JUDY KRAVIS

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Saturday, 29 February 2020

In praise of sketchy reading

I read a review by Robert Pogue Harrison of a book about Maurice Blanchot; which sent me back to L'Espace Littéraire, bought in 1968, first read in Paris and annotated in pencil (some unknown other reader since added a few marks in pen). I can hardly make out the annotations, which have merged with the yellowing of the pages, but I only need to read a few sentences to reach straight back to that annotating self for whom reading was visceral, essential, vertical, vertiginous, unending—and in french.
 L'oeuvre attire celui qui s'y consacre vers le point où elle est l'épreuve de l'impossibilité. Expérience qui est proprement nocturne, qui est celle même de la nuit. ... profondeur silencieuse qui la garantit comme son sens. ... Mais quand tout a disparu dans la nuit, "tout a disparu" apparaît. C'est l'autre nuit. La nuit est apparition du "tout a disparu". Elle est ce qui est pressenti quand les rêves remplacent le sommeil.
This is where my aged edition — nrf idées — fell open.

Have a look at the opening essay, 'La Solitude Essentielle'. Rilke is there, welcoming himself into solitude. Then Mallarmé. Then Kafka. And me. In a flat in Montmartre under the volcano, the revolution, reading and reinventing my paquet de merveilles. José Corti in his bookshop by the Luxembourg gardens, had sent me back to Montmartre with Albert Béguin and Maurice Blanchot. I was already reading Rimbaud, and Nerval. The flat next door to mine, had a K on the door. The flat was empty.

I also read that year Le Livre à Venir and L'Entretien Infini. And Blanchot's novel, Thomas l'Obscur. Postmodern cousin of Jude The Obscure. Stretching into 'The Nothing Beyond Nothing'. Robert Pogue Harrison's title. And where we came in.

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