Every artist is linked to a mistake with which he has a particular intimacy. All art draws its origin from an exceptional fault, each work is the implementation of this original fault, from which comes a risky plenitude and new light.
I am not and I endure. An inexorable future stretches forth infinitely for this suppressed being. Hope turns in fear against time which drags it forward. All feelings gush out of themselves and come together, destroyed, abolished, in this feeling which molds me, makes me and unmakes me, causes me to feel, hideously, in a total absence of feeling, my reality in the shape of nothingness.
Art is not religion, ‘it doesn’t even lead to religion.’ But in the time of distress which is ours, the time when the gods are missing, the time of absence and exile, art is justified, for it is the intimacy of this distress: the effort to make manifest, through the image, the error of the imaginary, and eventually the ungraspable, forgotten truth which hides behind the error.
The authentic answer is always the question’s vitality. It can close in around the question, but it does so in order to preserve the question by keeping it open.
Memory is freedom of the past. But what has no present will not accept the present of a memory either. Memory says of the event: it once was and now it will never be again. The irremediable character of what has no present, of what is not even there as having once been there, says: it never happened, never for a first time, and yet it starts over, again, again, infinitely. It is without end, without beginning. It is without a future.
One thing must be understood: I have said nothing extraordinary or even surprising. What is extraordinary begins at the moment I stop. But I am no longer able to speak of it.
Between them, the fear, the fear shared in common, and, through the fear, the abyss of fear over which they join one another without being able to do so, dying, each alone, of fear.
We can never put enough distance between ourselves and what we love. To think that God is, is still to think of him as present; this is a thought according to our measure, destined only to console us. It is much more fitting to think that God is not, just as we must love him purely enough that we could be indifferent to the fact that he should not be. It is for this reason that the atheist is closer to God than the believer.
I would prefer not to: this sentence speaks in the intimacy of our nights: negative preference, the negation that effaces preference and is effaced therein: the neutrality of that which is not among the things there are to do.
The feeling of the uselessness of what I am doing is linked to this other feeling that nothing is more serious.
Writing is not destined to leave traces, but to erase, by traces, all traces, to disappear in the fragmentary space of writing more definitely than one disappears in the tomb.
They who were so important, who wanted to create the world, are dumbfounded; everything crumbles.
I call disaster what does not have the last limit: that which drags the last in the disaster.
He would never know what he knew. That was loneliness.
Dying means: you are dead already, in an immemorial past, of a death which was not yours, which you have thus neither known nor lived, but under the threat of which you believe you are called upon to live; you await it henceforth in the future, constructing a future to make it possible at last – possible as something that will take place and will belong to the realm of experience.
Whoever wants to remember himself must entrust himself to forgetfulness, to the risk that absolute forgetfulness is, and the beautiful chance that memory then becomes.
I feel myself dead – no; I feel myself, living, infinitely more dead than dead.
To write is, moreover, to withdraw language from the world, to detach it from what makes it a power according to which, when I speak, it is the world that declares itself, the clear light of day that develops through tasks undertaken, through action and time.
Where he is, only being speaks – which means that language doesn’t speak any more, but is.
The notion of characters, as the traditional form of the novel, is only one of the compromises by which the writer, drawn out of himself by literature in search of its essence, tries to salvage his relations with the world and himself.
Kafka remarks, with surprise, with enchantment, that he has entered into literature as soon as he can substitute “He” for “I.” This is true, but the transformation is much more profound. The writer belongs to a language which no one speaks, which is addressed to no one, which has no center, and which reveals nothing.