Fiction

41. “Nausea”

The Nausea is not inside me: I feel it out there in the wall, in the suspenders, everywhere around me. It makes itself one with the café, I am the one who is within it.

– Jean Paul Satre: ‘Nausea’, 1938

Kermode admires in Sartre’s “La Nausee” the tension between paradigmatic form and contingent reality; but it seems to me clear that the viscous “reality” of “La Nausee” is just as much a fiction as any lies constructed in “bad faith,” although the former may be a fictive version of the world derived from the less explicit, probably unconscious perceptions of “order.” Are our fictions ever checked or qualified by anything but other fictions?

– Leo Bersani: ‘Variations On a Paradigm’, New York Times, 11 June 1967

Advertisements

50. “Structure mere successiveness into patterns”

We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord.

– Frank Kermode: ‘Sense of An Ending’, Oxford University Press, 1967

For if what Kermode persistently refers to as merely successive, “real” time were in itself but another fiction, then he would be committed only to a study of various orders of fiction rather than to a study of fictions as changing responses to a hypothetically changeless and formless reality. And fictions may be sense-depriving as well as sense-making.

– Leo Bersani: ‘Variations On a Paradigm’, New York Times, 11 June 1967

55. “Break through its own paradigms Reinvent cherishable world within prison of temporality”

The paradigm of the world is eternal; and his existence, as a paradigm, is that which is essential, and not accidental to him. But because he possesses the power of being a paradigm essentially, hence, as he is eternal, he will be eternally the paradigm of the world. If, however, an existence eternally is present with the paradigm, the image also will necessarily always exist; for a paradigm is a paradigm with reference to an image. But if the image was not when the paradigm was not, neither will the paradigm be when the image is not; since, in this case, it will no longer be a paradigm. For either it will not be a paradigm if the image is not, or it will not be the paradigm of the image. Of things, therefore, which are predicated with reference to each other, the one cannot exist if the other is not. Hence, if the paradigm of the world is eternally the paradigm of it, the world always is an image of an eternally existing paradigm.

– Proclus: ‘Argument the Second’ in Thomas Taylor: ‘Fragments that Remain of the Lost Writings of Proclus’, 1825

However, unless he would rather foist on Plato what he [Proclus] himself thought, just as he took over from Plato that the cosmos must be like the paradigm, so too must he show whether Plato wanted time to be infinite in both directions in order to infer the rest from Plato’s assertions in the following way: if the cosmos is like the paradigm in this way – by existing for all time just as the paradigm exists for all eternity, and if according to Plato is infinite in both directions. But in fact, since he is not able to show that this is Plato’s opinion, he assumes on his own without proof that time is infinite in both directions.

– Philoponus: ‘Against Proclus on the Eternity of the World 12-18’

But we never break free of our paradigms of order, and the new ones are always related to the older ones. Thus, when we speak of living in an age of perpetual transition, we are not abandoning the fiction of an end, but merely “registering the conviction that the end is immanent rather than imminent.”

– Leo Bersani: ‘Variations On a Paradigm’, New York Times, 11 June 1967

57. “Far-ranging mockery Wealth of possibility whose individual possibilities tend to cancel one another out”

“…open-ended, provisional, characterized by suspended judgments, disbelief in hierarchies, mistrust of solutions, denouements and completions, by self-consciousness issuing in tremendous earnestness but also in far-ranging mockery, by emphasis on the flesh to the anachronization of the spirit, by a wealth of possibility whose individual possibilities tend to cancel one another out, by unfreedom felt as freedom and the reverse, by cults of youth, sex, change, noise and chemically induced ‘truth.’ It is also a reality harboring a radical mistrust of language, writing, fiction, the imagination.”

– Richard Gilman: Review of Donald Barthelme’s ‘Snow White’, New Republic Vol. 156 Issue 22, 3 June 1967

 

59. “One “retracts””

Each one (retracts) within the time of the utterance of his fellow.

– The Babylonian Talmud, Tractate Sanhedrin

Reality no longer sustains the values necessary to the creation of Snow White…, or the witch or the dwarfs; it lacks the floor under the imagination, the ingredients of possible aspiration, the hunger for simulated fate, to create “stories” of any kind. There is therefore no happy ending to this Snow White, no denouement except one that mocks the original’s, no satisfaction to be obtained from a clear, completed arc of fictional experience. Fiction, Barthelme is saying, has lost its power to transform and convince and substitute, just as reality has lost, perhaps only temporarily (but that is not the concern of the imagination), its need and capacity to sustain fictions of this kind…. [The] book makes its way by dealing steadily with the problems of language. One “retracts” what the written world has been composed of not by ignoring it, by writing new language, but by discrediting it as the answer to one’s own contemporary needs.

– Richard Gilman: ‘Donald Barthelme’ reprinted Random House in ‘The Confusion of Realms’ in 1969