My attraction to Simone Weil’s work is deepening the more I read. I couldn’t resist the notebooks. Her reading of Plato is sending me back to his work, which I haven’t revisited much since my twenties. I’ve written a rather dodgy post on Weil and Plato. I may or may not post it here, but am fascinated by her argument that Plato was deeply influential on the medieval Christian mystics.
I am not especially religious (though not an atheist), but alongside Weil I am enjoying an exploration of much earlier Christian mystics (is Weil a mystic?) like St John of the Cross. So much we simply cannot know; as Heidegger said somewhere, it is quite possible that human thought is at only a rudimentary level.
The other two are continuations of my tumbling headlong down a rabbit-hole propelled by Maria Gabriela Llansol’s Book of Communities. Emily Dickinson’s influence on Llansol is clear.
An occasional springlike fragrance in the air buoys the soul, yet my reading still speaks of winter: a mixed clutch of writers, some new to me, others old favourites. The re-emergence of one of my favourite blogs inspired me to sample both Morselli and Guilloux; Balzac, a long-time companion is also calling.
At the moment, I am reading Adrian Nathan West’s translation of Harmut Lange’s Positive Nihilism: My Confrontation with Heidegger. Its slim form belies its depth, perfect for a wintry evening.
Perfect for the season also is Heinrich Ignaz Franz von Biber’s Passacaglia. Its opening four notes perhaps refers to the traditional hymn to the Guardian Angel,
“The concentrated exchanges between Valéry “who does not forgive himself for not having been a philosopher” (Cioran) and Alain who may not have forgiven himself for not being a great novelist, like his beloved Balzac, are themselves components of a cardinal dialogue. Shorthand and the tape recorder have restored to modern philosophy some of the viva voce spontaneities and openness to questioning advocated by Plato. A considerable measure of Wittgenstein’s teaching survives in the guise of notes taken by auditors and conversations as recalled by pupils or intimates. On the banks of the Cam as on those of the Illissus. Even so mountainous a word processor as Heidegger propounds his considered views on language in dialogue with a Japanese visitor. The counter-authoritarian, anti-systematic tenor of twentieth-century philosophic instruction is restoring to orality something of its ancient role. Innovation, stimulus emanate from a Strauss or Kojève seminar. Disciples differ fruitfully over the master’s dicta and intentions. Already there is something dusty and self-defeating about vast magisterial tomes such as Jaspers on truth or Sartre on Imagination, treatises as monologue. “Dreams are knowledge” taught Valéry in his “Cimetière marin” and dreams tended to be brief.”
George Steiner, The Poetry of Thought
Steiner’s analytical reading of lyrical thought “from Hellenism to Celan” is illuminating to a similar degree as his Grammars of Creation, What I appreciate most of Steiner’s writing is not just his dissective interpretation of another writer’s thought but that he always responds with a rich meditation of his own in a way that often bears no relation to the original text, yet always comes with considerable creative force.
The space defined by Milan Kundera’s The Curtain is one that privileges the novel to an extraordinary degree, attributing it to a position distinct from not only other forms of art, but also as a reflection on existence that informs philosophical thought. As Kundera says, “… for me, the founder of the Modern Era is not only Descartes but also Cervantes.”
By using novels to reflect on human existence as opposed to portraying reality, novelists dissect new existential categories and refashion our perception of those we are familiar with. Kundera writes, “Indeed, all the great existential themes Heidegger analyses in Being and Time – considering them to have been neglected by all earlier European philosophy – had been unveiled, displayed, illuminated by four centuries of the European novel.”
Kundera, like Edward Said – in turn influenced by Adorno’s essay on Beethoven – is also much preoccupied by ‘late style’:
What interests me in this piece [a text of Cioran’s] is the amazement of the man who cannot find any link between his present “self” and the past one, who is stupefied before the enigma of his identity. But, you’ll say, is that amazement sincere? Certainly it is! How in the world could I ever have taken seriously that philosophical (or religious, artistic, political) trend? or else (more banally): How could I have fallen in love with such a silly woman (stupid man)? Well, whereas for most people, your life goes by fast and its mistakes evaporate without leaving much trace, Cioran’s turned to stone; one cannot laugh off a ridiculous sweetheart and fascism with the same condescending smile.
[Any blog that continues for long enough knows this amazement when one stupidly decides to reread old posts written by another “self”.]
The force and richness of Kundera’s perceptions in this book and in Testaments Betrayed, which I read previously, puts him in good company with Nabokov and Brodsky. That all three were bilingual exile writers who reworked their own texts and worried endlessly about translation perhaps also made them ideal readers, enacting Derrida’s argument that writing is itself an act of translation.
This afternoon I reread the passage in The Magic Mountain in which Thomas Mann expounds on the nature of boredom. Lars Svendsen in A Philosophy of Boredom asks, “What is the difference between profound boredom and depression?” concluding that there is considerable overlap.
Thinking about how various thinkers have dealt with boredom led me to scribbling a bibliography for a study on the subject, which I thought I’d share here. All of these works deal to a greater or lesser extent with the concept of boredom:
- Boredom: The Literary History of a State of Mind – Patricia Meyer Spacks
- In Praise of Boredom (from On Grief and Reason) – Joseph Brodsky
- Boredom is a major preoccupation in much of Herman Melville’s work
- Being and Time – Martin Heidegger (on the theme of profound boredom)
- The Conquest of Happiness – Bertrand Russell
- The themes of boredom and waiting are dominant in the novels of Marguerite Duras, notably Moderato Cantabile (which is brilliant and you should read anyway.)
- The Voyage Out – Virgina Woolf (fascinating exploration of the textual use of boredom)
- Experience Without Qualities: Boredom and Modernity – Elizabeth Goodstein
- Anatomy of Melancholy – Robert Burton
- A Philosophy of Boredom – Lars Svendsen
- Boredom: A Lively History – Peter Toohey
- Beyond Boredom and Anxiety – Mihály Csíkszentmihályi
I realise there is an extensive literature of the phenomenon of boredom, many of which I have not included. I came cross Lee Rourke’s top 10 books about boredom. Please feel free to add any titles in the comments section.
I am immensely moved by this Richard Rorty essay written just before his death, with this staggering closing paragraph:
However that may be, I now wish that I had spent somewhat more of my life with verse. This is not because I fear having missed out on truths that are incapable of statement in prose. There are no such truths; there is nothing about death that Swinburne and Landor knew but Epicurus and Heidegger failed to grasp. Rather, it is because I would have lived more fully if I had been able to rattle off more old chestnuts — just as I would have if I had made more close friends. Cultures with richer vocabularies are more fully human — farther removed from the beasts — than those with poorer ones; individual men and women are more fully human when their memories are amply stocked with verses.