Memento

Properly written texts are like spiders’ webs: tight, concentric, transparent, well-spun and firm. They draw into themselves all the creatures of the air. Metaphors flitting hastily through them become their nourishing prey. Subject matter comes winging towards them. The soundness of a conception can be judged by whether it causes one quotation to summon another. Where thought has opened up one cell of reality, it should, without violence by the subject, penetrate the next. It proves its relations to the object as soon as other objects crystallise around it. In the light that it casts on its chosen substance, others begin to glow.

In his text, the writer sets up his house. Just as he trundles papers, books, pencils, documents untidily from room to room, he creates the same disorder in his thoughts, They become pieces of furniture that he sinks into, content or irritable. He strokes them affectionately, wears them out, mixes them up, re-arranges, ruins them. For a man who no longer has a homeland, writing becomes a place to live. In it he inevitably produces, as his family once did, refuse and lumber. But now he lacks a store-room, and it is hard in any case to part from left-overs. So he pushes them along in front of him, in danger finally of filling his pages with them. The demand that one harden oneself against self-pity implies the technical necessity to counter any slackening of intellectual tension with the utmost alertness, and to eliminate anything that has begun to encrust the work or to drift along idly, which may at an earlier stage have served, as gossip, to generate the warm atmosphere conducive to growth, but is now left behind, flat and stale. In the end, the writer is not even allowed to live in his writing.

Theodor Adorno
Minima Moralia
1945

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