.

For haven't we noticed that the world is shit? Isn't it the most obvious thing that it's all going to shit? You can't struggle against it. You can't do anything at all. Those at the centre don't realise it. They haven't grasped their essential powerlessness. Only we have grasped it, we who live at the periphery of our own interests, no longer advancing our own cause.

For what would that be: our own cause? What would we want in a world of shit? First of all, distrust yourself, burrow down. Destroy all vestiges of hope, of the desire for salvation. Because it will not come good. It's leading nowhere. Nothing means anything. The centre does not matter. There's suffering everywhere – agreed. There's suffering and horror everywhere – on that we're agreed. But the first step must be to peripherise ourselves, and to peripherise ourselves with respect to ourselves.

Getting On With It

All jobs are becoming the same, W. says. We're all administrators now, all of us. What do any of us do but administer? We administer and prevaricate about administration. Work time is either administration time or prevaricating about administering, which occupies a large part of W.'s day, he says.

He doesn't know how I just get on with it, he says. He's always marvelled at it: my ability to launch myself into administration, to get to work early, to sit at my desk and begin. It's incredible, W. says, though it also indicates there's something very wrong with me. There's something wrong with my soul, he observes.

For his part, W's given to endless prevarication. He can never make a start, no matter how early he gets in. He stares out of the office window, W. says. He makes himself some tea, he says and sips at it amongst the great parcels of books that get sent to him for review.

His life is absurd, says W. It's a living absurdity, and mine is no better, although I have the strange capacity to just get on with it. Where does it come from?, W. wonders. Who am I trying to please?

In the contemporary ideological climate it has become imperative that we perceive all the terrible things that happen to us as something positive – say as a precious experience that will bear fruit in our future life. Negativity, lack, dissatisfaction, unhappiness, are perceived more and more as moral faults – worse, as a corruption at the level of our very being or bare life. There is a spectacular rise of what we might call a bio-morality (as well as morality of feelings and emotions), which promotes the following fundamental axiom: a person who feels good (and is happy) is a good person; a person who feels bad is a bad person.

[…] [B]io-morality […] is replacing the classical notion of responsibility with the notion of a damaged, corrupt being: the unhappy and the unsuccessful are somehow corrupt at the level of their bare life, and all their erroneous actions or nonactions follow from there with an inexorable necessity.

[…] success is becoming almost a biological notion, and thus the foundation of a genuine racism of succesfulness.

Alenka Zupancic, The Odd One In: On Comedy

For an avowed atheist, who viewed life as a tragic absurdity between two voids, the death of a lover opened as deep and complex a well of feeling as the death of Christ opens in a believer; the whole nature of existence is brought into question. As if impelled by the force of his emotions, Bacon the atheist had ransacked the central rituals of both the Greek and Christian faith: only there, he was convinced, could he find a structure to convey the extent and the implication of his own drama.


That drama – of art demanding the sacrifice of the artist – lies at the heart of the whole enigma of Bacon’s art.


Peppiatt, Francis Bacon: Anatomy of an Enigma

Peppiatt notes the shift in the subject matter in Bacon's work. 'When I was young I needed extreme subject matter for my paintings', he said, 'Then as I grew older I began to find my subject matter in my own life'. Thus a movement away from screaming Popes and anonymous figures to portraits of his friends. History and mythology is supplanted by portraiture.

They were his close friends, whom he saw on an almost daily basis: he had watched them in and out of love, drunk and sober, close up and across the street, in snapshots and in mirrors. He knew their faces better than they did themselves; he recalled and rehearsed the shadows case as they laughed under bar light, the dark pools on the reddened flesh, then the head snapping back in a blur, as if in a search of its old contours.

He saw them in film sequence, always moving, and at times almost unrecognisable from one instant to the next. This was the mystery of their appearance, which he loved and which prompted him to try and capture them, tenderly, violently, erotically, in paint.

[….] The artist appears to have identified with Isabel Rawthorne, for instance, whom he painted with obsessive frequency, both in full-length portraits and small-format heads. If a magnificent sense of dignity emanates from these studies, it is because the artist's affection is greater, but only just, than the destructive fury with which he dislocated and twisted her every feature.

Bacon once said that he thought of real friendship as a state in which two people pulled each other to pieces – dissecting and criticising mercilessly. This is the act of 'friendship' that Bacon perpetrates in the portraits: a pulling apart of the other until he gets to an irreducible truth or 'fact' as he liked to call it, in a pseudo-scientific fashion – about their appearance and their character.

Peppiatt, Francis Bacon: Anatomy of an Enigma

A Cosmic Storm

W., as usual, is reading about God. God and mathematics, that's all he's interested in. Somehow everything has to do with God, in whom W.'s not capable of believing, and mathematics, which W. is not capable of doing. And he's reading about God and mathematics in German, W. says, which means he doesn't really understand what he doesn't really understand. He'll send me his notes, W. says, they're hilarious.

God, muses W. He's going to write about God, he says. And about Messianism. How are my studies of Messianism coming along?, W. asks me. And then: should we really be writing about Messianism? In fact, that's how he's going to begin his essay on Messianism: saying he is in no way qualified to write on Messianism. 

But what about God? He's not really qualified to write about God either, W. says. God least of all. Of course it's all a joke to you, W. says. You'll write about anything – anything. You've no shame. Nothing internal prevents you from parading your ignorance.

W. wants to believe in something, he says, but I believe in nothing, nothing. It's a game to you, he says. Messianism, God: what meaning can they possibly have for you?

It's beyond masochism in my case, W. says. It's not that I want to punish myself by parading my ignorance, or not merely that, he says. It's something cosmic, he says. There's something cosmic streaming through you. There's a cosmic storm howling through your ignorance and your shamelessness, says W.

Drunk as a Lord

Our favourite pub, The Dolphin, on the quayside. A man in the corner spits onto the floor. That's you in five years, says W. The man continues to spit, spitting and spitting onto the concrete floor. He's drunk, as drunk as anything. I've always felt akin to alcoholics, W. notes. They're kings of the world to me. They know the apocalypse is coming, he says, which is why they drink, he says.

Why aren't I an alcoholic?, W. wonders. It's a kind of bad faith, he says. I should at least be alcoholic. I should be falling off barstools like the druknards in the opening shot of Werckmeister Harmonies. In some important sense, I haven't followed through, W. says. I'm not consistent. I'm hopeful despite myself, W. says. What's my secret?, W. wonders. What sustains my existence from moment to moment, given that the certainty that life is shit should give me no such sustenance whatsoever?

The World is Shit

What does it mean to you, all your reading?, W. asks. I haven't read much, W. says, and I read less and less, but what did it mean to me, the little I have read? What could it mean?

Thinking depends upon seeing the world differently, says W., but I can only see the same. Thinking means questioning your assumptions, but all I am is one big assumption, which is really a presumption.

The world is shit, that's my presumption, W. says. In its way, it's impressive. The world is shit and life is shit: that's my single thought, W. says, and everything else is nonsense to me, isn't it? Ideas mean nothing to me, books nothing. The whole history of thought matters not a jot to me, W. says, since it's just a game. That's what I think it is: a game, says W.

In a sense, he admires it, W. says. I know one thing: life is shit and nothing else touches me. That's my starting point. It's where the world begins for me, isn't it?, says W.

All my faults can be traced to this fundamental assumption. My laziness, for example. The fact that I read nothing, and when I do read it's not real reading, which is to say disciplined reading, says W. And my conversational monomania, says W. Really I say the same thing over and over again, especially when I'm drunk, which I nearly always am. Over and over again.

And my obesity. I'm growing fatter for the apocalypse, aren't I? I eat incessantly – incessantly, says W., who has always marvelled at my appetite. I eat because you're depressed, and you're always depressed, not least at the amount I eat. Eating and drinking, says W., that's all I do. I'm going to eat and drink my way through the apocalypse, though that won't help me.

A Tick or a Leech

What have our lives become?, W. asks. Of course, I never expected anything, W. is clear on that. I'm from another generation to him, we agree, the generation of shit. Nothing to hope for, nothing to expect, so your whole aim in life is to find a warm pocket and survive there like some kind of parasite. Like a tick, W. says, or a leech.

What could I know of friendship, or community?, W. asks. What could I know of politics? Every year he sinks a little further, W. says. Every year he becomes a little more like me. What's it like to expect nothing and hope for nothing?, W. asks.

At the same time, he admires my admantine apocalypticism. It's very cold and pure, he says, like the sky on a winter morning. Your sense of the apocalypse is absolute, he says, you're sure of it. He's not sure of it, he says. He still believes something could save us, though he also knows nothing will save us. He knows nothing will save us, but he feels something will save us, that's the thing.

That's his Messianism, W. says. But there's no Messianism in me whatsoever, W. acknowledges. I'm far beyond that. In me, some process has completed itself, he says. Something, a whole history has been brought to an end. Friendship and community, says W. Politics, all that. What idea do you have of them? You're just a tick, says W., or a leech.

Mystical Idiocy

We've always known our limitations, W. and I agree, which is very different from accepting them. In fact, our entire lives have been concerned with not accepting our limitations, and battering ourselves against them like flies against a window.

Our limitations fascinate us, we agree. From the first, we aimed ourselves against them, in defiance not of the world that expected something of us, but our own expectations.

Of what did we think we were capable? From where came that ferocity of hope? It's a kind of idiocy, very pure, we agree. We're idiots, we agree, idiots who do not quite understand the depths of their idiocy, which is theological. We're mystics of the idiotic, we agree, mystical idiots, lost in our cloud of unknowing, which is vast.

Idiocy, that's what we have in common. Our friendship is founded upon our limitations, we agree, and doesn't travel far from them.

RINGLETS

Cinema uses your life, not vice versa: that sentence in my notes. To be absolutely within your own creation: that as well. From Marker's film on Tarkovsky? One house – rooms opening onto one another. And: the greats leave us with our freedom. Notes written scrawlwise across the page: continuity of writing – doesn't just double up life. And then – rather pompous – difficulty even reaching a blank page. And underlined: even reaching it. Then in big letters: RINGLETS.

Difficulty of beginning again, even though that 'again' will make no difference to the surface of writing. In what book did I read: months may lie between these sentences? Think of Red Thread(s) and the days and weeks of silence that surrounds each plateau of posts (and the way you have to scroll down the page to find a new post). Is that what you miss when you read blogs through readers (Bloglines, etc.): the space in which nothing begins? But here (at this blog), there is a continuity of writing, a continuity from one block of words to another that can never be interrupted.

A lack of capacity for facial recognition: more notes. People are avoiding us: I made a post out of that … RINGLETS: next to the words, Idiot Messiah (there are all kinds of Messiahs, W. and I learnt at a conference …) Stalker – sounds appear and then vanish. Silence – sometimes called 'atmosphere' or 'room tone'. And then: poetic realism. Poetic or symbolic montage.

Red Thread(s):

Regarding sequencing: if I do not look here for awhile, wch tends to be the case — but if I use this as a notebook, transcribing things here as I might write in project-oriented notebooks — the red notebook, the blue and orange books; the green one for dialogues… I discover a process of drafting [draughting] at work; moods and breezes dictate a general climate or tone. One item suprisingly connects to its lost predecessor. Another gesture might echo across lines months from now. Somethings lost in the flurries and mists.

To proceed with doubt as a general rule,

Ten Minutes …

Tuesday morning, ten minutes spare in the office. My stupid notes read: doors creak open by themselves, objects rool about and fall to the floor, they rattle, bird's wings flapping in alcoves, a bird breaks a pane of glass, a lamp goes out and relights itself. Notes from some book or another (which one?)

They continue: dialogue: few looks between people establish a relationship. Protagonists look down wearily or look away from one another. No reaction shots.

And then a quote from Dante: 'in the middle of life's path/ I found myself in a dark forest'. And a quote from Klee (what does it mean): 'distance is time'. And then Tarkovsky (and now I get it: these are all notes from a book on Tarkovsky. Still, though – which one?): 'Artistic creation is by definition a denial of death' (Tarkovsky himself …)

And a dictionary definition of chiascuro: 'darkness used to enhance sense of light'. And notes about films: Asafayev, weeping and whistling. Kris has a white streak in his hair, like Stalker, like Gorchakov. Off screen sounds used to enlarge space (a train whistle, birds, dogs barking). Flaky, scumbled, textured walls (notes from a book, but which one?).

Ten minutes: I would like to pan through the notebook as Tarkovsky pans. 360 degrees, a writing pan (a post) and take in everything, all the notes and the whole of my life. To open – what – within the day? To open the day itself around a kind of sacrifice, a writing burning. There's a kind of boredom that blows upward like methane released from permafrost. A boredom (is that the word?) that wants only to catch fire.

There is no such thing, said Debord, as a situationist work of art. No doubt art is still part of the spectacle, which is to say, a particular way in which relations between people are mediated by images.

Cinema must be abolished ('the cinema, too, must be destroyed'), but Debord makes films. It must be abolished, but film can be abolished in film; the mediation of which it would be part can itself be staged and made explicit.

The filmed world is no longer to appear natural. The immersion of an audience in a narrative will be frustrated. We'll see the film crew, the clapper and all the apparatus of film-making. And to Debord's montage there belongs the power to disrupt a familiar cinematic syntax.

By the filmed Society of the Spectacle, there is only found material – scenes from Battleship Potemkin and The Triumph of the Will, footage of Nixon meeting Mao, Castro, pictures of the earth seen from space, scenes from '68 (French riot police around the Flins factory) commericals and publicity stills from the fashion world ('plagiarism is necessary') …

So too is image broken apart from soundtrack: the soundtrack for Society … consists of excerpts from Debord's book of the same name, but with dialogue from Welles' Mr Arkadin mixed in, excerpts from Shakespeare ('from this day … we band of brothers') and Melville ('… desolation and horror, at the calm centre of mysery') …

'Society broadcasts to itself its own image of its own history, a history reduced to a superficial and static pageant of its rulers – the persons who embody the apparent inevitability of whatever happens'.

'This dominant equilibrium is brought back into question each time unknown people try to live differently, but it was always far away. We learn of it through the papers and newscasts. We remain outside it, relating to it as just another spectacle. We are separated from it by own own nonintervention'.

'The only interesting venture is the liberation of everyday life, not only in a historical perspective, but for us, right now. This project implies the withering away of all alienated forms of communication. The cinema, too, must be destroyed'.

By the film, by way of the film, relations no longer mediated, but disrupted. The film as anti-spectacle. As situation. What might relations be between us now: immediate? Can we turn, finally from the film, from all art (the spectacle) to one another, to Life (capital 'l')? On screen: May 1968 barricades in Paris. Fires and street fighting …

Any work of art after Debord is … after the fact? presumptuous? Later than ever. All too late.

Protestant Guilt

If there's one thing he's learned from me, W. says, it's not to work in the evenings. Two hours of work – real work – is enough, W. says, and that's what I taught him. Of course, I never even manage that, W. observes. Two hours – when I have ever worked for two hours? When have I ever worked at all? But he admires my resolution never to work in the evenings and never to work at weekends.

W. would like to be a layabout, he says. He'd liked to do nothing at all, not even work. But he thinks of little else but work, he says, and when he's not working, he feels a terrible urge to work and a guilt about not working. It's Protestant guilt, W. says. We all feel it, W. thinks, even him, who is a Catholic from a Jewish background. It's everywhere, says W.

He knows my views on the topic. He knows I think it should all stop and right now, he says. But haven't I fallen into the administrative trap? Aren't I in the office dawn until dusk, administrating? W. had thought I'd be the one to break from work. He thought I'd give it all up and go somewhere else.

This country, says W., is terrible. He tells everyone he meets to leave. Leave immediately, he says. Of course, when he left, he only came back, W. says. His time in Strasbourg, that great, peaceful city, taught him only that he was British, and couldn't live anywhere else. There's something wrong with him, he says. And with me, he sees it too. We're British – and worse, he says, English, and though we despite England and everything it stands for, we're stuck here.

Despite everything, though, W. still dreams of Canada: that's his escape route, he says, his line of flight. It's Canada that would teach him to work less. Canada with its great lakes and great forests. The sheer expanse of Canada soothes him, W. says. The fact of Canada. It's not like England with everyone swarming around, W. says. The Yukon: if only he could there, W. says. He'd be a gentler person, W. says, a kinder one. His soul would expand like the open expanses of Canada,, W. says.

Runts of the Litter

There's something sick about us, W. says, something depraved. Only it's not just about us, says W., but about the whole world. We're seismographic, W. says. We register the great horrors of the world in our guts. That's why you're always about to soil yourself, says W. It's why you have a continual nosebleed and always feel sick.

Many illnesses have passed through W.'s body. We're weak, he says, the runts of the litter. Something has come to an end with us. We're the end of the line in some important way. It all finishes here, W. says, pointing at his body and then pointing at mine. Especially here, says W., pointing to my stomach.

My obesity always impresses him, W. says. My greed. The way I eat, the amount I eat. He'd call me a carnal man, W. says, but that sounds too grand. You're just full of greed. What would I be like if I didn't go to the gym?, W. wonders. It's all channelled into my enormous thighs, W. says. They're grotesque, he says. You're out of proportion. And my great fat arms.

For his part, W. takes no exercise. He hasn't felt well for many years – eleven or twelve. There was a time when he'd go for great walks on the moor, he remembers. He had a walking friend, of course. You can't go walking on your own, that would just lead to enormous melancholy. That's what I always say, isn't it: that going out walking on my own would lead to enormous melancholy?

W. also feels it. He's essential agrophobic, W. says. He's only really happy holed up in his room, working. He'd prefer never to leave his house, says W. Or indeed his office. He'd like to hole himself up like Howard Hughes, he says, with bottles of toenails and urine. It's only the love of a good woman which saves him from that.

Now and again, he thinks he should walk to work, or cycle. But it's too far, and all uphill. It would only depress him, W. says. In the end, he's not cut out for exercise. He'll lead a short life, says W., as will I. a short, unfulfilled life, which will come to nothing. What it all been for?, W. asks. Nothing, he says. We're runts of the litter, W. says.