All the positivity … is revolting. That’s what we want to say. We can’t stand the … positivity. We can’t bear it, the … positivity. What it was supposed to mean. It sickens us. All positivity is…. Hypocrisy. Is a lie.
All upbeatness. All words of encouragement … Unbearable! All good cheer. Nauseating! All non-depression. All non-despair. Flaunting itself! Dancing, pretty much! Shameless!
Listen to these people talk. The way they speak. Move. Their bearing.
It’s an offense. It’s disgusting. It’s aberrant. How can they bear themselves? How can they go on? How can they be like this? How can they survive, from moment to moment? How does all this go on? This lie? This exuberance? This can-do. This yes I can.
It’s the worst nihilism. Much worse than we are. Than anything we could do.
At lest we’re truthful. At least we don’t try to cover it over with lies. Which is why there’s some integrity to us, after all. It’s like they’re drunk – permanently. Like they’ll never come down. Like they’ll never have to come down.
Because of some gift of temperament. Because of some natural mood. Because of some … hormones. Some luck of physiology. Of genetic inheritance.
We know that we’re fake. We know it’s all fake. But what good does that do us? At least they can live in good cheer. At least they can go on, happily. As for us … You’d have thought we could do something with all this truth. That we could make something of it: what’s been shown to us.
Whereas, in fact, it leaves us with nothing. It gives us nothing. It deprives us of everything. It reduces us to nothing. Destroys us. Wears us away. There’s nothing we can do with it. We can’t make it into … anything.
Except literature … Maybe that.
The Work … is that what it’s about: our failure? Are you trying to make good on what’s been revealed? To write something about it? With it? Are you trying to do something with our despair?
What hubris! A despair work! Cunning! There’s something sly about it. An attempt to outwit stupidity. To pull intelligence out of the hat of idiocy … at the last moment. In the final hour.
You opportunist!
To write about your failure is still a way of failing.
No, it isn’t.
No – it isn’t. A cunning plan: to make a literary success of where you failed as a philosopher. It’s brilliant …. A masterstroke …
But it’s stupidity’s brilliance. It’s failure’s masterstroke.
Of course, it’s a betrayal of philosophy. I mean, using philosophy for literary purposes. Tell us, is that what you always had in mind? Were you really a kind of literary spy in the house of philosophy? All along? Did you always harbour literary dreams?
That meant you never were a philosopher, not really. And it means that you never really felt your failure as a philosopher, which is worse. Because writing about that failure would be your literary success.
Cunning! Fiendish! What a plan! What resourcefulness! Brilliant! What a manoeuvre! All along, you were an insincere failure. You never really believed in your failure. You thought you could turn it all into some Beckett play, some Bernhard monologue.
Your philosophical sojourn. Your passing-through philosophy. When it was all about literature and nothing other than literature – all along!
And what are we left with, those around you? What are we all about? We’re bit players in your drama. We’re background characters. Flat characters. Nobodies and nothings in your literary concoction.
I’ll tell you what the work is: to write the book, then die. To draw a line under it all.
How about writing the book, then living.
Because I can’t stand the shame No more shame, The shame of being human – Deleuze writes about that.
You want to finish the Work. To complete the Work. As if you have done with your own stupidity. And you’ll never have done with that.
Unless you could show stupidity as something else. Is that possible? Unless you can turn your stupidity into literature. It’s a masterstroke. I don’t know whether to … punch you in the nose, or embrace you.
You’ve found a way out. A literary escape route. The Work … I see it now. What it was all about … Hope, in the final hour. At the very end. Right here … hope. That you could make good on it all.
I never would have thought it. Believed it possible. I never thought you had it in you. It’s admirable, in its way. Or it’s disgusting. I’m not sure which. You were a pretender, all along. A fake philosopher. A charlatan.
The Work – so we’re all imprisoned in your work. We’re all being channelled into your Work. We’re all locked up. This will be a scene, wont it: us saying we’ll all be imprisoned. Us saying, this will be a scene.
What literary resourcefulness! What a literary trick! What literary cunning! Infinite resourceful! Literary genius!
But will your book be any good? A book made of our despair. That is driven by our despair. That runs on despair. That is a despair engine. A despair machine.
And you’re a despair impressario. I’ll bet your recording this conversation. I’ll bet if we shook you down, we’d find some recording device. Your phone with its mic on. Or are you remembering it all? Through some trick. You’ll come to a bad end, trickster. You won’t be able to live with yourself, trickster.
Looking through the notebook. These are things that we’ve been saying. Boys, we have a traitor in our midst. A member of the secret police. Is that what you are, X? Are you writing reports about us. But who could be interested? Do they think we’re some kind of secret society?
Don’t flatter yourselves. Who’s this for? What are you writing for?
These are your red pills. This is how you’re escaping from the Matrix. From the false world. Literature is gnosis, for you. These notes … these records you’re keeping. Who for? Posterity?
Do you think there’ll be anyone to read them? Do you think there’ll be a future in which anyone reads?
The pointlessness of it. This literary recording. Are you keeping a diary? Who keeps diaries? Is this for something? Are you planning to write it up? But for who? For what purpose? Who would want to read such things? You, in the future? To reflect on the follows of your youth. But you’re hardly young anymore.
What’s it matter? We’ll all go mad in the end.
Was your philosophical gloom was always false gloom? Your philosophical despair? You always had a card up your sleeve. You always had a final trick to play. You always had hope.
Judas! Who would publish this anyway, your literary shit? Who would want to read it? This isn’t a country for this sort of thing. Do you think this is postwar Austria, or something? Eurodoom doesn’t sell, does it? The Anglophone world doesn’t go in for this sort of thing.
You’re always been looking at yourself at one remove. You’re an actor. Looking at us from afar. Never really with us.
We’ve give our lives to this. We’ve ruined ourselves. And you … you’re going to be the Great Survivor. The literary survivor. Make literary gold out of philosophical dross.
You’re a tourist. You were a passenger all along. And I thought you were one of us! And so did Cicero! That’s why she made you Head of Philosophy, because she thought you were one of us.
Unless she’d worked it out … unless she thought .. Perhaps Cicero employed you for this reason: she wanted some literary immortality. She saw a literary type in you. She saw a writer – a literary writer She wanted someone to tell the story of the demise of philosophy at N.U.
She saw someone to tell her own story. To celebrate her. She wanted to enjoy some literary immortality.
But of course there is the question of getting published. Of you being able to et this out there at all. There is the question of whether you can write.
Literature: that’s your consolation. Well, its pathetic. Literary fiction…
This isn’t going to win any prizes. It probably isn’t even going to be reviewed. Who could make sense of it. It doesn’t sound very establishment literary fiction, does it? You’ll be lucky to get it published. Oh, maybe you’ll publish it yourself. Through Lulu, or whatever. And sell, like, zero copies. Give is a copy each, and that can be our testimony.
It’s an amusing idea, I admit it … A record has been kept … Our … world won’t just disappear into oblivion. It’s a kind of intellectual history, in its way. An anti-intellectual history. An account of an obscure pseudo-intellectual backwater. Of a culture of let’s-pretend-we’re Europeans.
How will you make us look? Will we be sympathetic characters? You’ll need some plot. You can’t just have us moaning. How would you sell it to a publisher? What’s trending in the publishing word these days? Could you see it on the 3 -for 2 piles? Better prepare your speech prize …
Write about your affair. Make it erotic, philosopher. Put some sex in it – that’ll sell. Call it Philosophy in the Bedroom, or whatever. You can write all about your affair. Very racy. You’re seeing Priya for the story? To have something to write about?
Are you going to put us reading your notebook into your novel? How tediously postmodern. How self-referential. All these tired literary tricks. It’s all been done!
Everyone’s thoroughly sick of literature. It’s dying out! Even the stuff that wins prizes isn’t literature. Just schlocky literary fiction, which has nothing to do with Literature, capital L. And I’ll bet that’s what you’re trying to write: Literature, with a capital L.
You’re too late for literature, idiot. You need a reading culture, and there isn’t a reading culture anymore, if there ever was. We’re all distracted. We’re all busy. We’ve done out literary reading. Holderlin, Char. The rest of it … forget it.
The writer in our midst. Our Homer. Who’s telling our epic. We should do some literary things, for your narrative. Catch trains, or fall in love. Do you see yourself as a Sebald, As a chronicler of intellectual life. At a pivotal time. Like Mann. Or Dostoevsky. Or Woolf.