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2018年4月18日 星期三

"Tango" by Zbigniew Rybczyński (1980)

  
         « Qu’est-ce que le cerveau humain, sinon un palimpseste immense et naturel ? Mon cerveau est un palimpseste et le vôtre aussi, lecteur. Des couches innombrables d’idées, d’images, de sentiments sont tombées successivement sur votre cerveau, aussi doucement que la lumière. Il a semblé que chacune ensevelissait la précédente. Mais aucune en réalité n’a péri. »

—Charles Baudelaire, “Le palimpseste”, in Les Paradis artificiels (1860)


         « Chez l'homme, la mémoire est moins prisonnière de l'action, je le reconnais, mais elle y adhère encore : nos souvenirs, à un moment donné, forment un tout solidaire, une pyramide, si vous voulez, dont le sommet sans cesse mouvant coïncide avec notre présent et s'enfonce avec lui dans l'avenir. Mais derrière les souvenirs qui viennent se poser ainsi sur notre occupation présente et se révéler au moyen d'elle, il y en a d'autres, des milliers et des milliers d'autres, en bas, au-dessous de la scène illuminée par la conscience. Oui, je crois que notre vie passée est là, conservée jusque dans ses moindres détails, et que nous n'oublions rien, et que tout ce que nous avons perçu, pensé, voulu depuis le premier éveil de notre conscience, persiste indéfiniment. Mais les souvenirs que ma mémoire conserve ainsi dans ses plus obscures profondeurs y sont à l'état de fantômes invisibles. Ils aspirent peut-être à la lumière ; ils n'essaient pourtant pas d'y remonter ; ils savent que c'est impossible, et que moi, être vivant et agissant, j'ai autre chose à faire que de m'occuper d'eux. Mais supposez qu'à un moment donné je me désintéresse de la situation pré- sente, de l'action pressante, enfin de ce qui concentrait sur un seul point toutes les activités de la mémoire. Supposez, en d'autres termes, que je m'endorme. Alors ces souvenirs immobiles, sentant que je viens d'écarter l'obstacle, de soulever la trappe qui les maintenait dans le sous-sol de la conscience, se mettent en mouvement. Ils se lèvent, ils s'agitent, ils exécutent, dans la nuit de l'inconscient, une immense danse macabre. »

—Henri Bergson, "Le rêve", in L'Énergie spirituelle (1919)


          « Je crois qu'on entend encore dans les entrées d'immeubles l'écho des pas de ceux qui avaient l'habitude de les traverser et qui, depuis, ont disparu. Quelque chose continue de vibrer après leur passage, des ondes de plus en plus faibles, mais que l'on capte si l'on est attentif. Au fond, je n'avais peut-être jamais été ce Pedro McEvoy, je n'étais rien, mais des ondes me traversaient, tantôt lointaines, tantôt plus fortes et tous ces échos épars qui flottaient dans l'air se cristallisaient et c'était moi. »

—Patrick Modiano, Rue des Boutiques Obscures (1978)

2017年12月1日 星期五

黃麗群,〈無物結同心〉

Ildikó Enyedi, On Body and Soul (2017)


他們的夢越來越短了。

由於某種不詳濛昧的原因,有一天,他們的夢境在暮色四合時相逢。他們夢見他們有一棟藍瓦白牆的屋子。那屋子站在光影侵尋風聲獵獵,被夕陽灼燒的原野中間。

夢中他們年紀小,眉眼清俊身量未足。由於都還留著關於現實的記憶,因此這兩小無猜益發珍貴可愛。他們在夢中的溪流邊釣魚,並肩坐在亭亭如蓋的無名樹下。她將手帕結在髮上,他捉來亮晶晶的金龜子飼在窗前。

玩累的兩人每每並肩躺在草地上看星星,牽著手,不需交談靜靜睡去。醒轉之後,便回到了積滿灰塵的,真實的世界。

然後他們漸漸哀傷了起來。那壓迫在夢土之上的現實。

他常在夢中抬眼看雲,知道在雲的外面,自己是一個疲憊蕭索的中年男人,他早已分房而睡的妻成天吵嚷著他賺的錢不夠養家。一對叛逆期的兒女見了他像見了仇人。

如果可以他願意死,以交換這個永遠的夢。除了這個夢,他記不起來自己還有什麼澄凈快樂的時刻。握著她細小柔軟的,孩子的手,知道她心裡又同樣的憂慮,同樣的意志。

他們一直很有默契。兩人都知道對方並不只是自己夢中的幻象,而是在夢中奇妙綰合的,兩個真實的存在。但他們絕口不提身分,唯恐現實世界裡的隻字片語擊破夢的魔力。

夢愈來愈短。最後甚至連釣上一隻魚的時間都沒有。

那日他們都有預感這將是最後一夜。坐在滿天繁星下只能握潮彼此的雙手,額頭相抵,閉緊眼睛,抵抗天明時現實侵入身體。在意識剝離的一瞬,他們忍不住大聲告訴對方自己是誰、住在哪裡、職業是什麼。

夢的魔力終究被擊破。兩人醒來後,無論如何都記不起來對方的名字。

於是她站在浴室中對著鏡子流了好久的眼淚。她的早已分房而睡的丈夫,是個疲憊蕭索的中年男人,她每日為了拮据的家計焦頭爛額。一雙叛逆期的兒女見了自己像見到一個陌生人。

而後異床同夢的兩人在早餐桌上遇見。失去了夢而心緒惡劣的他們,因細故大吵一架,決定離婚。當天中午,他們站在戶政事務所的櫃檯前,心裡想著同樣的事:「恢復自由之身後,無論如何,我要找到那個夢中的人。」


2017年10月10日 星期二

Jayden's Story from Short Term 12

Destin Daniel Cretton, Short Term 12 (2013)


     "Once upon a time, somewhere miles and miles beneath the surface of the ocean, there lived a young octopus named Nina. Nina spent most of her time alone, making strange creations out of rocks and shells. She was very happy. But then on Monday, the shark showed up.
     'What's your name?' said the shark. 
     'Nina,' she replied. 
     'Do you want to be my friend?' he asked.
     'Ok. What do I have to do?' said Nina. 
     'Not much,' said the shark. 'Just . . . let me eat one of your arms.'
     Nina had never had a friend before, so she wondered if this is what you had to do to get one. She looked down at her eight arms and decided: it wouldn't be so bad to give up one. So, she donated an arm to her wonderful new friend.
     Every day that week, Nina and the shark would play together. They explored caves, built castles of sand, and swam really really fast. And every night the shark would be hungry, and Nina would give him another one of her arms to eat. On Sunday, after playing all day, the shark told Nina that he was very hungry. 
     'I don't understand,' she said. 'I've already given you six of my arms and now you want one more?'
     The shark looked at her with a friendly smile and said, 'I don't want one. This time I want them all.'
     'But why?' Nina asked.
     And the shark replied, 'Because that's what friends are for.'


     When the shark finished his meal, he felt very sad and lonely. He missed having someone to explore caves, build castles, and swim really really very fast with. He missed Nina very much. So he swam away to find another friend." 

2017年5月24日 星期三

"beasts bounding through time —"

"We are partisans in the persistent and hopeless fight for human dignity."
                       
                                                              —Béla Tarr and László Krasznahorkai, Sátántangó (1994)

Van Gogh writing his brother for paints
Hemingway testing his shotgun
Céline going broke as a doctor of medicine
the impossibility of being human
Villon expelled from Paris for being a thief 
Faulkner drunk in the gutters of his town
the impossibility of being human
Burroughs killing his wife with a gun
Mailer stabbing his
the impossibility of being human
Maupassant going mad in a rowboat
Dostoevsky lined up against a wall to be shot
Crane off the back of a boat into the propeller
the impossibility
Sylvia with her head in the oven like a baked potato
Harry Crosby leaping into that Black Sun
Lorca murdered in the road by Spanish troops
the impossibility
Artaud sitting on a madhouse bench
Chatterton drinking rat poison
Shakespeare a plagiarist
Beethoven with a horn stuck into his head against deafness
the impossibility the impossibility
Nietzsche gone totally mad
the impossibility of being human
all too human
this breathing
in and out
out and in
these punks
these cowards
these champions
these mad dogs of glory
moving this little bit of light toward us
impossibly.


—Charles Bukowski, "beasts bounding through time" in You Get So Alone at Times That It Just Makes Sense (1986), p. 21-22. 

2016年7月31日 星期日

鄧九雲,〈未來回憶〉

Chris Marker, La jetée (1963)

«Il courut vers elle. Et lorsqu'il reconnut l'homme qui l'avait suivi depuis le camp souterrain, il comprit qu'on ne s'évadait pas du Temps et que cet instant qu'il lui avait été donné de voir enfant, et qui n'avait pas cessé de l'obséder, c'était celui de sa propre mort.»

— Chris Marker, La jetée (1963)

"'I remember, Brod writes, 'a conversation with Kafka which began with present-day Europe and the decline of the human race. 'We are nihilistic thoughts, suicidal thoughts that come into God's head,' Kafka said. This reminded me at first of the Gnostic view of life: God as the evil demiurge, the world as his Fall. 'Oh no,' said Kafka, 'our world is only a bad mood of God, a bad day of his.' 'Then there is hope outside this manifestation of the world that we know.' He smiled. 'Oh, plenty of hope, an infinite amount of hope — but not for us.'"

— Walter Benjamin, "Franz Kafka: On the Tenth Anniversary of His Death" in Illuminations (1968)

—————————————————————————————————

「剛才親吻過後的四十八分,我決定不再做一個『普通女演員』。

我下這決定時,正站在廚房喝用薄荷葉與迷迭香泡的水,科學研究說水是有記憶的,把相同的水放入不同的花朵,過幾天可以看見水分子的形狀會出現水裡花瓣的輪廓。所以我喝下的這些水裡的分子都有薄荷與迷迭香的形狀,而剛剛接觸到我嘴唇的那部份水,會跟杯子裡剩下的水產生區隔,或許會加入關於親吻的一些元素,譬如嘴唇、口水、動情激素等。至於已經進入我身體的那部分的水,會帶著他原本的記憶滲入我要成為一種『非普通演員』的決定。

我把沒喝完的水杯遞給一個小時前跟我親吻的人,告訴了他我的決定。許多人會愛上我所扮演的角色,他也是其中之一。那些角色遠遠超過真實的我,而愛上的人總需要一些時間才會發現。

—為什麼?
—我再也不想在舞台或鏡頭前面成為某個人,說著編劇認為那個人該說的話。
—嗯 ……
—不過,我還是想做演員,只是我想要用一種可能這世界目前還沒有存在過的方式,重新建立起我、角色與觀眾的關係。
—什麼樣的方式?
—首先,我想扮演的角色是要真實存在過的。
—像傳記電影那樣?
—可以這麼說,但傳記電影都是一些偉人。那些人都跟我的觀眾沒有非常靠近的親密關係。
—妳的觀眾會有多少人?
—一個。一次一個。
—所以妳想要扮演觀眾現實生活裡真實存在的人?
—是的。
—那該如何處理外在的造形樣貌?
—如果你靠得夠近,『任何人』都可以成為『那個人』。他的眼睛鼻子嘴巴會突然存在在你面前,或者說,開始存在起來。
—有點難懂。
—就像光與時間是平行的,不受限在三度空間裡,所以它們可以說是存在於四度空間的。我覺得人類內在的情緒是有機會轉化成一種類似光的概念,然後與時間的概念平行。觀眾心裡的那個人或許因為某些原因,再也無法出現在他的生活空間裡。但他與觀眾的連結卻沒有因此斷裂,形成一種懸空的狀態。那種東西放在身體裡面久了,往往會變成一種缺口,一旦有了缺口,就不知道會讓什麼奇奇怪怪的東西都跑進去。或許我可以藉由實質的扮演過程,重新修理這些聯結,處理缺口。
—聽起來像一種心理治療。
—更精確地說,是為觀眾創造獨一的『未來回憶』。
—像進入了蟲洞,到了另一個世界。
—我們假設,那裡同時存在我們,包括那些已經見不到的人。
—或是那些人去了那個世界。
—我試圖創造一種與時間軸並存的東西,用想像建構出實質的經歷過程,創造所謂『回憶』的東西。
—這麼說,妳就是光。」

(收錄在《暫時無法安放的》,pp.99-101)

2016年6月11日 星期六

"Labyrinthe" par Yannick Hannel

Le labyrinthe, la cathédrale de Lucques


Car un labyrinthe n'est pas un territoire où l'on se perd; c'est un lieu où l'on revient sur ses pas. On y marche comme j'écris ce livre, c'est-à-dire à pas de loup. On avance à tâtons, sans savoir si ses efforts donnent sur une cloison, ou une ouverture. Chaque décision se résorbe dans un cul-de-sac, ou découvre une issue de secours.

Chaque instant raconte cette lutte, toujours renouvelée, entre l'impasse et l'issue; le moindre instant remet en jeu ce qui a été gagné: il vous expose à la ruine autant qu'au triomphe. 

Vous êtes concentré sur des détails, une inflexion suffit à vous sauver, ou à vous perdre: le labyrinthe vous oblige aux nuances.

Vous cherchez depuis longtemps la sortie, mais il est probable qu'il n'existe rien en dehors du labyrinthe: le labyrinthe est à la mesure du monde, c'est-à-dire chaotique, retors, aléatoire, et sans mesure. Ainsi ne s'agit-il pas d'en sortir: il n'y a que lui.

Une nuit, à Belleville, en rentrant chez moi, je croise un fou. Ses yeux sont rouges, sales; je le sens capable de tout. Il sort un couteau, la stupeur me paralyse. Il tend la pointe du couteau vers mon cœur, et y trace une petite croix. Il me dit: « Aimes ton labyrinthe » — puis il éclate de rire, et disparaît. 

Le labyrinthe existe afin que vous cessiez de croire aux murs. L'obstacle n'est qu'un détour. Les pièges vous réservent des clartés. Je ne suis pas prisonnier de ma raison: le labyrinthe est la forme que prend dans ma vie l'acheminement du langage. 

Une phrase m'accompagne depuis que j'ai écrit le premier chapitre de ce livre: « Celui qui n'a pas fait le tour de la vie avant de commencer à vivre n'arrivera jamais à vivre. » Je ne sais pas de qui elle est —Nietzsche? Kierkegaard? Blanchot? Peu importe: sa clarté vient à mon aide. Grâce à elle, je comprends que cette première journée condense les expériences où ne cessera de s'accomplir ma vie: elles sont déjà toutes là, réservées dans la pliure d'un samedi. 

Il existe une pensée qui ne se laisse pas penser; elle s'offre sous la forme d'un tourment sans objet, lui-même insaisissable: en prenant toujours plus de place, ce tourment s'étend à chacune de vos expériences, les exténue, ou au contraire les illumine. Je n'ai pas de nom pour ce tourment, encore moins pour cette pensée; d'ailleurs je n'en veux pas: un nom — Dieu, l'être? —, en comblant le vide, y étoufferait ce qu'il y a de plus libre. Cette pensée qui ne se laisse pas penser, il ne me viendrait pas à l'idée de vouloir la dompter: au contraire, elle anime ce qui m'échappe avec la vigueur de l'éclair. Alors bien sûr que j'erre un peu (la certitude m'est interdite); mais cette errance accorde des richesses à celui qui accepte de n'être sûr de rien. 


— in Le sens du calme (2011)  

2016年5月21日 星期六

"Le vertige" par Olivia Rosenthal

Yves Klein, Saut dans le vide (1960)



J’ai le vertige.
Depuis que ma sœur s’est jetée par la fenêtre, j’ai le vertige.

Quand on se jette du septième étage d’un immeuble parisien, sans matériel particulier pour freiner sa chute, on le fait pour mourir. 
Parachutes, deltaplanes, ballons, corde, mousquetons, aile, cape, filets, toiles, tapis, matelas
les moyens ne manquent pas d’éviter le pire
si donc on n’utilise pas tous les moyens pour survivre 
c’est qu’on se jette pour mourir. 

Je me penche, je vacille, je bascule, je lâche, je plonge, je me renverse, je chute, je tombe, je cogne, je percute, je me heure, je me brise, je m’endommage, je me fracture, je me fracasse, je m’ouvre, je me défais, je me disloque, je me déchire, je me désagrège, j'éclate.

Vertigo est un mot latin signifiant étourdissement. C’est aussi le titre d’un film. Vertigo le film raconte l’histoire d’un homme qui par deux fois essaye de sauver une femme de la mort et par deux fois échoue. Par cet exemple, on voit que la fiction dépasse la réalité puisqu’une même femme peut se défenestrer à deux reprises (ce qui est rare) et peut, ce qui est plus rare encore, mourir deux fois de suite. Le cinéma amplifie donc la puissance des drames humains en les redoublant. 

Il n’est pas impossible, bien que dans mon esprit la chronologie des faits demeure incertaine, que j’aie éprouvé le vertige avant l’événement dont je vous parle.

Avez-vous le vertige? 
Si vous ne l’avez pas, dites-moi à quoi vous pensez quand vous penchez la tête par-dessus la balustrade, quand vous marchez sur un pont suspendu, quand vous montez sur une échelle de corde, quand vous longez une falaise par grand vent, quand vous suivez un sentier de crête le dont le sol est friable. À quoi pensez-vous? À autre chose sûrement, sûrement à autre chose. Et si vous pensez à autre chose, ne risquez-vous pas par distraction, inadvertance, trop grande confiance en vous, par imprudence, ne risquez-vous pas de tomber?
Si tu as le vertige
tu chutes
et si tu n’as pas le vertige
tu chutes aussi. 

Le vertige m’avertit, il me prévient, il est mon compagnon de vie
il ma rappelle, au cas où je l’oublierais, que sur certains trajets bien spécifiques dans lesquels le vide vient me narguer et me sourire, il me rappelle que je pourrais, je pourrais tomber 
que cela pourrait m’arriver à moi
je pourrais, moi qui vous parle, bien ancrée au sol comme je le suis, bien attachée à mon existence
je pourrais moi aussi trébucher.  
Mais grâce à ma pensée exclusive
à ma concentration exclusive
à ma tristesse exclusive
à ma angoisse exclusive
à ma crainte exclusive
à mon histoire exclusive 
que je veux bien partager avec vous grâce à tout cela
j’avance précautionneusement sur cette terre et je suis emplie, dans bien des circonstances, d’une telle quantité de terreur que je ne peux plus avancer 
c’est ce qu’on appelle le vertige 
le vertige paralyse celui qui y confronté
et plus il es paralysé plus il a le vertige
car il est arrêté au milieu du vide
et le vide l’appelle et l’aspire 
le vide lui fait des signes 
il sait que le signes est un piège auquel il faut résister 
mais il sait aussi que s’il plonge
cela mettra fin au vertige 
à cette sensation intense et douloureuse 
sur laquelle il n’a pas prise 
alors il hésite 

et comme il ne pense qu’à cette hésitation
cela augmente encore son vertige 
au point qu’au lieu de le protéger du danger de la chute 
le vertige tout droit l’y conduire 

Dans Vertigo, celle qui tombe et celui qui a le vertige sont bien distincts, l’un tombe quand l’autre a le vertige, l’un tombe parce que l’autre a le vertige.

C’est moi qui a le vertige, c’est elle qui tombe 

Quand j’ai le vertige, je me représente en bas
je suis déjà en train de tomber dans le vide 
par accident
toujours c’est par accident que je tombe 
je me représente en bas
en train de m’écrasée avant moi
et le fait d’avoir dans ce domaine un antécédent familial
n’aide pas
c’est même le contraire 
j’ai d’autant plus le vertige que ma sœur est tombée avant moi
avant moi, dis-je, comme si je devais moi aussi 
par fatalité 
succomber à l’attirance du vide.

Au bord du précipice 
au bord
à un pas de la mort 
il suffit d’un pas
le vertige, c’est d’avoir peur de le franchir 
et de le désirer 
de ne penser qu’à ça tout le temps où l’on reste au bord 
de ne penser qu’au seul fait qu’on est au bord du vide 
de sorte qu’on finit par douter 
du rôle que joue le vertige 
symptôme, effet, avertissement, désir.

Symptôme:
c’est quand le corps parle 
mon corps parle 
il me dit quelque chose 
sur les montagnes, à l’appui des fenêtres, dans les cages d’escalier, mon corps, pendant des années, me dit quelque chose que je n’entends pas, que je ne comprends pas
pendant des années, je n’écoute pas mon corps 
je fais comme si je n’avais pas le vertige 
je feins d’ignorer que mon cœur bat plus vite, que mes jambes tremblent, que j’ai la bouche sèche, que je transpire 

Je passe à travers le vide 
c’est un exploit qui me coûte beaucoup
qui pompe toute mon énergie 
après je pleure 
je ne sais pas si on me comprend, je ne me comprends pas moi-même. 

Effets secondaires: 
le reste non plus, je ne le comprends pas
par exemple
la vue du sang m’est insupportable, je m’évanouis 
l’idée qu’un corps puisse perdre son intégrité 
coupures, ouvertures, saignements, démembrement, blessures
me fait perpétuellement frémir.

Vingt-deux ans on passé
depuis que ma sœur s’est jetée dans le vide
mais il n’est pas impossible 
bien que mes souvenirs soient devenus flous 
que j’aie éprouvé le vertige 
du temps où elle était encore en vie
et où ni elle ni moi ne savions 
qu’elle finirait par heurter le sol 
à la vitesse 
que les lois de la mécanique 
définissent 
pesanteur oblige.

Je pose ma tête sur l’oreiller 
je ferme les yeux 
je m’endors 
plutôt non 
je ne m’endors pas 
j’écoute 
j’espère 
j’attends 
j’attends le moment où mon corps 
me laissera en repos 
se calmera, s’apaisera, se détendra, se décontractera, se relâchera, se délestera, se déchargera, s’allégera, s’abandonnera, se livrera, cédera, quittera, renoncera,s’absentera, disparaîtra, plongera, chutera
je me réveille toujours avant qu’il ne s’écrase 
sur le macadam
avant qu’il ne se disloque 
sur la chaussée 
avant qu’il ne se brise
sous l’œil horrifié et stupide des passants. 

Dans mon sommeil
je tombe
c’est un cauchemar récurrent que je fais 
quand je suis allongée sur le dos.

Pourtant je dors beaucoup
je dors longtemps 
je dors profondément 
et dans mon sommeil
je tombe.

Vertigo raconte l’histoire d’une femme qui était blonde et qui devient rousse. Vertigo raconte l’histoire d’une femme qui change de couleur de cheveux. 

Petit à petit 
je m’habitue à l’idée 
que je suis composée 
que nous sommes composés 
de notre histoire 
une histoire qui commence avant nous 
et par laquelle nous sommes traversés 
une histoire 
qui nous traverse 
petit à petit 
je m’habitue à l’idée 
que je suis traversée.

Je suis blonde
mais ça, vous ne le savez pas
alors je vous le dis 
croyez-moi
je suis blonde 
elle était brune
je veux dire 
dans mon souvenir 
on nous présentait comme telles 
voici la blonde
et voici la brune 
mais ça pouvait être aussi dans l’ordre suivant 
voici la brune 
et voici la blonde 
ça dépendait des fois 
je veux dire 
pas pour la couleur des cheveux 
pour l’ordre. 

Si le corps est lancé trop vite
il devient aussi dangereux 
qu’un projectile
on peut donc avec son corps 
écraser d’autres corps 
avant de s’écraser soi-même 
c’est ce qu’on appelle 
le hasard 
il frappe là où on ne l’attend pas
et tue 
à l’aveuglette. 

Je n’aime pas beaucoup
qu’on me raconte 
des histoires 
de saut à l’élastique.

Il n’y a que dans les rêves que les chutes ne sont jamais interrompus 
par l’impact 
il n’y a que dans les rêves que les chutes 
durent 
rêver que l’on chute 
qu’on tombe indéfiniment 
sans que jamais cela ne s’arrête
c’est rester optimiste.

Vertigo est un beau film 
c’est un film à recommander 
en priorité 
à ceux qui ont raté 
ce qu’ils avaient entrepris 
ou qui regrettent 
de n’avoir pas agi 
en temps utile 
c’est un film qui plaît moins aux innocents 
qu’aux coupables.

Le vertige me lie à toi beaucoup plus fortement 
que mes souvenirs
tout le reste 
images et voix 
dans l’air doucement 
se dissipe 
mais le vertige reste et grandit.

Les faiblesses des gens 
les rendent sympathiques.

Quelle est votre faiblesse 
et à quoi 
silencieusement 
vous lie-t-elle?
Dites-moi quelque chose
qui soit autre chose 
que le vertige 
dites-moi quelque chose 
qui soit moins triste 
dites-moi quelque chose 
qui me fasse rire.

Du haut du septième étage tu te jettes 
et je ne peux rien faire 
pour te retenir. 


Andreï Tarkovski, Andrei Roublev (1966)

2016年4月19日 星期二

"Feeling the Space" by Yoko Ono

At YOKO ONO: Lumière de l'aube (Musée d'art contemporain de Lyon, 16/04/2016)

        A man came up to me and said "May I shake hands with the hand that shook hands with John Lennon?" 
        I said, "Well, we've done a lot of things in our time but we haven't got around to doing that yet . . . so what are you going to do about that?" 
        He just mumbled, sort of, and shook my hand anyway. Hey, yoke, yoke, yoyo, yoho! A is for Anger, B is for Brute, C is for Cunning, D is for Death. Actually, I'm a Lenny Bruce married to Greta Garbo, if you must know. Two people in love never shake hands. 
        The shortest distance between two dots is a direct line. Direct line is out of order. Snow in New York City—in our heads. Central Park is still summer. The air smells wise and tender. It surrounds me without giving me any pressure—like a kind friend. It makes me feel innocent again. 
         I was never able to get hold of my mother without touching her manicure and fur. My father had a huge desk in front of him that separated us permanently. There was always such a space around me. I would play sitting in the deep gaps between tall and fat chairs. I never liked ringing the service bell because it often made me realize that there was nobody at the other end. 
         In the middle of the night I wake up in the dark. Is this Tokyo, London, where is it? It doesn't seem to matter as long as it's on this globe. Would I care if it was on the moon? Yes, I think I would be lonelier then though I don't know why. Sometimes the moon looks closer than Tokyo. What would happen if I called my mother now. Would I hit her manicure again?
         The phone is glowing in the dark like an entrance to a mysterious space. Is there anything that is real I would hit if I reached into space through that wire? Shall I call my cousin? What time is it in Paris? I might wake up the woman he is with. Curse the day when I was taught to be considerate—it's so much like death. But that was decades ago. Now there's nobody in Paris to call. 
         I think of this friend and that friend. I want to call them and tell them how beautiful they are, how much I love them, how much I care for them . . . and, that when I said this, I actually meant that. What I really wanted to say was . . . but I just couldn't . . . and if I had . . if I had . . .
         Why is calling somebody such a difficult thing to do? They say if you write your thoughts down on paper you don't have to send it. They get the message anyway. Shall I do that? I doze off for awhile. I'm up again at dawn. I feel something strange is happening that I can't put my finger on. At the breakfast table, I find that one of the friends I wished to call had died during the night. What if I had called and spoken to her? Would it have changed anything? Things that I wanted to tell her . . . they'll never be resolved now. Never is a long time. Maybe death has resolved it all. 
         Don't leave me words, they haunt me. Leave me your coat to keep me warm. I like secondhand clothes because that is like wearing a person. 
         I miss you. I've written twenty letter to you in my mind but never mailed them. Anyway, I don't know your address. I don't even know your name. And if you do exist, why should you care about me? —an electric fan. 
         A musician came up to me and said he was very glad to work with me, because he liked foreigners. 
         "Foreigners?"
         "I mean, foreign people, specially the Oriental people." 
          I was going to snap back and say, "Well, I like to work with foreigners, too," but then the whole thing suddenly hit me as being so funny, and I just said something to thank him for liking to work with foreigners. It's hard to remember about you slanted eyes and your skin in the melting pot of a recording session, but I suppose that is the first thing that hits them when they try to communicate. "That Jap. you never know what she's thinking.” Next time you meet a "foreigner," remember it's only like a window with a little different shape to it and the person who's sitting inside is you. Anyway, in my mind I'm a singing Sylvia Plath, half her head out of the gas stove still looking for a pencil to write her last beauty. 
          In the evening I watch the city lights from my apartment that hangs in the air, and become overwhelmed with the incredibility of it all. Behind each shining dot, there is a room, an apartment, a person or people who are all having a life show of their own. Every person's life can be a book thicker than an encyclopaedia and still you couldn't explain all that they took to survive. I would probably not meet even one-thousandth of those people. The odds of not meeting in this life are so great that every meeting is like a miracle. It's a wonder that we don't make love to every single person we meet in our life. We take meetings like riding a cab. You know that you would probably never meet the driver again. Yet if the car crashed, that driver is the person you are going to die with. In fact, your life is in the driver's hands while you're in the car. But when you get to the destination, you give a bit of metal and slam the door behind you.   
          When I'm on the stage, I freak out thinking about the strangeness of the gathering. In four hours or so all the seats would be empty again. In ten years nobody would remember that these people were here, or it wouldn't matter to anybody. In a hundred years, they would all be dead. 
          People say that for the last five years I had been a hate object of the world. It was sort of fashionable to put me down. You don't hurt me though, because I know you and I love you. I can take hatred, because I don't believe that people are capable of real hate. We are too lonely for that. We vanish too quickly for that. Do you ever hate a cloud? How could anyone hate people who are on their deathbeds? That's where we all are since the day of birth. 
          Hate is just an awkward way of love. We spit on people when we want to kiss them. We hit them when we only want to be held. We talk about misunderstanding and hurt. But how could we hurt or misunderstand each other when we are so much alike, when we are the only people who share this world for this decade, this year, this day, under the same sky? Deep down inside, and far outside, none of us really misunderstand anything. We don't miss a trick. We know. But we all pretend, to ourselves and to others, that we don't. 
          All we have to do is admire each other and love each other twenty four hours a day until we vanish. That's what we really want to do. The rest is just foreplay to get to that.
          "I told 'er she should quit working' now, ya naw, now that she's married. An' you know what that bitch said, she said, 'would you quit working if you ever got married?' I mean, what's gonna 'appen to the music industry?" In my mind I'm really an eternal sphinx. 

          Shake my hand for what it's worth. There is a wind that never dies. 


(Published in The New York Times, August 24, 1973) 

2015年8月18日 星期二

Hemingway, Pascin and the Dark Girl

Jules Pascin, "Girl with a Doll" (ink/watercolor)



"Look," Pascin said. "if you think I'm in love with canvases, I'll paint you tomorrow in water colors."
"When do we eat?" her sister asked. "And where?"
"Will you eat with us?" the dark girl asked. 
"No. I go to eat with my légitime." That's what they said then. Now they say "my régulière." 

"You have to go?" 
"Have to and want to."
"Go on, then," Pascin said. And don't fall in love with typewriting paper."
"If I do, I will write with a pencil."
"Water colors tomorrow," he said. "All right, my children, I will drink another and then we eat where you wish." 
"Chez Viking," the dark girl said. 
"Me too," her sister urged. 
"All right," Pascin agreed. "Good night, jeune homme. Sleep well."
"You too." 
"They keep me awake," he said. "I never sleep."
"Sleep tonight." 
"After Chez Les Vikings?" He grinned with his hat on the back of his head. He looked more like a Broadway character of the Nineties than the lovely painter that he was, and afterwards, when he had hanged himself, I liked to remember him as he was that night at the Dôme. They say the seeds of what we will do are in all of us, but it always seemed to me that in those who make jokes in life the seeds are covered with better soil with a higher grade of manure. (103-4)

Ernest Hemingway, "With Pascin at the Dôme" from A Moveable Feast (1964)

2015年6月29日 星期一

"Foreword by Maestro Mimmo Repetto"

Saul Fletcher, "Untitled #224" (2010)
       Everything I can't stand has a name.
I can't stand old people. Their drool. Their complaints. Their uselessness. 
Even worse when they try to be useful. Their dependency.
Their noises. Numerous, repetitive. Their exasperating anecdotes.   
The centrality of their stories. Their scorn for successive generations. 
But I can't stand the successive generations either. 
I can't stand old people when they start shouting and demand a seat on the bus. 
I can't stand young people. Their arrogance. The way they show off their strength and youth. 
The saga of the heroic invincibility of young people is just pathetic. 
I can't stand the impertinent young people who refuse to give up their seat for an old person on the bus. 
I can't stand hoodlums and hooligans. Their sudden laughter, shameless and useless. 
Their scorn for their fellow man, for anyone who's different. Even more intolerable are respectful, responsible, generous young people. They're all volunteerism and group prayers. Such goo manners, such a smell of death. In their hearts and in their hands. 
I can't stand wilful self-referential children and the obsessive parents, referential only toward their children. I can't stand children who shout and who cry. Silent children make me nervous, so I can't stand them either. I can't stand workers and the unemployed and the mellifluous and reckless ostentatious display of their divine misfortune. 
Which isn't divine. Just a lack of determination. 
How can you put up with all those who are dedicated t the struggle, the revindication of claims, the facile political speech, and the sweat under the armpits? No, it's impossible to put up with them. 
I can't stand executives. There's no reason even to explain why. I can't stand the petite bourgeoisie, closed up in the shell of their shitty world. Their lives are guided by fear. The fear of everything won't fit into that tiny shell. And they're snobs, without even knowing the meaning of the word. 
I can't stand boyfriends, because they get in the way.
I can't stand girlfriends, because they intervene. 
I can't stand people who are broad-minded, tolerant, and unbiased. 
Always correct. Always perfect. Always impeccable. 
Everything's allowed, except murder. 
You criticize them, and they thank you for your criticism. You scorn them and they cheerfully express their appreciation. In other words, they're always tripping you up.    
Because they boycott viciousness. 
So, they're intolerable. 
They ask you: "How are you?" and they actually want to know. A shock. But deep down, under the disinterested interest, somewhere, there's a stab in the back lurking. 
But I also can't stand those who never put you in a quandary. Always obedient and reassuring. Loyal and duplicitous.
I can't stand pool players, nicknames, the indecisive, non-smokers, smog and fresh air, traveling salesmen, pizza by the slice, pat phrases, chocolate crunch cones, bonfires, stockbrokers, flowered wallpaper, fair-trade products, disorder, environmentalists, the sense of civility, cats, mice, soft drinks, unexpected doorbells, long phone calls, people who say that drinking a glass of wine every day is good for you, people who pretend to forget your name, people who say that they're professionals to defend themselves, former classmates who meet you thirty years late and call you by your last name, old people who never miss an opportunity to remind you that they fought in the Resistance, grownup children at loose ends who have nothing to do so they decide to open an art gallery, former Communists who go crazy over Brazilian music, airheads who say "how intriguing," fashion hounds who say "that's hot" and related terms, the sugar-sweet ones who say things like "cute," "lovely," and "stupendous," ecumenical types who call everyone "sweetheart," certain beauties who tell you they "adore" you, the lucky ones who can play an instrument by ear, the supposedly distracted types who just don't listen when you speak, the superior types who judge, feminists, commuters, artificial sweeteners, fashion designers, film directors, car radios, make dancers, politicians, ski boots, adolescents, undersecretaries for this or that, rhymes, aging rock singers with skin-tight jeans, stuck-up over-serious writers, relatives, flowers, blondes, bows, mantelpieces, intellectuals, sidewalk artists, jellyfish, magicians, VIPs, rapists, child molesters, anyone who works in a circus, cultural impresarios, social workers, amusements, animal lovers, ties, fake laughter, provincials, hydrofoils, all collectors of anything, especially watch collectors, all hobbies, doctors, patients, jazz, advertising, builders, mothers, people who watch basketball, all actors, all actresses, video art, amusement parks, experimentalists of any kind, soups, contemporary painting, elderly craftsmen in their workshops, amateur guitarists, statues in the main square, people who kiss hands, beauty farms, good-looking philosophers, over-chlorinated swimming pools, algae, thieves, anorexics, vacations, love letters, priests and altar boys, suppositories, ethnic music, fake revolutionaries, bivalves, pandas, acne, percussionists, showers with shower curtains, birthmarks, calluses, knickknacks, moles, vegetarians, view painters, cosmetics, opera singers, Parisians, high-neck pullovers, music in restaurants, parties, meetings, houses with views, Englishisms, neologisms, momma's boys, chips off the old block, wealthy heirs, other people's children in general, museums, town mayors, commissioners, protesters, poetry, people who run delicatessens, jewellers, car alarms, thin chains made of yellow gold, leaders, followers, prostitutes, people who are too short or too tall, funerals, body hair, cell phones, bureaucracy, art installations, automobiles of all engine sizes, keychains, singer-songwriters, the Japanese, high officials, racists and the tolerant, the blind, formica, copper, brass, bamboo, chefs on television, crowds, suntan creams, lobbyists, slang, stains, kept women, cornucopias, stammerers, stutterers, youthful old people and elderly young people, snobs, the radical chic, plastic surgery, ring highways and bypasses, plants and trees, loafers, sectarians, television personalities, aristocrats, cords that get tangled, showgirls, comedians, golfers, science fiction, veterinarians, fashion models, political refugees, the obtuse, blinding white beaches, made-up religions and their followers, factory reject floor tiles, the stubborn, professional critics, couples where he's a lot younger than she is and vice-versa, people who are mature, everyone with a hat, everyone with sunglasses, tanning lamps, forest fires, bracelets, nepotists and protégés, people in the armed forces, dissolute tennis players, sectarians and fans and supporters, perfume that was purchased from a tobacconist, weddings, jokes, first commons, freemasons, Mass, people who whistle, people who burst into song, burps and belches, junkies, Lions Clubs, cokeheads, Rotary Clubs, sexual tourism, tourism, people who detest tourism and say that they're "travelers," people who speak "from experience," people who have no experience but want to have their say all the same, people who know how the world works, elementary-school teachers, people who are obsessed with meetings, people who are obsessed in general, nurses who wear clogs, but why do they have to wear clogs? 
I can't stand the timid, the overtalkative, the fake mysterious, the awkward, the awkward, the airheads, the whimsically inspired, the charmingly affected, the crazy ones, the geniuses, the heroes, the self-confident, the silent, the valourous, the pensive, the conceited, the rude, the conscientious, the unpredictable, the comprehensive, the attentive ones, the humble, the experts, the passionate, the bombastic, the eternally astonished, the equitable, the futile, the enigmatic, the wisecrackers, the cynical, the fearful, the arrogant, the quarrelsome, the proud, the phlegmatic, the con artists, the too precious by half, the vigorous, the tragic, the listless, the insecure, the dubious, the disenchanted, the awestruck, the winners, the miserly, the meek, the slovenly, the saccharine, the plaintive, the grumbles, the capricious, the spoiled, the noisy ones, the unctuous, the brusque, and everyone who interacts socially with relative facility. 
I can't stand nostalgia, normalcy, cruelty, hyperactivity, bulimia, courtesy, melancholy, poignancy, intelligence and stupidity, haughtiness, resignation, shame, arrogance, amiability, two-facedness, cavalier attitudes, athleticism, goodheartedness, religious convictions, ostentatiousness, curiosity and indifference, reenactments, reality, guilt, minimalism, the sober and the excessive, the generic, falsehood, responsibility, carelessness, excitement, wisdom, determination, self-complacency, irresponsibility, correctness, aridity, seriousness and frivolity, pomposity, necessariness, human misery, compassion, gloom, predictability, recklessness, captiousness, rapidity, obscurity, negligence, slowness, mediety, velocity, ineluctability, exhibitionism, enthusiasm, slovenliness, virtuosity, amateurishness, professionalism, decisiveness, self-sufficiency, autonomy, dependency, elegance, and happiness. 
I can't stand anything or anyone. 
Not even myself. Especially not myself. 
There's only one thing I can stand.
Nuance. 

--Paolo Sorrentino, "Foreword by Maestro Mimmo Repetto" in Everybody's Right (2011) 

2015年6月18日 星期四

Quotes from “Habitus as Topic and Tool: Reflections on Becoming a Prizefighter.”

"The Mike Tyson of sociology"!


"While I was carrying out my investigations on boxing and on the ghetto, I was in permanent contact with Pierre Bourdieu, who encouraged and guided me. Upon learning that I had signed up to learn how to box at the Woodlawn Boys Club, he had written me a note that said essentially, “Stick it out, you will learn more about the ghetto in this gym than you can from all the surveys in the world.” (Later on, as I got deeper into my immersion, he got a bit scared and tried to get me to pull back. When I signed up to fight in the Chicago Golden Gloves, he first threatened to disown me as he feared that I would get hurt, before realizing that there was no need to panick: I was well prepared for this trial by fire.) Bourdieu came to Chicago several times, visited the gym, and met DeeDee [Wacquant's boxing coach] and my boxer friends (I introduced him to them as “the Mike Tyson of sociology"). During one of these visits, we hatched the project of a book that would explicate the theoretical core of his work, aimed at the Anglo-American readership, since it was on this front that there were the strongest distortions and obstacles to a fertile grasp of his models. We devoted three years to writing this book across the Atlantic (by fax, phone, letters and meetings every few months), entitled An Invitation to Reflexive Sociology (Bourdieu & Wacquant 1992), in which we disentangle the nexus of habitus, capital, and field. During those years, I led a sort of Dr.-Jekyll-and-Mr.-Hyde existence, boxing by day and writing social theory by night. In the afternoon, I would go to the gym, train, hang out with my buddies, and “conversate” on end with our coach DeeDee before driving him home at closing time. And, later that evening, after having typed my fieldnotes, I would switch to the book manuscript with Bourdieu. It was in turns intoxicating, invigorating, and exhausting. But the daytime sessions as a student of pugilism offered both a respite from theoretical cogitation and powerful stimuli for thinking through the abstract issues tackled in the book in very mundane empirical terms. The sociology of the ghetto (which I had extended to encompass a comparison with the postindustrial transformation of the French urban periphery), the carnal ethnography of the skilled body, and theoretical work with Bourdieu: all of these strands were elaborated together and at the same time, and they are all woven together" (86-7).


"The idea that guided me here was to push the logic of participant observation to the point where it becomes inverted and turns into observant participation. In the Anglo- American tradition, when anthropology students first go into the field, they are cautioned, “Don’t go native.” In the French tradition, radical immersion is admissible—think of Jeanne Favret-Saada’s ([1978] 1980) Deadly Words—but only on condition that it be coupled with a subjectivist epistemology which gets us lost in the inner depths of the anthropologist-subject. My position on the contrary, is to say, “go native” but “go native armed,” that is, equipped with your theoretical and methodological tools, with the full store of problematics inherited from your discipline, with your capacity for reflexivity and analysis, and guided by a constant effort, once you have passed the ordeal of initiation, to objectivize this experience and construct the object, instead of allowing yourself to be naively embraced and constructed by it. Go ahead, go native, but come back a sociologist! In my case, the concept of habitus served both as a bridge to enter into the factory of pugilistic know-how and methodically parse the texture of the work(ing) world of the pugilist, and as a shield against the lure of the subjectivist rollover of social analysis into narcissistic story telling" (87-8).


"Apprenticeship is here the means of acquiring a practical mastery, a visceral knowledge of the universe under scrutiny, a way of elucidating the praxeology of the agents under examination . . . it relies on the most intimate experience, that of the desiring and suffering body, to grasp in vivo the collective manufacturing of the schemata of pugilistic perception, appreciation, and action that are shared, to varying degrees, by all boxers, whatever their origins, their trajectory, and their standing in the sporting hierarchy (Wacquant 2005a)" (88).


—Loïc Wacquant, “Habitus as Topic and Tool: Reflections on Becoming a Prizefighter.”

2015年4月27日 星期一

Because We Are Also What We Have Lost

Bray, Ireland. 10/8/2014.
I.
"A luciano: porque también somos lo que hemos perdido."

—Alejandro González Iñárritu, Amores Perros (2000)

II.
« Il [le fond] est là, qui nous fixe, pourtant sans yeux. L'individu s'en distingue, mais lui, ne s'en distingue pas, continuant d'épouser ce qui divorce avec lui. Il est l'indéterminé, mais en tant qu'il continue d'embrasser la détermination, comme la terre au soulier. Or les animaux sont en quelque sorte prémunis contre ce fond, par leurs formes explicites. Il n'en est pas de même pour le Je et le Moi, minés par les champs d'individuation qui les travaillent, sans défense contre une montée du fond qui leur tend son miroir difforme ou déformant, et où toutes les formes maintenant pensées se dissolvent. La bêtise n'est pas le fond ni l'individu, mais bien ce rapport où l'individuation fait monter le fond sans pouvoir lui donner forme (il monte à travers le Je, pénétrant au plus profond dans la possibilité de la pensée, constituant le non-reconnu de toute récognition).» (197-8)
—Gilles Deleuze, Différence et répétition (1968)

III.
我到魔鬼湖畔的時候
美麗還沒醒來
美麗還沒醒來,是
最美麗的時候
夢恣意遊移在視線內外
霧包裝的顏色還沒打開......
我輕輕把腳步聲栽進土裡
迅速忘掉它的所在。而
所有被忘了的事
將在我記得的部份盛開
羅智成,<清晨>(1989)