For that would be
virtually
to consider one's work with someone else's eyes and to reveal what one has created.
Sartre-Jean-Paul-What-is-literature¿-Introducing-Les-Temps-modernes-The-nationalization-of-literature-Black-orpheus
Silence itself is defined in relationship to words, as the pause in music receives its
meaning from the group of notes round it. This silence is a moment of language; being silent is not being dumb; it is to refuse to speak, and therefore to keep on speaking. Thus,
? What Is Writing? \ 39
if a writer has chosen to remain silent on any aspect what- ever of the world, or, according to an expression which says just what it means, to pass over it in silence, one has the right to ask him a third question: 'Why have you spoken of this rather than that, and--since you speak in order to bring about change--why do you want to change this rather than that? '
All this does not prevent there being a manner of writing. One is not a writer for having chosen to say certain things, but for having chosen to say them in a certain way. And, to be sure, the style makes the value of the prose. But it should pass unnoticed. Since words are transparent and since the gaze looks through them, it would be absurd to slip in among them some panes of rough glass. Beauty is in this case only a gentle and imperceptible force. In a painting it shines forth at the very first sight; in a book it hides itself; it acts by persuasion like the charm of a voice or a face. It does not coerce; it inclines a person without his suspecting it, and he thinks that he is yielding to arguments when he is really being solicited by a charm that he does not see. The ceremonial of the Mass is not faith; it disposes. The harmony of words, their beauty, the balance of the phras- es, dispose the passions of the reader without his being aware and order them like the Mass, like music, like the dance. If he happens to consider them by themselves, he loses the meaning; there remains only a boring seesaw of phrases.
In prose the aesthetic pleasure is pure only if it is thrown in into the bargain. I blush at recalling such simple ideas, but it seems that today they have been forgotten. If that were not the case, would we be told that we are planning the murder of literature, or, more simply, that commitment is harmful to the art of writing? If the contamination of a certain kind of prose by poetry had not confused the ideas of our critics, would they dream of attacking us on the matter of form, when we have never spoken of anything but the content? There is nothing to be said about form in advance, and we have said nothing. Everyone invents his
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own, and one judges it afterwards. It is true that the sub- jects suggest the style, but they do not order it. There are no styles ranged a priori outside the literary art. What is more 'committed', what is more boring, than the idea of attacking the Jesuits? Yet, out of this Pascal made his Provincial Letters. In short, it is a matter of knowing what one wants to write about, whether butterflies or the con- dition of the Jews. And when one knows, then it remains to decide how one will write about it.
Often the two choices are only one, but among good writers the second choice never precedes the first. I know that Giraudoux has said that 'the only concern is finding one's style; the idea comes afterwards'; but he was wrong. The idea did not come. On the contrary, if one considers subjects as problems which are always open, as solicitations, as expectations, it will be easily understood that art loses
nothing by being committed. On the contrary, just as physics submits to mathematicians new problems which require them to produce a new symbolism, in like manner the always new requirements of the social and the meta- physical involve the artist in finding a new language and new techniques. If we no longer write as they did in the eighteenth century, it is because the language of Racine and Saint-Evremond does not lend itself to talking about loco- motives or the proletariat. After that, the purists will per- haps forbid us to write about locomotives. But art has never been on the side of the purists.
If that is the principle of commitment, what objection
can one have to it? And above all what objection has been made to it? It has seemed to me that my opponents have not had their hearts in their work very much and that their articles contain nothing more than a long scandalized sigh which drags on over two or three columns. I should have liked
to know in the name of n>haty with what conception of liter- ature, they condemned commitment. But they have not said; they themselves have not known. The most reasonable thing would have been to support their condemnation on
the old theory of art for art's sake. But none of them can
? What Is Writing? \ 41
accept it. That is also disturbing. We know very well that pure art and empty art are the same thing and that aesthetic purism was a brilliant manoeuvre of the bourgeois of the last century who preferred to see themselves denounced as philistines rather than as exploiters. Therefore, they them- selves admitted that the writer had to speak about some- thing. But about what? I believe that their embarrassment would have been extreme if Fernandez had not found for them, after the other war, the notion of the message. The writer of today, they say, should in no case occupy himself with temporal affairs. Neither should he set up lines with- out meaning, or seek only beauty of phrase and of imagery. His function is to deliver messages to his readers. Well, what is a message?
It must be borne in mind that most critics are men who have not had much luck and who, just about the time they were growing desperate, found quiet little jobs as cemetery watchmen. God knows whether cemeteries are peaceful; none of them are more cheerful than a library. The dead are there; the only thing they have done is write. They have long since been washed clean of the sin of living, and besides, their lives are known only through other books which other dead men have written about them. Rimbaud is dead. So are Paterne Berrichon and Isabelle Rimbaud. The trouble makers have disappeared; all that remains are the little coffins that are stacked on shelves along the walls like urns in a columbarium. The critic lives badly; his wife does not appreciate him as she ought to; his children are ungrateful; the first of the month is hard on him. But it is always possible for him to enter his library, take down a book from the shelf, and open it. It gives off a slight odour of the cellar, and a strange operation begins which he has decided to call reading. From one point of view it is a possession; he lends his body to the dead in order that they may come back to life. And from another point of view it is a contact with the beyond. Indeed, the book is by no means an object; neither is it an act, or even a thought. Written by a dead man about dead things, it no longer has any place
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on this earth; it speaks of nothing which interests us directly. Left to itself, it falls back and collapses; there remain only ink spots on musty paper. And when the critic reanimates these spots, when he makes letters and words of them, they speak to him of passions which he does not feel, of bursts of anger without objects, of dead fears and hopes. It is a whole disembodied world which surrounds him, where human feelings, because they are no longer affecting, have passed on to the status of exemplary feelings and, in short, of values. So he persuades himself that he has entered into relations with an intelligible world which is like the truth of his daily sufferings. And their reason for being. He thinks that nature imitates art, as for Plato the world of the senses imitates that of the archetypes. And during the time he is reading, his everyday life becomes an appearance. His nagging wife, his hunchbacked son, they too are appearances. And he will put up with them because Xenophon has drawn the portrait of Xantippe, and Shake- speare that of Richard the Third.
It is a holiday for him when contemporary authors do him the favour of dying. Their books, too raw, too living, too urgent, pass on to the other shore; they become less and less affecting and more and more beautiful. After a short stay in Purgatory they go on to people the intelligible heaven with new values. Bergotte, Swann, Siegfried and Bella, and M. Teste are recent acquisitions. He is waiting for Nathanae? l and Me? nalque. As for the writers who persist in living, he asks them only not to move about too much, and to make an effort to resemble from now on the dead men they will be. Vale? ry, who for twenty-five years had been publishing posthumous books, managed the matter very nicely. That is why, like some highly exceptional saints, he was canonized during his lifetime. But Malraux is scandalous.
Our critics are Catharists. They don't want to have any- thing to do with the real world except eat and drink in it, and since it is absolutely necessary to have relations with our fellow-creatures, they have chosen to have them with
? What Is Writing? \ 43
the defunct. They get excited only about classified matters, closed quarrels, stories whose ends are known. They never bet on uncertain issues, and since history has decided for them, since the objects which terrified or angered the authors they read have disappeared, since bloody disputes seem futile at a distance of two centuries, they can be charmed with balanced periods, and everything happens for them as if all literature were only a vast tautology and as if every new prose-writer had invented a new way of speaking only for the purpose of saying nothing.
To speak of archetypes and 'human nature'--is that speak- ing in order to say nothing? All the conceptions of our critics oscillate from one idea to the other. And, of course, both of them are false. Our great writers wanted to destroy, to edify, to demonstrate. But we no longer retain the proofs which they have advanced because we have no concern with what they mean to prove. The abuses which they denounced are no longer those of our time. There are others which rouse us which they did not suspect. History has given the lie to some of their predictions, and those which have been fulfilled became true so long ago that we have forgotten that at first they wereflashesof their genius. Some of their thoughts are utterly dead, and there are others which the whole human race has taken up to its advantage and which we now regard as commonplace. It follows that the best arguments of these writers have lost their effective- ness. We admire only their order and rigour. Their most compact composition is in our eyes only an ornament, an elegant architecture of exposition, with no more practical application than such architectures as the fugues of Bach and the arabesques of the Alhambra.
We are still moved by the passion of these impassioned geometries when the geometry no longer convinces us. Or rather, by the representation of the passion. In the course of centuries the ideas have turned flat, but they remain the little personal objectives of a man who was once flesh and bone; behind the reasons of reason, which wither, we per- ceive the reasons of the heart, the virtues, the vices, and
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that great pain that men have in living. Sade does his best to win us over, but we hardly find him scandalous. He is no longer anything but a soul eaten by a beautiful disease, a pearl-oyster. The Letter on the Theatre no longer keeps anyone from going to the theatre, but we find it piquant that Rousseau detested the art of the drama. If we are a bit versed in psycho-analysis, our pleasure is perfect. We shall explain the Social Contract by the Oedipus complex and The Spirit of the Laws by the inferiority complex. That is, we shall fully enjoy the well-known superiority of live dogs to dead lions. Thus, when a book presents befuddled thoughts which have only the appearance of being reasons before melting under our scrutiny and dwindling into the beatings of a heart, when the teaching that one can draw from it is radically diffe? rent from what its author intended, the book is called a message. Rousseau, the father of the French Revolution, and Gobineau, the father of racism, both sent us messages. And the critic considers them with equal sympathy. If they were alive, he would have to choose between the two, to love one and hate the other. But what brings them together, above all, is that they are both pro- foundly and deUciously wrong, and in the same way: they are dead.
Thus, contemporary writers should be advised to deliver messages, that is, voluntarily to limit their writing to the involuntary expression of their souls. I say involuntary because the dead, from Montaigne to Rimbaud, have por- trayed themselves completely, but without having meant to--it is something they have simply thrown into the bar- gain. The surplus which they have given us unintentionally should be the primary and professed goal of living writers. They are not to be forced to give us confessions without any affectation, nor are they to abandon themselves to the too-naked lyricism of the romantics. But since we find pleasure in foiling the ruses of Chateaubriand or Rousseau, in surprising them in the secret places of their being at the moment they are playing at being the public man, in distinguishing the private motives from their most universal
? What Is Writing? \ 45
assertions, we shall ask newcomers to procure us this pleasure deliberately. So let them reason, assert, deny, refute, and prove; but the cause they are defending must be only the apparent aim of their discourse; the deeper goal is to yield themselves without seeming to do so. They must first disarm themselves of their arguments as time has done for those of the classic writers; they must bring them to bear upon subjects which interest no one or on truths so general that readers are convinced in advance. As for their ideas, they must give them an air of profundity, but with an effect of emptiness, and they must shape them in such a way that they are obviously explained by an unhappy childhood, a class hatred, or an incestuous love. Let them not presume to think in earnest; thought conceals the man, and it is the man alone who interests us. A bare tear is not lovely. It offends. A good argument also offends, as
Stendhal well observed. But an argument that masks a tear --that's what we're after. The argument removes the obscenity from the tears; the tears, by revealing their origin in the passions, remove the aggressiveness from the argu- ment. We shall be neither too deeply touched nor at all con- vinced, and we shall be able to yield ourselves safely to that moderate pleasure which, as everyone knows, we derive from the contemplation of works of art. Thus, this is 'true', 'pure* literature, a subjective thing which reveals itself under the aspect of the objective, a discourse so curiously contrived that it is equivalent to silence, a thought which debates with itself, a reason which is only the mask of mad- ness, an Eternal which lets it be understood that it is only a moment of History, a historical moment which, by the hidden side which it reveals, suddenly sends back a per- petual lesson to the eternal man, but which is produced
against the express wishes of those who do the teaching.
When all is said and done, the message is a soul which is made object. A soul, and what is to be done with a soul? One contemplates it at a respectful distance. It is not cus- tomary to show one's soul in society without a powerful motive. But, with certain reservations, convention permits
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some individuals to put theirs into commerce, and all adults may procure it for themselves. For many people today, works of the mind are thus litde wandering souls which one acquires at a modest price; there is good old Montaigne's, dear La Fontaine's, and that of Jean-Jacques and of Jean-Paul and of delicious Ge? rard. What is called literary art is the sum of the treatments which make them inoffensive. Tanned, refined, chemically treated, they pro- vide their acquirers with the opportunity of devoting some moments of a life completely turned outwards to the culti- vation of subjectivity. Custom guarantees it to be without risk. Montaigne's scepticism? Who can take it seriously since the author of the Essays got frightened when the plague ravaged Bordeaux? Or Rousseau's humanitarianism, since 'Jean-Jacques' put his children into an orphanage? And the strange revelations of Sylvie, since Ge? rard de Nerval was mad? At the very most, the professional critic will set up infernal dialogues between them and will inform us that French thought is a perpetual colloquy between Pascal and Montaigne. In so doing he has no intention of making Pascal and Montaigne more alive, but of making Malraux and Gide more dead. Finally, when the internal contradic- tions of the life and the work have made both of them use- less, when the message, in its imponderable depth, has taught us these capital truths, 'that man is neither good nor bad', 'that there is a great deal of suffering in human life', 'that genius is only great patience', this dismal bungling will have achieved its ultimate purpose, and the reader, as
he lays down the book, will be able to cry out with a tranquil soul, 'All this is only literature. '
But since, for us, writing is an enterprise; since writers are alive before being dead; since we think that we must try to be as right as we can in our books; and since, even if afterwards the centuries show us to be in the wrong, this is no reason why they should prove us wrong in advance; since we think that the writer should commit himself completely in his works, and not in an abjecdy passive ro^le by putting forward his vices, his misfortunes, and his
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weaknesses, but as a resolute will and as a choice, as this total enterprise of living that each one of us is, it is then proper that we take up this problem at its beginning and that we, in our turn, ask ourselves: 'Why does one write? '
47
? Why Write?
EACH has his reasons: for one, art is aflight;for another a means of conquering. But one canfleeinto a hermit- age, into madness, into death. One can conquer by arms. Why does it have to be writings why does one have to manage one's escapes and conquests by writing! Because, behind the various aims of authors, there is a deeper and more immediate choice which is common to all of us. We shall try to elucidate this choice, and we shall see whether it is not in the name of this very choice of writing that the self-commitment of writers must be required.
Each of our perceptions is accompanied by the con- sciousness that human reality is a 'revealer', that is, it is through human reality that 'there is' being, or, to put it differently, that man is the means by which things are mani- fested. It is our presence in the world which multiplies relations. It is we who set up a relationship between this tree and that bit of sky. Thanks to us, that star which has been dead for millennia, that quarter moon, and that dark river are disclosed in the unity of a landscape. It is the speed of our car and our aeroplane which organizes the great masses of the earth. With each of our acts, the world reveals to us a new face. But, if we know that we are directors of being, we also know that we are not its producers. If we turn away from this landscape, it will sink back into its dark permanence. At least, it will sink back; there is no one mad enough to think that it is going to be annihilated. It is
we who shall be annihilated, and the earth will remain in its lethargy until another consciousness comes along to awaken it. Thus, to our inner certainty of being 'revealers* is added that of being inessential in relation to the thing revealed.
One of the chief motives of artistic creation is certainly
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the need of feeling that we are essential in relationship to the world. If I fix on canvas or in writing a certain aspect of the fields or the sea or a look on someone's face which I have disclosed, I am conscious of having produced them by condensing relationships, by introducing order where there was none, by imposing the unity of mind on the diversity of things. That is, I feel myself essential in relation to my creation. But this time it is the created object which escapes me; I cannot reveal and produce at the same time. The creation becomes inessential in relation to the creative activity. First of all, even if it appears finished to others, the created object always seems to us in a state of suspension; we can always change this line, that shade, that word. Thus, it never forces itself. A novice painter asked his teacher, 'When should I consider my painting finished? ' And the teacher answered, 'When you can look at it in amazement and say to yourself "Vm the one who did tbat\" '
Which amounts to saying 'never*.
For that would be virtually to consider one's work with someone else's eyes and to reveal what one has created. But it is self-evident that we are proportionally less conscious of the thing produced and more conscious of our productive activity. When it is a matter of pottery or carpentry, we work according to traditional patterns, with tools whose usage is codified; it is Heidegger's famous 'they' who are working with our hands. In this case, the result can seem to us sufficiently strange to preserve its objectivity in our eyes. But if we ourselves produce the rules of production, the measures, the criteria, and if our creative drive comes from the very depths of our heart, then we never find anything but ourselves in our work. It is we who have invented the laws by which we judge it. It is our history, our love, our gaiety that we recognize in it. Even if we should look at it without touching it any further, we never receive from it that gaiety of love. We put them into it. The results which we have obtained on canvas or paper never seem to us objective. We are too familiar with the processes of which they are the
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effects. These processes remain a subjective discovery; they are ourselves, our inspiration, our trick, and when we seek to perceive our work, we create it again, we repeat mentally the operations which produced it; each of its aspects appears as a result. Thus, in the perception, the object is given as the essential thing and the subject as the inessential. The latter seeks essentiality in the creation and obtains it, but then it is the object which becomes the inessential.
This dialectic is nowhere more apparent than in the art of writing, for the literary object is a peculiar top which exists only in movement. T o make it come into view a con- crete act called reading is necessary, and it lasts only as long as this act can last. Beyond that, there are only black marks on paper. Now, the writer cannot read what he writes, whereas the shoemaker can put on the shoes he has just made if they are his size, and the architect can live in the house he has built. In reading, one foresees; one waits. One foresees the end of the sentence, the following sen- tence, the next page. One waits for them to confirm or dis- appoint one's foresights. The reading is composed of a host of hypotheses, of dreams followed by awakenings, of hopes and deceptions. Readers are always ahead of the sentence they are reading in a merely probable future which partly collapses and partly comes together in proportion as they progress, which withdraws from one page to the next and forms the moving horizon of the literary object. With- out waiting, without a future, without ignorance, there is no objectivity.
Now the operation of writing involves an implicit quasi- reading which makes real reading impossible. When the words form under his pen, the author doubdess sees them, but he does not see them as the reader does, since he knows them before writing them down. The function of his gaze is not to reveal, by brushing against them, the sleeping words which are waiting to be read, but to control the sketching of the signs. In short, it is a purely regulating mission, and the view before him reveals nothing except for slight slips of the pen. The writer neither foresees nor
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conjectures; he projects. It often happens that he awaits, as they say, the inspiration. But one does not wait for oneself the way one waits for others. If he hesitates, he knows that the future is not made, that he himself is going to make it, and if he still does not know what is going to happen to his hero, that simply means that he has not thought about it, that he has not decided upon anything. The future is then a blank page, whereas the future of the reader is two hundred pages filled with words which separate him from the end. Thus, the writer meets everywhere only his knowledge, his will, his plans, in short, himself. He touches only his own subjectivity; the object he creates is out of reach; he does not create it for himself. If he re-reads himself, it is already too late. The sentence will never quite be a thing in his eyes. He goes to the very limits of the subjective but without crossing it. He appreciates the effect of a touch, of an epi- gram, of a well-placed adjective, but it is the effect they will have on others. He can judge it, not feel it. Proust never discovered the homosexuality of Charlus, since he had decided upon it even before starting on his book. And if a day comes when the book takes on for its author a sem- blance of objectivity, it is because years have passed, because he has forgotten it, because its spirit is quite foreign to him, and doubdess he is no longer capable of writing it. This was the case with Rousseau when he re-read the Social Contract at the end of his life.
Thus, it is not true that one writes for oneself. That would be the worst blow. In projecting one's emotions on paper, one barely manages to give them a languid extension. The creative act is only an incomplete and abstract moment in the production of a work. If the author existed alone he would be able to write as much as he liked; the work as object would never see the light of day and he would either have to put down his pen or despair. But the operation of writing implies that of reading as its dialectical correlative and these two connected acts necessitate two distinct agents. It is the joint effort of author and reader which brings upon
the scene that concrete and imaginary object which is the
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work of the mind. There is no art except for and by others.
Reading seems, in fact, to be the synthesis of perception and creation. 6 It posits the essentiality of both the subject and the object. The object is essential because it is strictly transcendent, because it imposes its own structures, and because one must wait for it and observe it; but the subject is also essential because it is required not only to disclose the object (that is, to make it possible for there to be an object) but also so that this object might exist absolutely (that is, to produce it). In a word, the reader is conscious of disclosing in creating, of creating by disclosing. In reality, it is not necessary to believe that reading is a mechanical operation and that signs make an impression upon him as light does on a photographic plate. If he is inattentive, tired, stupid, or thoughtless, most of the relations will escape him. The object will never 'catch' with him (in the sense in which we say that fire 'catches' or 'doesn't catch'). He will draw some phrases out of the shadow, but they will seem to have appeared at random. If he is at his best, he will project beyond the words a synthetic form, each phrase of which will be no more than a partial function: the 'theme', the 'subject', or the 'meaning'. Thus, from the very beginning, the meaning is no longer contained in the words, since it is he, on the contrary, who allows the significance of each of them to be understood; and the literary object, though realized through language, is never
given in language. On the contrary, it is by nature a silence and an opponent of the word. In addition, the hundred thousand words aligned in a book can be read one by one so that the meaning of the work does not emerge. Nothing is accomplished if the reader does not put himself from the very beginning and almost without a guide at the height of this silence; if, in short, he does not invent it and does not then place there, and hold on to, the words and sentences which he awakens. And if I am told that it would be more fitting to call this operation a re-invention or a discovery, I shall answer that, first, such a re-invention
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would be as new and as original an act as thefirstinvention. And, especially, when an object has never existed before, there can be no question of re-inventing it or discovering it. For if the silence about which I am speaking is really the goal at which the author is aiming, he has, at least, never been familiar with it; his silence is subjective and anterior to language. It is the absence of words, the undifferentiated and lived silence of inspiration, which the word will then particularize, whereas the silence produced by the reader is an object. And at the very interior of this object there are more silences--which the author does not mention. It is a question of silences which are so particular that they could not retain any meaning outside the object which the reading causes to appear. However, it is these which give it its density and its particular face.
To say that they are unexpressed is hardly the word; for they are precisely the inexpressible. And that is why one does not come upon them at any definite moment in the reading; they are everywhere and nowhere. The quality of the marvellous in Le Grand Meaulnes, the grandioseness of Armance, the degree of realism and truth of Kafka's mythology, these are never given. The reader must invent them all in a continual exceeding of the written thing. To be sure, the author guides him, but all he does is guide him. The landmarks he sets up are separated by the void. The reader must unite them; he must go beyond them. In short, reading is directed creation.
On the one hand, the literary object has no other sub- stance than the reader's subjectivity; Raskolnikov's waiting is my waiting which I lend him. Without this impatience of the reader he would remain only a collection of signs. His hatred of the police magistrate who questions him is my hatred which has been solicited and wheedled out of me by signs, and the police magistrate himself would not exist without the hatred I have for him via Raskolnikov. That is what animates him, it is his very flesh.
But on the other hand, the words are there like traps to arouse our feelings and to reflect them towards us. Each
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word is a path of transcendence; it shapes our feelings, names them, and attributes them to an imaginary personage who takes it upon himself to live them for us and who has no other substance than these borrowed passions; he confers objects, perspectives, and a horizon upon them.
Thus, for the reader, all is to do and all is already done; the work exists only at the exact level of his capacities; while he reads and creates, he knows that he can always go further in his reading, can always create more profoundly, and thus the work seems to him as inexhaustible and opaque as things. We would readily reconcile that 'rational intuition' which Kant reserved to divine Reason with this absolute production of qualities, which, to the extent that they emanate from our subjectivity, congeal before our eyes into impenetrable objectivities.
Since the creation can find its fulfilment only in reading, since the artist must entrust to another the job of carrying out what he has begun, since it is only through the con- sciousness of the reader that he can regard himself as essential to his work, all literary work is an appeal. To write is to make an appeal to the reader that he lead into objective existence the revelation which I have undertaken by means of language. And if it should be asked to what the writer is appealing, the answer is simple. As the suffi- cient reason for the appearance of the aesthetic object is never found either in the book (where we find merely solicitations to produce the object) or in the author's mind, and as his subjectivity, which he cannot get away from, cannot give a reason for the act of leading into objectivity, the appearance of the work of art is a new event which cannot be explained by anterior data. And since this directed creation is an absolute beginning, it is therefore brought about by the freedom of the reader, and by what is purest in that freedom. Thus, the writer appeals to the reader's freedom to collaborate in the production of his work.
It will doubtless be said that all tools address themselves to our freedom since they are the instruments of a possible
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action, and that the work of art is not unique in that. And it is true that the tool is the congealed outline of an opera- tion. But it remains on the level of the hypothetical impera- tive. I may use a hammer to nail up a case or to hit my neighbour over the head. In so far as I consider it in itself, it is not an appeal to my freedom; it does not put me face to face with it; rather, it aims at using it by substituting a set succession of traditional procedures for the free inven- tion of means. The book does not serve my freedom; it requires it. Indeed, one cannot address oneself to freedom as such by means of constraint, fascination, or entreaties. There is only one way of attaining it: first, by recognizing it, then, by having confidence in it, and finally, by requiring of it an act, an act in its own name--that is, in the name of the confidence that one brings to it.
Thus, the book is not, like the tool, a means for any end whatever; the end to which it offers itself is the reader's freedom. And the Kantian expression 'finality without end* seems to me quite inappropriate for designating the work of art. In fact, it implies that the aesthetic object presents only the appearance of a finality and is limited to soliciting the free and ordered play of the imagination. It forgets that the imagination of the spectator has not only a regulating func- tion, but a constitutive one. It does not play; it is called upon to recompose the beautiful object beyond the traces left by the artist. The imagination cannot revel in itself any more than can the other functions of the mind; it is always on the outside, always engaged in an enterprise. There would be finality without end if some object offered such a well-arranged composition that it would lead us to sup- pose that it has an end even though we cannot ascribe one to it. By defining the beautiful in this way one can--and this is Kant's aim--liken the beauty of art to natural beauty, since a flower, for example, presents so much symmetry, such harmonious colours, and such regular curves, that one is immediately tempted to seek afinalistexplanation for all these properties and to see them as just so many means at the disposal of an unknown end. But that is exacdy the
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error. The beauty of nature is in no way comparable to that of art. The work of art does not have an end; there we agree with Kant. But the reason is that it is an end. The Kantian formula does not account for the appeal which resounds at the basis of each painting, each statue, each book. Kant believes that the work of art first exists as fact and that it is then seen. Whereas it exists only if one looks at it and if it is first pure appeal, pure exigence to exist. It is not an instrument whose existence is manifest and whose end is undetermined. It presents itself as a task to be discharged; from the very beginning it places itself on the level of the categorical imperative. You are perfectly free to leave that book on the table. But if you open it, you assume responsibility for it. For freedom is experienced not in the enjoyment of free subjective functioning, but in a creative act required by an imperative. The absolute end, this imperative which is transcendent yet acquiesced in, which freedom itself adopts as its own, is what we call a value. The work of art is a value because it is an appeal.
If I appeal to my reader so that we may carry to a successful conclusion the enterprise which I have begun, it is self-evident that I consider him as a pure freedom, as an unconditioned activity; thus, in no case can I address myself to his passiveness, that is, try to affect him, to communicate to him, from the very first, emotions of fear, desire, or anger. There are, doubtless, authors who concern them- selves solely with arousing these emotions because they are foreseeable, manageable, and because they have at their disposal sure-fire means for provoking them. But it is also true that they are reproached for this kind of thing, as Euripides has been since antiquity because he had children appear on the stage. Freedom is alienated in the state of passion; it is abruptly engaged in partial enterprises; it loses sight of its task, which is to produce an absolute end. And the book is no longer anything but a means for feeding hate or desire. The writer should not seek to overwhelm; other- wise he is in contradiction with himself; if he wishes to make demands he must propose only the task to be fulfilled.
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Hence, the character of pure presentation which appears essential to the work of art. The reader must be able to make a certain aesthetic withdrawal. This is what Gautier foolishly confused with "art for art's sake' and the Par- nassians with the imperturbability of the artist. It is simply a matter of precaution, and Genet more justly calls it the author's politeness towards the reader. But that does not mean that the writer makes an appeal to some sort of abstract and conceptual freedom. One certainly creates the aesthetic object with feelings; if it is touching, it appears through our tears; if it is comic, it will be recognized by laughter. However, these feelings are of a particular kind. They have their origin in freedom; they are loaned. The belief which I accord the tale is freely assented to. It is a Passion, in the Christian sense of the word, that is, a free- dom which resolutely puts itself into a state of passiveness to obtain a certain transcendent effect by this sacrifice. The reader renders himself credulous; he descends into credulity which, though it ends by enclosing him like a dream, is at every moment conscious of being free. An effort is sometimes made to force the writer into this dilemma: 'Either one believes in your story, and it is intoler- able, or one does not believe in it, and it is ridiculous\ But the argument is absurd because the characteristic of aesthetic consciousness is to be a belief by means of com- mitment, by oath, a belief sustained by fidelity to one's self and to the author, a perpetually renewed choice to believe. I can awaken at every moment, and I know it; but I do not want to; reading is a free dream. So that all feelings which are exacted on the basis of this imaginary belief are like particular modulations of my freedom. Far from absorbing or masking it, they are so many different ways it has chosen to reveal itself to itself. Raskolnikov, as I have said, would only be a shadow, without the mixture of repulsion and friendship which I feel for him and which makes him live. But, by a reversal which is the characteristic of the imagin- ary object, it is not his behaviour which excites my indig- nation or esteem, but my indignation and esteem which
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give consistency and objectivity to his behaviour. Thus, the reader's feelings are never dominated by the object, and as no external reality can condition them, they have their permanent source in freedom; that is, they are all generous --for I call a feeling generous which has its origin and its end in freedom. Thus, reading is an exercise in generosity, and what the writer requires of the reader is not the applica- tion of an abstract freedom but the gift of his whole person, with his passions, his prepossessions, his sympathies, his sexual temperament, and his scale of values. Only this per- son will give himself generously; freedom goes through and through him and comes to transform the darkest masses of his sensibility. And just as activity has rendered itself passive in order for it better to create the object, conversely, passiveness becomes an act; the man who is reading has raised himself to the highest degree. That is why we see people who are known for their toughness shed tears at the recital of imaginary misfortunes; for the moment, they have become what they would have been if they had not spent their lives hiding their freedom from themselves.
Thus, the author writes in order to address himself to the freedom of readers, and he requires it in order to make his work exist. But he does not stop there; he also requires that they return this confidence which he has given them, that they recognize his creative freedom, and that they in turn solicit it by a symmetrical and inverse appeal. Here there appears the other dialectical paradox of reading; the more we experience our freedom, the more we recognize that of the other; the more he demands of us, the more we demand of him.
When I am enchanted with a landscape, I know very well that it is not I who create it, but I also know that without me the relations which are established before my eyes among the trees, the foliage, the earth, and the grass would not exist at all. I know that I can give no reason for the appearance offinalitywhich I discover in the assortment of hues and in the harmony of the forms and movements
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created by the wind. Yet, it exists; there it is before my eyes, and I can make something more out of what is already there. But even if I believe in God, I cannot establish any passage, unless it be purely verbal, between the divine, universal solicitude and the particular spectacle which I am considering. To say that He made the landscape in order to charm me or that He made me the kind of person who is pleased by it is to take a question for an answer. Is the marriage of this blue and that green deliberate? How can I know? The idea of a universal providence is no guarantee of any particular intention, especially in the case under con- sideration, since the green of the grass is explained by biological laws, specific constants, and geographical deter- minism, while the reason for the blue of the water is accounted for by the depth of the river, the nature of the soil and the swiftness of the current. The assorting of the shades, if it is willed, can only be something thrown into the bargain; it is the meeting of two causal series, that is to say, at first sight, a fact of chance. At best, the finality remains problematic. All the relations we establish remain hypo- theses; no end is proposed to us in the manner of an imper- ative, since none is expressly revealed as having been willed by a creator. Thus, our freedom is never called'forth by natural beauty. Or rather, there is an appearance of order in the whole which includes the foliage, the forms, and the move- ments, hence, the illusion of a calling forth which seems to solicit this freedom and which disappears immediately when one looks at it. Hardly have we begun to run our eyes over this arrangement, than the appeal disappears; we remain alone, free to tie one colour with another or with a third, to set up a relationship between the tree and the water, or between the tree and the sky, or between the tree, the water, and the sky. My freedom becomes caprice. To the extent that I establish new relationships, I remove myself further from the illusory objectivity which solicits me. I
muse about certain motifs which are vaguely outlined by the things; the natural reality is no longer anything but a pretext for musing. Or, in that case, because I have deeply
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regretted that this arrangement which was momentarily perceived was not offered to me by somebody and conse- quently is not real, the result is that I fix my dream, that I transpose it to canvas or in writing. Thus, I interpose myself between the finality without end which appears in the natural spectacles and the gaze of other men. I transmit it to them. It becomes human by this transmission. Art here is a ceremony of the gift, and the gift alone brings about the metamorphosis. It is something like the transmission of titles and powers in the matriarchate, where the mother does not possess the names but is the indispensable inter- mediary between uncle and nephew. Since I have captured this illusion in flight, since I lay it out for other men and have disentangled it and rethought it for them, they can consider it with confidence. It has become intentional.
meaning from the group of notes round it. This silence is a moment of language; being silent is not being dumb; it is to refuse to speak, and therefore to keep on speaking. Thus,
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if a writer has chosen to remain silent on any aspect what- ever of the world, or, according to an expression which says just what it means, to pass over it in silence, one has the right to ask him a third question: 'Why have you spoken of this rather than that, and--since you speak in order to bring about change--why do you want to change this rather than that? '
All this does not prevent there being a manner of writing. One is not a writer for having chosen to say certain things, but for having chosen to say them in a certain way. And, to be sure, the style makes the value of the prose. But it should pass unnoticed. Since words are transparent and since the gaze looks through them, it would be absurd to slip in among them some panes of rough glass. Beauty is in this case only a gentle and imperceptible force. In a painting it shines forth at the very first sight; in a book it hides itself; it acts by persuasion like the charm of a voice or a face. It does not coerce; it inclines a person without his suspecting it, and he thinks that he is yielding to arguments when he is really being solicited by a charm that he does not see. The ceremonial of the Mass is not faith; it disposes. The harmony of words, their beauty, the balance of the phras- es, dispose the passions of the reader without his being aware and order them like the Mass, like music, like the dance. If he happens to consider them by themselves, he loses the meaning; there remains only a boring seesaw of phrases.
In prose the aesthetic pleasure is pure only if it is thrown in into the bargain. I blush at recalling such simple ideas, but it seems that today they have been forgotten. If that were not the case, would we be told that we are planning the murder of literature, or, more simply, that commitment is harmful to the art of writing? If the contamination of a certain kind of prose by poetry had not confused the ideas of our critics, would they dream of attacking us on the matter of form, when we have never spoken of anything but the content? There is nothing to be said about form in advance, and we have said nothing. Everyone invents his
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own, and one judges it afterwards. It is true that the sub- jects suggest the style, but they do not order it. There are no styles ranged a priori outside the literary art. What is more 'committed', what is more boring, than the idea of attacking the Jesuits? Yet, out of this Pascal made his Provincial Letters. In short, it is a matter of knowing what one wants to write about, whether butterflies or the con- dition of the Jews. And when one knows, then it remains to decide how one will write about it.
Often the two choices are only one, but among good writers the second choice never precedes the first. I know that Giraudoux has said that 'the only concern is finding one's style; the idea comes afterwards'; but he was wrong. The idea did not come. On the contrary, if one considers subjects as problems which are always open, as solicitations, as expectations, it will be easily understood that art loses
nothing by being committed. On the contrary, just as physics submits to mathematicians new problems which require them to produce a new symbolism, in like manner the always new requirements of the social and the meta- physical involve the artist in finding a new language and new techniques. If we no longer write as they did in the eighteenth century, it is because the language of Racine and Saint-Evremond does not lend itself to talking about loco- motives or the proletariat. After that, the purists will per- haps forbid us to write about locomotives. But art has never been on the side of the purists.
If that is the principle of commitment, what objection
can one have to it? And above all what objection has been made to it? It has seemed to me that my opponents have not had their hearts in their work very much and that their articles contain nothing more than a long scandalized sigh which drags on over two or three columns. I should have liked
to know in the name of n>haty with what conception of liter- ature, they condemned commitment. But they have not said; they themselves have not known. The most reasonable thing would have been to support their condemnation on
the old theory of art for art's sake. But none of them can
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accept it. That is also disturbing. We know very well that pure art and empty art are the same thing and that aesthetic purism was a brilliant manoeuvre of the bourgeois of the last century who preferred to see themselves denounced as philistines rather than as exploiters. Therefore, they them- selves admitted that the writer had to speak about some- thing. But about what? I believe that their embarrassment would have been extreme if Fernandez had not found for them, after the other war, the notion of the message. The writer of today, they say, should in no case occupy himself with temporal affairs. Neither should he set up lines with- out meaning, or seek only beauty of phrase and of imagery. His function is to deliver messages to his readers. Well, what is a message?
It must be borne in mind that most critics are men who have not had much luck and who, just about the time they were growing desperate, found quiet little jobs as cemetery watchmen. God knows whether cemeteries are peaceful; none of them are more cheerful than a library. The dead are there; the only thing they have done is write. They have long since been washed clean of the sin of living, and besides, their lives are known only through other books which other dead men have written about them. Rimbaud is dead. So are Paterne Berrichon and Isabelle Rimbaud. The trouble makers have disappeared; all that remains are the little coffins that are stacked on shelves along the walls like urns in a columbarium. The critic lives badly; his wife does not appreciate him as she ought to; his children are ungrateful; the first of the month is hard on him. But it is always possible for him to enter his library, take down a book from the shelf, and open it. It gives off a slight odour of the cellar, and a strange operation begins which he has decided to call reading. From one point of view it is a possession; he lends his body to the dead in order that they may come back to life. And from another point of view it is a contact with the beyond. Indeed, the book is by no means an object; neither is it an act, or even a thought. Written by a dead man about dead things, it no longer has any place
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on this earth; it speaks of nothing which interests us directly. Left to itself, it falls back and collapses; there remain only ink spots on musty paper. And when the critic reanimates these spots, when he makes letters and words of them, they speak to him of passions which he does not feel, of bursts of anger without objects, of dead fears and hopes. It is a whole disembodied world which surrounds him, where human feelings, because they are no longer affecting, have passed on to the status of exemplary feelings and, in short, of values. So he persuades himself that he has entered into relations with an intelligible world which is like the truth of his daily sufferings. And their reason for being. He thinks that nature imitates art, as for Plato the world of the senses imitates that of the archetypes. And during the time he is reading, his everyday life becomes an appearance. His nagging wife, his hunchbacked son, they too are appearances. And he will put up with them because Xenophon has drawn the portrait of Xantippe, and Shake- speare that of Richard the Third.
It is a holiday for him when contemporary authors do him the favour of dying. Their books, too raw, too living, too urgent, pass on to the other shore; they become less and less affecting and more and more beautiful. After a short stay in Purgatory they go on to people the intelligible heaven with new values. Bergotte, Swann, Siegfried and Bella, and M. Teste are recent acquisitions. He is waiting for Nathanae? l and Me? nalque. As for the writers who persist in living, he asks them only not to move about too much, and to make an effort to resemble from now on the dead men they will be. Vale? ry, who for twenty-five years had been publishing posthumous books, managed the matter very nicely. That is why, like some highly exceptional saints, he was canonized during his lifetime. But Malraux is scandalous.
Our critics are Catharists. They don't want to have any- thing to do with the real world except eat and drink in it, and since it is absolutely necessary to have relations with our fellow-creatures, they have chosen to have them with
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the defunct. They get excited only about classified matters, closed quarrels, stories whose ends are known. They never bet on uncertain issues, and since history has decided for them, since the objects which terrified or angered the authors they read have disappeared, since bloody disputes seem futile at a distance of two centuries, they can be charmed with balanced periods, and everything happens for them as if all literature were only a vast tautology and as if every new prose-writer had invented a new way of speaking only for the purpose of saying nothing.
To speak of archetypes and 'human nature'--is that speak- ing in order to say nothing? All the conceptions of our critics oscillate from one idea to the other. And, of course, both of them are false. Our great writers wanted to destroy, to edify, to demonstrate. But we no longer retain the proofs which they have advanced because we have no concern with what they mean to prove. The abuses which they denounced are no longer those of our time. There are others which rouse us which they did not suspect. History has given the lie to some of their predictions, and those which have been fulfilled became true so long ago that we have forgotten that at first they wereflashesof their genius. Some of their thoughts are utterly dead, and there are others which the whole human race has taken up to its advantage and which we now regard as commonplace. It follows that the best arguments of these writers have lost their effective- ness. We admire only their order and rigour. Their most compact composition is in our eyes only an ornament, an elegant architecture of exposition, with no more practical application than such architectures as the fugues of Bach and the arabesques of the Alhambra.
We are still moved by the passion of these impassioned geometries when the geometry no longer convinces us. Or rather, by the representation of the passion. In the course of centuries the ideas have turned flat, but they remain the little personal objectives of a man who was once flesh and bone; behind the reasons of reason, which wither, we per- ceive the reasons of the heart, the virtues, the vices, and
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that great pain that men have in living. Sade does his best to win us over, but we hardly find him scandalous. He is no longer anything but a soul eaten by a beautiful disease, a pearl-oyster. The Letter on the Theatre no longer keeps anyone from going to the theatre, but we find it piquant that Rousseau detested the art of the drama. If we are a bit versed in psycho-analysis, our pleasure is perfect. We shall explain the Social Contract by the Oedipus complex and The Spirit of the Laws by the inferiority complex. That is, we shall fully enjoy the well-known superiority of live dogs to dead lions. Thus, when a book presents befuddled thoughts which have only the appearance of being reasons before melting under our scrutiny and dwindling into the beatings of a heart, when the teaching that one can draw from it is radically diffe? rent from what its author intended, the book is called a message. Rousseau, the father of the French Revolution, and Gobineau, the father of racism, both sent us messages. And the critic considers them with equal sympathy. If they were alive, he would have to choose between the two, to love one and hate the other. But what brings them together, above all, is that they are both pro- foundly and deUciously wrong, and in the same way: they are dead.
Thus, contemporary writers should be advised to deliver messages, that is, voluntarily to limit their writing to the involuntary expression of their souls. I say involuntary because the dead, from Montaigne to Rimbaud, have por- trayed themselves completely, but without having meant to--it is something they have simply thrown into the bar- gain. The surplus which they have given us unintentionally should be the primary and professed goal of living writers. They are not to be forced to give us confessions without any affectation, nor are they to abandon themselves to the too-naked lyricism of the romantics. But since we find pleasure in foiling the ruses of Chateaubriand or Rousseau, in surprising them in the secret places of their being at the moment they are playing at being the public man, in distinguishing the private motives from their most universal
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assertions, we shall ask newcomers to procure us this pleasure deliberately. So let them reason, assert, deny, refute, and prove; but the cause they are defending must be only the apparent aim of their discourse; the deeper goal is to yield themselves without seeming to do so. They must first disarm themselves of their arguments as time has done for those of the classic writers; they must bring them to bear upon subjects which interest no one or on truths so general that readers are convinced in advance. As for their ideas, they must give them an air of profundity, but with an effect of emptiness, and they must shape them in such a way that they are obviously explained by an unhappy childhood, a class hatred, or an incestuous love. Let them not presume to think in earnest; thought conceals the man, and it is the man alone who interests us. A bare tear is not lovely. It offends. A good argument also offends, as
Stendhal well observed. But an argument that masks a tear --that's what we're after. The argument removes the obscenity from the tears; the tears, by revealing their origin in the passions, remove the aggressiveness from the argu- ment. We shall be neither too deeply touched nor at all con- vinced, and we shall be able to yield ourselves safely to that moderate pleasure which, as everyone knows, we derive from the contemplation of works of art. Thus, this is 'true', 'pure* literature, a subjective thing which reveals itself under the aspect of the objective, a discourse so curiously contrived that it is equivalent to silence, a thought which debates with itself, a reason which is only the mask of mad- ness, an Eternal which lets it be understood that it is only a moment of History, a historical moment which, by the hidden side which it reveals, suddenly sends back a per- petual lesson to the eternal man, but which is produced
against the express wishes of those who do the teaching.
When all is said and done, the message is a soul which is made object. A soul, and what is to be done with a soul? One contemplates it at a respectful distance. It is not cus- tomary to show one's soul in society without a powerful motive. But, with certain reservations, convention permits
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some individuals to put theirs into commerce, and all adults may procure it for themselves. For many people today, works of the mind are thus litde wandering souls which one acquires at a modest price; there is good old Montaigne's, dear La Fontaine's, and that of Jean-Jacques and of Jean-Paul and of delicious Ge? rard. What is called literary art is the sum of the treatments which make them inoffensive. Tanned, refined, chemically treated, they pro- vide their acquirers with the opportunity of devoting some moments of a life completely turned outwards to the culti- vation of subjectivity. Custom guarantees it to be without risk. Montaigne's scepticism? Who can take it seriously since the author of the Essays got frightened when the plague ravaged Bordeaux? Or Rousseau's humanitarianism, since 'Jean-Jacques' put his children into an orphanage? And the strange revelations of Sylvie, since Ge? rard de Nerval was mad? At the very most, the professional critic will set up infernal dialogues between them and will inform us that French thought is a perpetual colloquy between Pascal and Montaigne. In so doing he has no intention of making Pascal and Montaigne more alive, but of making Malraux and Gide more dead. Finally, when the internal contradic- tions of the life and the work have made both of them use- less, when the message, in its imponderable depth, has taught us these capital truths, 'that man is neither good nor bad', 'that there is a great deal of suffering in human life', 'that genius is only great patience', this dismal bungling will have achieved its ultimate purpose, and the reader, as
he lays down the book, will be able to cry out with a tranquil soul, 'All this is only literature. '
But since, for us, writing is an enterprise; since writers are alive before being dead; since we think that we must try to be as right as we can in our books; and since, even if afterwards the centuries show us to be in the wrong, this is no reason why they should prove us wrong in advance; since we think that the writer should commit himself completely in his works, and not in an abjecdy passive ro^le by putting forward his vices, his misfortunes, and his
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weaknesses, but as a resolute will and as a choice, as this total enterprise of living that each one of us is, it is then proper that we take up this problem at its beginning and that we, in our turn, ask ourselves: 'Why does one write? '
47
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EACH has his reasons: for one, art is aflight;for another a means of conquering. But one canfleeinto a hermit- age, into madness, into death. One can conquer by arms. Why does it have to be writings why does one have to manage one's escapes and conquests by writing! Because, behind the various aims of authors, there is a deeper and more immediate choice which is common to all of us. We shall try to elucidate this choice, and we shall see whether it is not in the name of this very choice of writing that the self-commitment of writers must be required.
Each of our perceptions is accompanied by the con- sciousness that human reality is a 'revealer', that is, it is through human reality that 'there is' being, or, to put it differently, that man is the means by which things are mani- fested. It is our presence in the world which multiplies relations. It is we who set up a relationship between this tree and that bit of sky. Thanks to us, that star which has been dead for millennia, that quarter moon, and that dark river are disclosed in the unity of a landscape. It is the speed of our car and our aeroplane which organizes the great masses of the earth. With each of our acts, the world reveals to us a new face. But, if we know that we are directors of being, we also know that we are not its producers. If we turn away from this landscape, it will sink back into its dark permanence. At least, it will sink back; there is no one mad enough to think that it is going to be annihilated. It is
we who shall be annihilated, and the earth will remain in its lethargy until another consciousness comes along to awaken it. Thus, to our inner certainty of being 'revealers* is added that of being inessential in relation to the thing revealed.
One of the chief motives of artistic creation is certainly
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the need of feeling that we are essential in relationship to the world. If I fix on canvas or in writing a certain aspect of the fields or the sea or a look on someone's face which I have disclosed, I am conscious of having produced them by condensing relationships, by introducing order where there was none, by imposing the unity of mind on the diversity of things. That is, I feel myself essential in relation to my creation. But this time it is the created object which escapes me; I cannot reveal and produce at the same time. The creation becomes inessential in relation to the creative activity. First of all, even if it appears finished to others, the created object always seems to us in a state of suspension; we can always change this line, that shade, that word. Thus, it never forces itself. A novice painter asked his teacher, 'When should I consider my painting finished? ' And the teacher answered, 'When you can look at it in amazement and say to yourself "Vm the one who did tbat\" '
Which amounts to saying 'never*.
For that would be virtually to consider one's work with someone else's eyes and to reveal what one has created. But it is self-evident that we are proportionally less conscious of the thing produced and more conscious of our productive activity. When it is a matter of pottery or carpentry, we work according to traditional patterns, with tools whose usage is codified; it is Heidegger's famous 'they' who are working with our hands. In this case, the result can seem to us sufficiently strange to preserve its objectivity in our eyes. But if we ourselves produce the rules of production, the measures, the criteria, and if our creative drive comes from the very depths of our heart, then we never find anything but ourselves in our work. It is we who have invented the laws by which we judge it. It is our history, our love, our gaiety that we recognize in it. Even if we should look at it without touching it any further, we never receive from it that gaiety of love. We put them into it. The results which we have obtained on canvas or paper never seem to us objective. We are too familiar with the processes of which they are the
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effects. These processes remain a subjective discovery; they are ourselves, our inspiration, our trick, and when we seek to perceive our work, we create it again, we repeat mentally the operations which produced it; each of its aspects appears as a result. Thus, in the perception, the object is given as the essential thing and the subject as the inessential. The latter seeks essentiality in the creation and obtains it, but then it is the object which becomes the inessential.
This dialectic is nowhere more apparent than in the art of writing, for the literary object is a peculiar top which exists only in movement. T o make it come into view a con- crete act called reading is necessary, and it lasts only as long as this act can last. Beyond that, there are only black marks on paper. Now, the writer cannot read what he writes, whereas the shoemaker can put on the shoes he has just made if they are his size, and the architect can live in the house he has built. In reading, one foresees; one waits. One foresees the end of the sentence, the following sen- tence, the next page. One waits for them to confirm or dis- appoint one's foresights. The reading is composed of a host of hypotheses, of dreams followed by awakenings, of hopes and deceptions. Readers are always ahead of the sentence they are reading in a merely probable future which partly collapses and partly comes together in proportion as they progress, which withdraws from one page to the next and forms the moving horizon of the literary object. With- out waiting, without a future, without ignorance, there is no objectivity.
Now the operation of writing involves an implicit quasi- reading which makes real reading impossible. When the words form under his pen, the author doubdess sees them, but he does not see them as the reader does, since he knows them before writing them down. The function of his gaze is not to reveal, by brushing against them, the sleeping words which are waiting to be read, but to control the sketching of the signs. In short, it is a purely regulating mission, and the view before him reveals nothing except for slight slips of the pen. The writer neither foresees nor
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conjectures; he projects. It often happens that he awaits, as they say, the inspiration. But one does not wait for oneself the way one waits for others. If he hesitates, he knows that the future is not made, that he himself is going to make it, and if he still does not know what is going to happen to his hero, that simply means that he has not thought about it, that he has not decided upon anything. The future is then a blank page, whereas the future of the reader is two hundred pages filled with words which separate him from the end. Thus, the writer meets everywhere only his knowledge, his will, his plans, in short, himself. He touches only his own subjectivity; the object he creates is out of reach; he does not create it for himself. If he re-reads himself, it is already too late. The sentence will never quite be a thing in his eyes. He goes to the very limits of the subjective but without crossing it. He appreciates the effect of a touch, of an epi- gram, of a well-placed adjective, but it is the effect they will have on others. He can judge it, not feel it. Proust never discovered the homosexuality of Charlus, since he had decided upon it even before starting on his book. And if a day comes when the book takes on for its author a sem- blance of objectivity, it is because years have passed, because he has forgotten it, because its spirit is quite foreign to him, and doubdess he is no longer capable of writing it. This was the case with Rousseau when he re-read the Social Contract at the end of his life.
Thus, it is not true that one writes for oneself. That would be the worst blow. In projecting one's emotions on paper, one barely manages to give them a languid extension. The creative act is only an incomplete and abstract moment in the production of a work. If the author existed alone he would be able to write as much as he liked; the work as object would never see the light of day and he would either have to put down his pen or despair. But the operation of writing implies that of reading as its dialectical correlative and these two connected acts necessitate two distinct agents. It is the joint effort of author and reader which brings upon
the scene that concrete and imaginary object which is the
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work of the mind. There is no art except for and by others.
Reading seems, in fact, to be the synthesis of perception and creation. 6 It posits the essentiality of both the subject and the object. The object is essential because it is strictly transcendent, because it imposes its own structures, and because one must wait for it and observe it; but the subject is also essential because it is required not only to disclose the object (that is, to make it possible for there to be an object) but also so that this object might exist absolutely (that is, to produce it). In a word, the reader is conscious of disclosing in creating, of creating by disclosing. In reality, it is not necessary to believe that reading is a mechanical operation and that signs make an impression upon him as light does on a photographic plate. If he is inattentive, tired, stupid, or thoughtless, most of the relations will escape him. The object will never 'catch' with him (in the sense in which we say that fire 'catches' or 'doesn't catch'). He will draw some phrases out of the shadow, but they will seem to have appeared at random. If he is at his best, he will project beyond the words a synthetic form, each phrase of which will be no more than a partial function: the 'theme', the 'subject', or the 'meaning'. Thus, from the very beginning, the meaning is no longer contained in the words, since it is he, on the contrary, who allows the significance of each of them to be understood; and the literary object, though realized through language, is never
given in language. On the contrary, it is by nature a silence and an opponent of the word. In addition, the hundred thousand words aligned in a book can be read one by one so that the meaning of the work does not emerge. Nothing is accomplished if the reader does not put himself from the very beginning and almost without a guide at the height of this silence; if, in short, he does not invent it and does not then place there, and hold on to, the words and sentences which he awakens. And if I am told that it would be more fitting to call this operation a re-invention or a discovery, I shall answer that, first, such a re-invention
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would be as new and as original an act as thefirstinvention. And, especially, when an object has never existed before, there can be no question of re-inventing it or discovering it. For if the silence about which I am speaking is really the goal at which the author is aiming, he has, at least, never been familiar with it; his silence is subjective and anterior to language. It is the absence of words, the undifferentiated and lived silence of inspiration, which the word will then particularize, whereas the silence produced by the reader is an object. And at the very interior of this object there are more silences--which the author does not mention. It is a question of silences which are so particular that they could not retain any meaning outside the object which the reading causes to appear. However, it is these which give it its density and its particular face.
To say that they are unexpressed is hardly the word; for they are precisely the inexpressible. And that is why one does not come upon them at any definite moment in the reading; they are everywhere and nowhere. The quality of the marvellous in Le Grand Meaulnes, the grandioseness of Armance, the degree of realism and truth of Kafka's mythology, these are never given. The reader must invent them all in a continual exceeding of the written thing. To be sure, the author guides him, but all he does is guide him. The landmarks he sets up are separated by the void. The reader must unite them; he must go beyond them. In short, reading is directed creation.
On the one hand, the literary object has no other sub- stance than the reader's subjectivity; Raskolnikov's waiting is my waiting which I lend him. Without this impatience of the reader he would remain only a collection of signs. His hatred of the police magistrate who questions him is my hatred which has been solicited and wheedled out of me by signs, and the police magistrate himself would not exist without the hatred I have for him via Raskolnikov. That is what animates him, it is his very flesh.
But on the other hand, the words are there like traps to arouse our feelings and to reflect them towards us. Each
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word is a path of transcendence; it shapes our feelings, names them, and attributes them to an imaginary personage who takes it upon himself to live them for us and who has no other substance than these borrowed passions; he confers objects, perspectives, and a horizon upon them.
Thus, for the reader, all is to do and all is already done; the work exists only at the exact level of his capacities; while he reads and creates, he knows that he can always go further in his reading, can always create more profoundly, and thus the work seems to him as inexhaustible and opaque as things. We would readily reconcile that 'rational intuition' which Kant reserved to divine Reason with this absolute production of qualities, which, to the extent that they emanate from our subjectivity, congeal before our eyes into impenetrable objectivities.
Since the creation can find its fulfilment only in reading, since the artist must entrust to another the job of carrying out what he has begun, since it is only through the con- sciousness of the reader that he can regard himself as essential to his work, all literary work is an appeal. To write is to make an appeal to the reader that he lead into objective existence the revelation which I have undertaken by means of language. And if it should be asked to what the writer is appealing, the answer is simple. As the suffi- cient reason for the appearance of the aesthetic object is never found either in the book (where we find merely solicitations to produce the object) or in the author's mind, and as his subjectivity, which he cannot get away from, cannot give a reason for the act of leading into objectivity, the appearance of the work of art is a new event which cannot be explained by anterior data. And since this directed creation is an absolute beginning, it is therefore brought about by the freedom of the reader, and by what is purest in that freedom. Thus, the writer appeals to the reader's freedom to collaborate in the production of his work.
It will doubtless be said that all tools address themselves to our freedom since they are the instruments of a possible
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action, and that the work of art is not unique in that. And it is true that the tool is the congealed outline of an opera- tion. But it remains on the level of the hypothetical impera- tive. I may use a hammer to nail up a case or to hit my neighbour over the head. In so far as I consider it in itself, it is not an appeal to my freedom; it does not put me face to face with it; rather, it aims at using it by substituting a set succession of traditional procedures for the free inven- tion of means. The book does not serve my freedom; it requires it. Indeed, one cannot address oneself to freedom as such by means of constraint, fascination, or entreaties. There is only one way of attaining it: first, by recognizing it, then, by having confidence in it, and finally, by requiring of it an act, an act in its own name--that is, in the name of the confidence that one brings to it.
Thus, the book is not, like the tool, a means for any end whatever; the end to which it offers itself is the reader's freedom. And the Kantian expression 'finality without end* seems to me quite inappropriate for designating the work of art. In fact, it implies that the aesthetic object presents only the appearance of a finality and is limited to soliciting the free and ordered play of the imagination. It forgets that the imagination of the spectator has not only a regulating func- tion, but a constitutive one. It does not play; it is called upon to recompose the beautiful object beyond the traces left by the artist. The imagination cannot revel in itself any more than can the other functions of the mind; it is always on the outside, always engaged in an enterprise. There would be finality without end if some object offered such a well-arranged composition that it would lead us to sup- pose that it has an end even though we cannot ascribe one to it. By defining the beautiful in this way one can--and this is Kant's aim--liken the beauty of art to natural beauty, since a flower, for example, presents so much symmetry, such harmonious colours, and such regular curves, that one is immediately tempted to seek afinalistexplanation for all these properties and to see them as just so many means at the disposal of an unknown end. But that is exacdy the
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error. The beauty of nature is in no way comparable to that of art. The work of art does not have an end; there we agree with Kant. But the reason is that it is an end. The Kantian formula does not account for the appeal which resounds at the basis of each painting, each statue, each book. Kant believes that the work of art first exists as fact and that it is then seen. Whereas it exists only if one looks at it and if it is first pure appeal, pure exigence to exist. It is not an instrument whose existence is manifest and whose end is undetermined. It presents itself as a task to be discharged; from the very beginning it places itself on the level of the categorical imperative. You are perfectly free to leave that book on the table. But if you open it, you assume responsibility for it. For freedom is experienced not in the enjoyment of free subjective functioning, but in a creative act required by an imperative. The absolute end, this imperative which is transcendent yet acquiesced in, which freedom itself adopts as its own, is what we call a value. The work of art is a value because it is an appeal.
If I appeal to my reader so that we may carry to a successful conclusion the enterprise which I have begun, it is self-evident that I consider him as a pure freedom, as an unconditioned activity; thus, in no case can I address myself to his passiveness, that is, try to affect him, to communicate to him, from the very first, emotions of fear, desire, or anger. There are, doubtless, authors who concern them- selves solely with arousing these emotions because they are foreseeable, manageable, and because they have at their disposal sure-fire means for provoking them. But it is also true that they are reproached for this kind of thing, as Euripides has been since antiquity because he had children appear on the stage. Freedom is alienated in the state of passion; it is abruptly engaged in partial enterprises; it loses sight of its task, which is to produce an absolute end. And the book is no longer anything but a means for feeding hate or desire. The writer should not seek to overwhelm; other- wise he is in contradiction with himself; if he wishes to make demands he must propose only the task to be fulfilled.
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Hence, the character of pure presentation which appears essential to the work of art. The reader must be able to make a certain aesthetic withdrawal. This is what Gautier foolishly confused with "art for art's sake' and the Par- nassians with the imperturbability of the artist. It is simply a matter of precaution, and Genet more justly calls it the author's politeness towards the reader. But that does not mean that the writer makes an appeal to some sort of abstract and conceptual freedom. One certainly creates the aesthetic object with feelings; if it is touching, it appears through our tears; if it is comic, it will be recognized by laughter. However, these feelings are of a particular kind. They have their origin in freedom; they are loaned. The belief which I accord the tale is freely assented to. It is a Passion, in the Christian sense of the word, that is, a free- dom which resolutely puts itself into a state of passiveness to obtain a certain transcendent effect by this sacrifice. The reader renders himself credulous; he descends into credulity which, though it ends by enclosing him like a dream, is at every moment conscious of being free. An effort is sometimes made to force the writer into this dilemma: 'Either one believes in your story, and it is intoler- able, or one does not believe in it, and it is ridiculous\ But the argument is absurd because the characteristic of aesthetic consciousness is to be a belief by means of com- mitment, by oath, a belief sustained by fidelity to one's self and to the author, a perpetually renewed choice to believe. I can awaken at every moment, and I know it; but I do not want to; reading is a free dream. So that all feelings which are exacted on the basis of this imaginary belief are like particular modulations of my freedom. Far from absorbing or masking it, they are so many different ways it has chosen to reveal itself to itself. Raskolnikov, as I have said, would only be a shadow, without the mixture of repulsion and friendship which I feel for him and which makes him live. But, by a reversal which is the characteristic of the imagin- ary object, it is not his behaviour which excites my indig- nation or esteem, but my indignation and esteem which
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give consistency and objectivity to his behaviour. Thus, the reader's feelings are never dominated by the object, and as no external reality can condition them, they have their permanent source in freedom; that is, they are all generous --for I call a feeling generous which has its origin and its end in freedom. Thus, reading is an exercise in generosity, and what the writer requires of the reader is not the applica- tion of an abstract freedom but the gift of his whole person, with his passions, his prepossessions, his sympathies, his sexual temperament, and his scale of values. Only this per- son will give himself generously; freedom goes through and through him and comes to transform the darkest masses of his sensibility. And just as activity has rendered itself passive in order for it better to create the object, conversely, passiveness becomes an act; the man who is reading has raised himself to the highest degree. That is why we see people who are known for their toughness shed tears at the recital of imaginary misfortunes; for the moment, they have become what they would have been if they had not spent their lives hiding their freedom from themselves.
Thus, the author writes in order to address himself to the freedom of readers, and he requires it in order to make his work exist. But he does not stop there; he also requires that they return this confidence which he has given them, that they recognize his creative freedom, and that they in turn solicit it by a symmetrical and inverse appeal. Here there appears the other dialectical paradox of reading; the more we experience our freedom, the more we recognize that of the other; the more he demands of us, the more we demand of him.
When I am enchanted with a landscape, I know very well that it is not I who create it, but I also know that without me the relations which are established before my eyes among the trees, the foliage, the earth, and the grass would not exist at all. I know that I can give no reason for the appearance offinalitywhich I discover in the assortment of hues and in the harmony of the forms and movements
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created by the wind. Yet, it exists; there it is before my eyes, and I can make something more out of what is already there. But even if I believe in God, I cannot establish any passage, unless it be purely verbal, between the divine, universal solicitude and the particular spectacle which I am considering. To say that He made the landscape in order to charm me or that He made me the kind of person who is pleased by it is to take a question for an answer. Is the marriage of this blue and that green deliberate? How can I know? The idea of a universal providence is no guarantee of any particular intention, especially in the case under con- sideration, since the green of the grass is explained by biological laws, specific constants, and geographical deter- minism, while the reason for the blue of the water is accounted for by the depth of the river, the nature of the soil and the swiftness of the current. The assorting of the shades, if it is willed, can only be something thrown into the bargain; it is the meeting of two causal series, that is to say, at first sight, a fact of chance. At best, the finality remains problematic. All the relations we establish remain hypo- theses; no end is proposed to us in the manner of an imper- ative, since none is expressly revealed as having been willed by a creator. Thus, our freedom is never called'forth by natural beauty. Or rather, there is an appearance of order in the whole which includes the foliage, the forms, and the move- ments, hence, the illusion of a calling forth which seems to solicit this freedom and which disappears immediately when one looks at it. Hardly have we begun to run our eyes over this arrangement, than the appeal disappears; we remain alone, free to tie one colour with another or with a third, to set up a relationship between the tree and the water, or between the tree and the sky, or between the tree, the water, and the sky. My freedom becomes caprice. To the extent that I establish new relationships, I remove myself further from the illusory objectivity which solicits me. I
muse about certain motifs which are vaguely outlined by the things; the natural reality is no longer anything but a pretext for musing. Or, in that case, because I have deeply
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regretted that this arrangement which was momentarily perceived was not offered to me by somebody and conse- quently is not real, the result is that I fix my dream, that I transpose it to canvas or in writing. Thus, I interpose myself between the finality without end which appears in the natural spectacles and the gaze of other men. I transmit it to them. It becomes human by this transmission. Art here is a ceremony of the gift, and the gift alone brings about the metamorphosis. It is something like the transmission of titles and powers in the matriarchate, where the mother does not possess the names but is the indispensable inter- mediary between uncle and nephew. Since I have captured this illusion in flight, since I lay it out for other men and have disentangled it and rethought it for them, they can consider it with confidence. It has become intentional.
