Paul Scheerbart

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  renunciation of what Benjamin here simply refers to as “human-like-

  ness.” As a term, this human-like-ness resonates with Benjamin’s overall

  program, in which it means the liberation of language and its subtext

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  “. . . VERSIONS OF THE SEEMINGLY I M P E R F E C T . . .”

  from magic or enchantment. Scheerbart gives his characters names like

  Lesabéndio, Biba, Sofanti, Knéppara, Rasibéff, Zikáll, and Mafikâsu,

  which onomatopoetically hint at other worlds: “ ‘dehumanized’ names,”

  like those given after the October Revolution, with the goal of “changing

  reality instead of describing it.”7

  No one, it seems to me, has more explicitly freed Paul Scheerbart from

  the easy label of humorist than Walter Benjamin. He saw in Scheerbart

  instead a trailblazer whose humor — like the irony of the early romantics —

  was the form through which present society could be overcome. Only a

  telescopic eye could show us the shape Scheerbart would have wanted

  this future to take, but undoubtedly it was made of glass: built of a glass

  architecture free from secrets and darkness, where nothing is set in stone,

  all tracks are erased, and the “aura” is overcome. Included in Scheerbart’s

  Münchhausen collection is a short story in which he extols “humor as the

  elixir of life.”8 The hundred-and-eighty-year-old Baron von Münchhausen

  prescribes humor to the Emperor of Anam, who worries that he won’t

  live long enough to sufficiently change and improve social conditions

  among his people: “Humor destroys trouble and boredom. And since

  those shorten one’s life, humor, by destroying these two life-shorteners,

  has the power to lengthen life.”9 According to Benjamin, art is useless

  in a utopian society, but humor outstrips art and makes of Scheerbart’s

  works “a spiritual testimony”10 that already brings us closer to the ful-

  fillment of utopia.

  Gershom Scholem recounts an argument with Benjamin over several of

  Berthold Brecht’s texts, in particular the Versuche and Threepenny Novel,

  both of which Benjamin wrote about extensively. Scholem recalls a letter

  of 1938 in which Benjamin wrote, regarding Scheerbart: “You couldn’t

  praise him enough, and you were certainly right to. And now, when I

  recommend Brecht to you, the man who did the most to complete what

  Scheerbart started, namely to write a thoroughly and completely unmag-

  ical language, a language purged of all magic, you reject him and fail in

  yourself.”11 Benjamin’s answer to Scholem’s accusation that in compari-

  son with Scheerbart, Brecht lacked a “joy in infinity,”12 which again we

  have only in Scholem’s later report, is astonishing: “It is not an issue of

  infinity, but rather of the elimination of magic.”13 And in a note to his

  essays on similarity (“The Doctrine of the Similar,” “On the Mimetic

  Faculty”) Benjamin remarks: “The sacred lies nearer to the profane than

  to the magical. The way to a language purified of all magical elements:

  Scheerbart, Brecht.”14 Scholem understood Benjamin’s dilemma: on the

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  HUBERTUS VON A M E L U N X E N

  one hand to cleave to a theological philosophy of language and on the

  other hand to eliminate magic and aura.15 In Scheerbart’s exclusion of

  any linguistic similarity to humankind’s culture Benjamin saw this very

  elimination of magic. Supporting Benjamin’s argument is the fact that

  Scheerbart wrote in Glass Architecture that humanlike or animal-like

  ornamentation is to be avoided.16 Nor did Scheerbart understand infinity

  as something transcendental but rather as a moment that occurs within

  and around the insurmountable finitude and imperfection of Earth. Paul

  Scheerbart’s understanding of what it is to be human is contained in

  his prologue to the “Arabian stories” in Machtspässe: “Of course we

  won’t be able to grasp the essence of time completely. But striving to do

  so leads us onward: in this way one becomes gradually convinced that

  the art of comprehending the world and time is an art that cannot be

  mastered during our earthly existence. And of course this is an excellent

  thing — since the perspective of infinity offers more than any seemingly

  conclusive comprehensive vision.”17

  And then Scheerbart adds: “On the other hand, our ever-changing

  milieu encourages in our consciousness the awareness that the perfect

  circumstances — which always have a quality of finitude, or conclusive-

  ness! — that sometimes occur on our earth are not in fact the result of

  an intentionality that guides our lives more than we ourselves do. The

  versions of the seemingly imperfect are in fact richer and more interesting

  than the versions of the seemingly perfect.”18

  Translated by Anne Posten

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  “. . . VERSIONS OF THE SEEMINGLY I M P E R F E C T . . .”

  NOTES

  1. As quoted in Vera Hauschild’s afterword to Paul Scheerbart, Die große Revolution: Ein

  Monroman & Jenseitsgalerie (Leipzig: Gustav Kiepenheuer Verlag, 1983).

  2. Scheerbart, Die große Revolution, 198.

  3. Ibid., 136.

  4. Walter Benjamin, “Sur Scheerbart,” ca. 1935–39, in Benjamin, Gesammelte Schriften,

  ed. R. Tiedemann und H. Schweppenhäuser, vol. 2, pt. 2 (Frankfurt am Main:

  Suhrkamp Verlag, 1977), 632.

  5. Walter Benjamin, “Experience and Poverty,” in Selected Writings, vol. 2, pt. 2

  (Cambridge, MA: Belknap Press of Harvard University Press, 1999), 733.

  6. Ibid.

  7. Ibid.

  8. Paul Scheerbart, “Der Humor als Lebenselixier” from Das Große Licht: Ein

  Münchhausen-Brevier (Leipzig: Sally Rabinowitz, 1912).

  9. Ibid.

  10. Benjamin, “Sur Scheerbart,” 632.

  11. Gershom Scholem, Walter Benjamin: Die Geschichte einer Freundschaft (Frankfurt:

  Suhrkamp, 1975), 258.

  12. Ibid., 258.

  13. Ibid., 259.

  14. Walter Benjamin, Selected Writings, vol. 2, pt. 3, 956.

  15. “Magic,” “unmagical,” and “aura” are common and complex terms that appear

  throughout Benjamin’s oeuvre.

  16. This book, Scheerbart, Glass Architecture, 41.

  17. Paul Scheerbart, Machtspässe: Arabische Novellen (Berlin: E. Eisselt, 1904), 2.

  18. Ibid.

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  Jenseits-Galerie (Gallery of the beyond), a portfolio containing ten lithographs

  and two short texts (“Autobiographisches” and “Jenseits-Galerie”) by Paul

  Scheerbart was published by Oesterheld & Co., Berlin, in 1907.

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  Paul Scheerbart

  Gal ery of the Beyond

  As is general y known, it is only in the twentieth century, according to

  our accounting of time, that microscopic study of the photographic plates

  provided by the great astronomical observatories has begun to yield some

  results. Until now, these results have never been made available to the

  general public, in an effort to avoid possible misinterpretation; it is undeni-

  able that sometimes what the microscope revealed was only a factor of the

  photographic material itself. But this is of course not the place to go into

  questions tha
t lie within the purview of specialists. This much is already

  certain: the plates taken in the region of the heavens near Neptune, an area

  characterized by a remarkable brightness, present new views of our world

  that are nothing less than exhilarating — that these are cosmic images can

  no longer be doubted.

  The fol owing ten drawings are reproductions of what we have discov-

  ered beyond the orbit of Neptune. This Gal ery of the Beyond therefore

  shows only the Beyond that lies beyond Neptune; it remains entirely within

  our spatial sphere and is part of our solar system in every way. These im-

  ages are in no way beyond space and time.

  Of course — the ten drawings that fol ow present only a miniscule

  portion of the beyond that lies past the orbit of Neptune in our solar

  system; only the beings whose facial forms are similar to the human

  facial form have been selected. But such a facial form is in fact abnormal

  beyond Neptune; most of the cosmic beings that live there possess no

  such face.

  In any case, the recently discovered beings of the beyond have taught

  us that our sun is orbited not only by round planets, but also by planets

  on whom we can discern a plethora of massive external limbs. We must

  therefore assume that the round planets too are thoroughly independent,

  sentient living creatures, even if their organs are not visible to us.

  Herein lies the essential significance of these new astronomical discov-

  eries: the great beings beyond Neptune prove to us that our solar system

  consists of “living” beings — that al planets are living creatures of a higher

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  order. And — we wil also never again be able to assume that our sun is

  only a desolate conglomeration of burning material.

  In answer to the question of whether the surface of the large being shown

  in plate 5 is populated by smaller creatures, we can now deem it highly

  likely — although at the moment such questions real y cannot be answered.

  First, we must search for an explanation for the fact that these huge new

  satellites of the sun are comprised of so many tiny parts that are seemingly

  completely unconnected — but which together form a whole. Such a bodily

  structure becomes quite comprehensible when compared with the three

  rings of Saturn, which are known to consist of millions of smal stars.

  On the other hand, we must not forget that an uncountable number of

  meteors are also whizzing around on this side of Neptune, many of which

  taken together may also form organic bodies. The fact that we have not yet

  discovered meteoric beings on our side of Neptune is due on the one hand

  to the imperfection of our astronomical instruments and on the other hand

  to the fact that the space between the sun and the orbit of Neptune has thus

  far not been thoroughly searched for such beings.

  We cannot yet specify the distance of the planets beyond Neptune from

  the sun, but the fact that they do not lie much farther from Neptune than

  Neptune lies from the sun is already certain.

  Plates 3, 4, 6, and 9 display many cometlike limbs, which look as if they

  could easily be detached from the main body. This detachability suggests

  that al the comets heretofore seen from earth could in fact be component

  beings that have detached themselves from the creatures beyond Neptune.

  This hypothesis should be taken into serious consideration, as it is well

  known that our telescopes have never revealed a single comet beyond the

  orbit of Jupiter. This hypothesis would also explain the formidable number

  of comets, which according to Kepler are as numerous in the ocean of the

  universe as the fish in the sea.

  We must now refrain from any further attempts to meet the newly dis-

  covered creatures beyond Neptune with further attempts at explanation; we

  must first seek slowly to familiarize ourselves with them. The magnificent

  and marvelous life in our solar system that is just now becoming visible to our

  eyes is so vast that for now a long, admiring silence seems the best course.

  The dimensions of the creatures presented in these ten plates are huge;

  the form on plate 7 seems to surpass Jupiter considerably in size.

  These ten pages natural y ought not to be judged from a purely aes-

  thetic standpoint, as such aesthetic judgments can only proceed from our

  habituation to the appearance of earthly beings.

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  The scientific world’s reticence to publish these new discoveries is quite

  understandable; they so deeply affect the basic long-held beliefs of astron-

  omy that such hesitation can real y only meet with approval.

  The artist, however, luckily has no obligation to such reserve — even if

  the details may later require slight correction.

  Translated by Anne Posten

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  PAUL S C H E E R B A R T

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  Josiah McElheny

  Novels and Novelettes, Rhetorical Essays,

  and Prophetic Howls:

  A Bibliographic Poem

  Scheerbart tells stories with titles alone: absurdity as salvation, imagination

  as iconoclasm. Of course each of these titles points to a real text, often

  short, but also many that are quite long. Each line here, with the exception

  of the category headings in bold, is the title of a text by Scheerbart: short

  stories, novels, stories within stories, essays, or poems. I have taken each

  title as a story in ten words or less and organized them into categories of

  my own making. I encourage anyone who can to translate more of these

  fables and prophesies for us in the English-speaking world. Those in the

  German-speaking world can simply go read them! Be warned: many

  are strange and we don’t know enough about humor — Scheerbart’s or

  otherwise — to always understand the point. This is not a traditional,

  chronological, or comprehensive bibliography, but an introduction to the

  breadth of Scheerbart’s thinking.

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  THE FANTASICAL

  Ever Courageous! A Fantastical Hippopotamus

  Novel with Eighty-Three Unusual Stories

  Atlas, the Comfortable: A Myth of Humanity

  The Delicate Skin: Sensitive Woodland Story

  The Sparkling One: A Pedagogical Scherzo

  Krietze and Kratze or the New Vegetables: A Fairy Tale

  The Flaming Sword: A Gigantic Poem

  Modern Gods: A Telepathic Capriccio

  Uncle Nepomuk from Celebes: A Completely Crazy Castle Novelette

  The Faun: A Final Vignette

  The Clever Frog: A Meadow Fable

  The Blue Flower: A Witching Tale

  Behind the Mountains of the Ordinary: Scherzo


  Stubbornness: A Moral Tale

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  LOVE AND EROS

  “Yes . . What . . All Don’t We Want!”

  I Love You! A Railway Novel with 66 Intermezzos

  The Midnight Visit: An Aesthetic Story

  The Soft Limbs: A Garden Dream

  Narcissus, Love-Madness and Lady

  The Doll and the Cured Sausage: A Social Drama

  The Hermit: An Eros Novelette

  The World Swing: A Salvation Burlesque

  The Bite: A Rivalry Vignette

  Woeful Lotte

  The Old Priests and the Boys: A Temple Fantasy

  Heavenly Marriage! Cosmic Novelette

  The Goal of Longing: A Vision of Salvation

  Once! A Sentimental Atmospheric Tableau

  Poison: A Moonlight Comedy

  The Safe: A Marriage Novelette

  Münchhausen and Clarissa: A Berlin Novel

  The Foolish Children: A Mythical Burlesque

  Don’t You Love Me Any Longer? A Strange Story

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  ARCHITECTURE

  Transportable Cities

  The City Journeys Abroad

  An Ornament Museum

  The Three Monuments

  The Architects’ Convention: A Parliamentary Story

  The Mother-of-Pearl City: A Chinese Story

  New Garden Culture: A Gloss

  House Construction Plants

  The New Life: Architectural Apocalypse

  The Canal

  The Gray Cloth and Ten Percent White: A Ladies’ Novel

  Swallows: A Window Study

  The Dead Palace: An Architectural Dream

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  STARS

  The Astropsychological Dithyramb

  Foggy Stars

  Bursting Comets

  The Night Was Great: A Star Story

  The Stupid Hussy: A Jupiter Drama

  The Hasty Cyclops: A Crater Story

  The Great Revolution: A Moon Novel

  The Big Trees: A Juno Novelette

  The Colored Moons: A Cosmosophical Scherzo

  The Factory of Fun-Loving Creatures: A Cosmic Existential Comedy

  Head Air Waiter, Sacks of Coal and Astronomical

  Advertising Maneuvers: A Hotel Story

  The Contented Ones: A Mercury Novelette

  Helmsman Malwu: A Vesta Novelette

  The Wild Talon: A Rocket Scherzo

  Staircase to the Sun: A Household Tale

  The Dark Side of Venus

  The Cosmic Postil ions: A Marionette Theater Story

  Cosmic Theater: An End-of-the-World Novelette

 

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