A Clean, Well-Lighted Place

I'm a Midwestern pilgrim who reads and writes in the West. I'm a conversationalist and a walker. You can reach me here: jreed1490@gmail.com

All discourse is a dialogical exchange; this endows all language with a particular ethical or ethico-political force.

—Mikhail Bakhtin (via dreamshare)

(via russkayaliteratura)

For me, the really striking, inspiring thing about Dostoevsky isn’t just that he was a genius; he was also brave. He never stopped worrying about his literary reputation, but he also never stopped promulgating unfashionable stuff in which he believed. And he did this not by ignoring (now a.k.a. “transcending” or “subverting”) the unfriendly cultural circumstances in which he was writing, but by confronting them, engaging them, specifically and by name.

It’s actually not true that our literary culture is nihilistic, at least not in the radical sense of Turgenev’s Bazarov. For there are certain tendencies we believe are bad, certain qualities we hate and fear. Among these are sentimentality, naïveté, archaism, fanaticism. It would probably be better to call our own art’s culture now one of congenital skepticism. Our intelligentsia distrust strong belief, open conviction. Material passion is one thing, but ideological passion disgusts us on some deep level. We believe that ideology is now the province of the rival SIGs and PACs all trying to get their slice of the big green pie… and, looking around us, we see that indeed it is so. But Frank’s Dostoevsky would point out (or more like hop up and down and shake his fist and fly at us and shout) that if this is so, it’s at least partly because we have abandoned the field.

—David Foster Wallace, Joseph Frank’s Dostoevsky (via spectaculardistractions)

(via dostoyevsky)

At its best, literature is pure encounter: it resists consumption because it cannot be used up and it cannot expire. The bonds that are formed between readers and writers, between readers and characters, and between readers and ideas, are meaningful in a way that the bonds formed between consumers and products can never be. Literature demands curiosity, empathy, wonder, imagination, trust, the suspension of cynicism, and the eradication of prejudice; in return, it affords the reader curiosity, empathy, wonder, imagination, trust, the suspension of cynicism, and the eradication of prejudice.

In an analogous fashion, language also holds man in its ban insofar as man, as a speaking being, has always already entered into language without noticing it. Everything that is presupposed for there to be language (in the forms of something nonlinguistic, something ineffable, etc.) is nothing other than a presupposition of language that is maintained as such in relation to language precisely insofar as it is excluded from language. Stéphane Mallarmé expressed this self-presuppositional nature of language when he wrote, with a Hegelian formula, “The logos is a principle that operates through the negation of every principle.” As the pure form of relation, language (like the sovereign ban) always already presupposes itself in the figure of something nonrelational, and it is not possible either to enter into relation or to move out of relation with what belongs to the form of relation itself. This means not that the nonlinguistic is inaccessible to man but simply that man can never reach it in the form of a nonrelational and ineffable presupposition, since the nonlinguistic is only ever to be found in language itself. (In the words of Benjamin, only the “crystal-pure elimination of the unsayable in language” can lead to “what withholds itself from speech” [Briefe, p. 127].)

—Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life (p. 34).    (via fuckyeahexistentialism)

(Source: manymanywolves, via imasuperlame)

In poetry, the number of beginnings so far exceeds the number of endings that we cannot even conceive it. Not every poem is finished — one poem is abandoned, another catches fire and is carried away by the wind, which may be an ending, but it is the ending of a poem without an end.

Paul Valéry, the French poet and thinker, once said that no poem is ever ended, that every poem is merely abandoned. This saying is also attributed to Stéphane Mallarmé, for where quotations begin is in a cloud.

Paul Valéry also described his perception of first lines so vividly, and to my mind so accurately, that I have never forgotten it: the opening line of a poem, he said, is like finding a fruit on the ground, a piece of fallen fruit you have never seen before, and the poet’s task is to create the tree from which such a fruit would fall.

—Mary Ruefle, Madness, Rack, and Honey (via commovente)

For it would seem—her case proved it—that we write, not with the fingers, but with the whole person. The nerve which controls the pen winds itself about every fibre of our being, threads the heart, pierces the liver.

—Virginia Woolf, Orlando (via mttbll)

That isn’t an empty blank where I began…

—Emily Dickinson, from a letter to Emily Fowler, early 1850 (via proustitute)