I have talked of the courtyards. Even Christmas was fundamentally a festival of the courtyards. There it began with the barrel organs, which stretched the week before the festival with chorales, and there it ended with the Christmas trees, which, bereft of feet, leaned in the snow or glistened in the rain. But Christmas came, and all at once, before the eyes of the bourgeois child, it divided his city into two mighty camps. These were not the genuine ones, in which the exploited and their rulers lie irreconcilably opposed. No, it was a camp posed and arranged almost as artificially as the cribs composed of paper or wooden figures, but also as old and as honorable: Christmas came and divided the children into those who shuffled past the booths on Potsdam Square and those who, alone, indoors, offered their dolls and farm animals for sale to children of their age. Christmas came and with it a whole, unknown world of wares, [breaks off]
The déjà vu effect has often been described. But I wonder whether the term is actually well chosen, and whether the metaphor appropriate to the process would not be far better taken from the realm of acoustics. One ought to speak of events that reach us like an echo awakened by a call, a sound that seems to have been heard somewhere in the darkness of past life. Accordingly, if we are not mistaken, the shock with which moments enter consciousness as if already lived usually strikes us in the form of a sound. It is a word, tapping, or a rustling that is endowed with the magic power to transport us into the cool tomb of long ago, from the vault of which the present seems to return only as an echo. But has the counterpart of this temporal removal ever been investigated, the shock with which we come across a gesture or a word as we suddenly find in our house a forgotten glove or reticule? And just as they cause us to surmise a stranger who has been there, there are words or gestures from which we infer that invisible stranger, the future, who left them in our keeping. I was perhaps five years old. One evening—I was already in bed—my father appeared, probably to say good night. It was half against his will, I thought, that he told me the news of a relative’s death. The deceased was a cousin, a grown man who scarcely concerned me. But my father gave the news with details, took the opportunity to explain, in answer to my question, what a heart attack was, and was communicative. I did not take in much of the explanation. But that evening I must have memorized my room and my bed, as one observes exactly a place where one feels dimly that one will later have to search for something one has forgotten there. Many years afterward I discovered what I had “forgotten,” a part of the news that my father had broken to me in that room: that the illness was called syphilis.
One-way Street
(Selection)
This street is named
Asja Lacis Street
after her who
as an engineer
cut it through the author
Filling Station
The construction of life is at present in the power of facts far more than of convictions, and of such facts as have scarcely ever become the basis of convictions. Under these circumstances true literary activity cannot aspire to take place within a literary framework—this is, rather, the habitual expression of its sterility. Significant literary work can only come into being in a strict alternation between action and writing; it must nurture the inconspicuous forms that better fit its influence in active communities than does the pretentious, universal gesture of the book—in leaflets, brochures, articles, and placards. Only this prompt language shows itself actively equal to the moment. Opinions are to the vast apparatus of social existence what oil is to machines: one does not go up to a turbine and pour machine oil over it; one applies a little to hidden spindles and joints that one has to know.
Breakfast Room
A popular tradition warns against recounting dreams on an empty stomach. In this state, though awake, one remains under the sway of the dream. For washing brings only the surface of the body and the visible motor functions into the light, while in the deeper strata, even during the morning ablution, the gray penumbra of dream persists and, indeed, in the solitude of the first waking hour, consolidates itself. He who shuns contact with the day, whether for fear of his fellow men or for the sake of inward composure, is unwilling to eat and disdains his breakfast. He thus avoids a rupture between the nocturnal and the daytime worlds—a precaution justified only by the combustion of dream in a concentrated morning’s work, if not in prayer, but otherwise a source of confusion between vital rhythms. The narration of dreams brings calamity, because a person still half in league with the dream world betrays it in his words and must incur its revenge. Expressed in more modern terms: he betrays himself. He has outgrown the protection of dreaming naïveté, and in laying clumsy hands on his dream visions he surrenders himself. For only from the far bank, from broad daylight, may dream be recalled with impunity. This further side of dream is only attainable through a cleansing analogous to washing yet totally different. By way of the stomach. The fasting man tells his dream as if he were talking in his sleep.
No. 113
The hours that hold the figure and the form
Have run their course within the house of dream.
Cellar. We have long forgotten the ritual by which the house of our life was erected. But when it is under assault and enemy bombs are already taking their toll, what enervated, perverse antiquities do they not lay bare in the foundations. What things were interred and sacrificed amid magic incantations, what horrible cabinet of curiosities lies there below, where the deepest shafts are reserved for what is most commonplace. In a night of despair I dreamed I was with my first friend from my school days, whom I had not seen for decades and had scarcely ever remembered in that time, tempestuously renewing our friendship and brotherhood. But when I awoke it became clear that what despair had brought to light like a detonation was the corpse of that boy, who had been immured as a warning: that whoever one day lives here may in no respect resemble him.
Vestibule. A visit to Goethe’s house. I cannot recall having seen rooms in the dream. It was a perspective of whitewashed corridors like those in a school. Two elderly English lady visitors and a curator are the dream’s extras. The curator requests us to sign the visitors’ book lying open on a desk at the farthest end of a passage. On reaching it, I find as I turn the pages my name already entered in big, unruly, childish characters.
Dining Hall. In a dream I saw myself in Goethe’s study. It bore no resemblance to the one in Weimar. Above all, it was very small and had only one window. The side of the writing desk abutted on the wall opposite the window. Sitting and writing at it was the poet, in extreme old age. I was standing to one side when he broke off to give me a small vase, an urn from antiquity, as a present. I turned it between my hands. An immense heat filled the room. Goethe rose to his feet and accompanied me to an adjoining chamber, where a table was set for my relatives. It seemed prepared, however, for many more than their number. Doubtless there were places for my ancestors, too. At the end, on the right, I sat down beside Goethe. When the meal was over, he rose with difficulty, and by gesturing I sought leave to support him. Touching his elbow, I began to weep with emotion.
For Men
To convince is to conquer without conception.
Standard Clock
To great writers, finished works weigh lighter than those fragments on which they work throughout their lives. For only the more feeble and distracted take an inimitable pleasure in conclusions, feeling themselves thereby given back to life. For the genius each caesura, and the heavy blows of fate, fall like gentle sleep itself into his workshop labor. About it he draws a charmed circle of fragments. “Genius is application.”
Come Back! All Is Forgiven
Like someone performing the giant swing on the horizontal bar, each boy spins for himself the wheel of fortune from which, sooner or later, the momentous lot shall fall. For only that which we knew or practiced at fifteen will one day constitute our attraction. And one thing, therefore, can never be made good: having neglected to run away from home. From forty-eight hours�
�� exposure in those years, as in a caustic solution, the crystal of life’s happiness forms.
Manorially Furnished Ten-Room Apartment
The furniture style of the second half of the nineteenth century has received its only adequate description, and analysis, in a certain type of detective novel at the dynamic center of which stands the horror of apartments. The arrangement of the furniture is at the same time the site plan of deadly traps, and the suite of rooms prescribes the fleeing victim’s path. That this kind of detective novel begins with Poe—at a time when such accommodations hardly yet existed—is no counterargument. For without exception the great writers perform their combinations in a world that comes after them, just as the Paris streets of Baudelaire’s poems, as well as Dostoyevsky’s characters, only existed after 1900. The bourgeois interior of the 1860s to the 1890s, with its gigantic sideboards distended with carvings, the sunless corners where palms stand, the balcony embattled behind its balustrade, and the long corridors with their singing gas flames, fittingly houses only the corpse. “On this sofa the aunt cannot but be murdered.” The soulless luxuriance of the furnishings becomes true comfort only in the presence of a dead body. Far more interesting than the Oriental landscapes in detective novels is that rank Orient inhabiting their interiors: the Persian carpet and the ottoman, the hanging lamp and the genuine Caucasian dagger. Behind the heavy, gathered Khilim tapestries the master of the house has orgies with his share certificates, feels himself the Eastern merchant, the indolent pasha in the caravanserai of otiose enchantment, until that dagger in its silver sling above the divan puts an end, one fine afternoon, to his siesta and himself. This character of the bourgeois apartment, tremulously awaiting the nameless murderer like a lascivious old lady her gallant, has been penetrated by a number of authors who, as writers of “detective stories”—and perhaps also because in their works part of the bourgeois pandemonium is exhibited—have been denied the reputation they deserve. The quality in question has been captured in isolated writings by Conan Doyle and in a major production by A. K. Green; and with The Phantom of the Opera, one of the great novels about the nineteenth century, Gaston Leroux has brought the genre to its apotheosis.
Chinese Curios
These are days when no one should rely unduly on his “competence.” Strength lies in improvisation. All the decisive blows are struck left-handed.
At the beginning of the long downhill lane that leads to the house of ——, whom I visited each evening, is a gate. After she moved, the opening of its archway stood henceforth before me like an ear that has lost the power of hearing.
A child in his nightshirt cannot be prevailed upon to greet an arriving visitor. Those present, invoking a higher moral standpoint, admonish him in vain to overcome his prudery. A few minutes later he reappears, now stark naked, before the visitor. In the meantime he has washed.
The power of a country road is different when one is walking along it from when one is flying over it by airplane. In the same way, the power of a text is different when it is read from when it is copied out. The airplane passenger sees only how the road pushes through the landscape, how it unfolds according to the same laws as the terrain surrounding it. Only he who walks the road on foot learns of the power it commands, and of how, from the very scenery that for the flier is only the unfurled plain, it calls forth distances, belvederes, clearings, prospects at each of its turns like a commander deploying soldiers at a front. Only the copied text thus commands the soul of him who is occupied with it, whereas the mere reader never discovers the new aspects of his inner self that are opened by the text, that road cut through the interior jungle forever closing behind it: because the reader follows the movement of his mind in the free flight of daydreaming, whereas the copier submits it to command. The Chinese practice of copying books was thus an incomparable guarantee of literary culture, and the transcript a key to China’s enigmas.
Gloves
In an aversion to animals the predominant feeling is fear of being recognized by them through contact. The horror that stirs deep in man is an obscure awareness that in him something lives so akin to the animal that it might be recognized. All disgust is originally disgust at touching. Even when the feeling is mastered, it is only by a drastic gesture that overleaps its mark: the nauseous is violently engulfed, eaten, while the zone of finest epidermal contact remains taboo. Only in this way is the paradox of the moral demand to be met, exacting simultaneously the overcoming and the subtlest elaboration of man’s sense of disgust. He may not deny his bestial relationship with animals, the invocation of which revolts him: he must make himself its master.
Mexican Embassy
Je ne passe jamais devant un fétiche de bois, un Bouddha doré, une idole mexicaine sans me dire: c’est peut-être le vrai dieu. (I never pass by a wooden fetish, a gilded Buddha, a Mexican idol without reflecting: perhaps it is the true God.)
—CHARLES BAUDELAIRE
I dreamed I was a member of an exploring party in Mexico. After crossing a high, primeval jungle, we came upon a system of above-ground caves in the mountains where an order had survived from the time of the first missionaries till now, its monks continuing the work of conversion among the natives. In an immense central grotto with a Gothically pointed roof, Mass was celebrated according to the most ancient rites. We joined the ceremony and witnessed its climax: toward a wooden bust of God the Father fixed high on a wall of the cave, a priest raised a Mexican fetish. At this the divine head turned thrice in denial from right to left.
To the Public: Please Protect and Preserve These New Plantings
What is “solved”? Do not all the questions of our lives, as we live, remain behind us like foliage obstructing our view? To uproot this foliage, even to thin it out, does not occur to us. We stride on, leave it behind, and from a distance it is indeed open to view, but indistinct, shadowy, and all the more enigmatically entangled.
Commentary and translation stand in the same relation to the text as style and mimesis to nature: the same phenomenon considered from different aspects. On the tree of the sacred text both are only the eternally rustling leaves; on that of the profane, the seasonally falling fruits.
He who loves is attached not only to the “faults” of the beloved, not only to the whims and weaknesses of a woman. Wrinkles in the face, moles, shabby clothes, and a lopsided walk bind him more lastingly and relentlessly than any beauty. This has long been known. And why? If the theory is correct that feeling is not located in the head, that we sentiently experience a window, a cloud, a tree not in our brains but, rather, in the place where we see it, then we are, in looking at our beloved, too, outside ourselves. But in a torment of tension and ravishment. Our feeling, dazzled, flutters like a flock of birds in the woman’s radiance. And as birds seek refuge in the leafy recesses of a tree, feelings escape into the shaded wrinkles, the awkward movements and inconspicuous blemishes of the body we love, where they can lie low in safety. And no passer-by would guess that it is just here, in what is defective and censurable, that the fleeting darts of adoration nestle.
Construction Site
Pedantic brooding over the production of objects—visual aids, toys, or books—that are supposed to be suitable for children is folly. Since the Enlightenment this has been one of the mustiest speculations of the pedagogues. Their infatuation with psychology keeps them from perceiving that the world is full of the most unrivaled objects for childish attention and use. And the most specific. For children are particularly fond of haunting any site where things are being visibly worked upon. They are irresistibly drawn by the detritus generated by building, gardening, housework, tailoring, or carpentry. In waste products they recognize the face that the world of things turns directly and solely to them. In using these things they do not so much imitate the works of adults as bring together, in the artifact produced in play, materials of widely differing kinds in a new, intuitive relationship. Children thus produce their own small world of things within the greater one. The norm
s of this small world must be kept in mind if one wishes to create things specially for children, rather than let one’s adult activity, through its requisites and instruments, find its own way to them.
Reflections Page 11
