Yesterday’s post, acknowledging my difficulty in understanding Blanchot’s The Space of Literature lead to some useful comments. Stephen’s advice lead me to read the insightful essay at the centre of Blanchot’s work, Orpheus’ Gaze, which I read a several times, in two different translations.
Today I’ve been reading the first lecture in Simon Critchley’s Very Little … Almost Nothing, devoted to his own struggle with Blanchot. Critchley concedes, “. . . when writing on Blanchot, I confess that I feel very much in the dark, fumbling here and there for a thread.” This thread, for me, came from the reading of Orpheus’ Gaze. Critchley, making some comments in general, elucidates better than I am able the insight I obtained from my reading of Orpheus’ Gaze:
Blanchot’s original insight, obsessively reiterated in his work, is that the desire that governs writing has for its (impossible) origins this experience of the night, which is the experience of a dying stronger than death . . . Writing is not a desire for the beautiful artwork but for the origin of the artwork, its nocturnal source; which is why Blanchot defines the writer as ‘the insomniac of the day’.
For Blanchot, the possibility of literature is found in the radical impossibility of creating a complete work.
My intention is to re-start my exploration of Blanchot’s work with The Work of Fire, keeping this insight to the fore.