It is in the process of re-production mentioned in my last week’s that one encounters the anxiety of writing. This re-production makes apparent that the predecessor is always a deterrent, insofar as he is, chronologically as well as conceptually, the firstborn.
By acknowledging the fact of the re-production of ideas, one becomes
aware of what I would like to call the surplus of the precedent. This is
an excess impossible to escape, since writing is, by its very nature, an act of
production. As production is progression from nothing to something, producing
means bringing about a surplus: an object that didn't exist before. And so,
every inscription is an excess. But the surplus I started to talk about last
week is that of the predecessor. And this is what I'm going to talk about now
as well, even at the risk of producing dreadful repetitions.
The difficulty of freedom
The fact that ideas have a history means, of course, that there was a
time when they did not exist. But locating that time, that paradise of signification
where one could pick and choose from a range of virgin ideas roaming freely the
green pastures of pre-meaning, is an operation hard to perform. Not only would
it take endless effort to identify that time of spotlessness, but arriving at a
conclusion (provided such arrival is possible at all) would bring little
satisfaction to the finder.
Wenceslas Hollar, The Sword of Damocles. Source: Huffington Post |
What is more important in this equation, though, is, once again, the
awareness one acquires of the pre-existence of their own ideas. With this major
breakthrough, one comes to the realisation that there is room for one’s own
idea in the world; that the world is permissive insofar as the absorption of
concepts is concerned. But at the same time one finds out, quite brutally, that
the way concepts work has little to do with the falsely glorified assertion of
freedom. The spirit that roams freely is a myth that goes nicely with all the
other romaticisms related to writing. That is, it goes straight in the basket
of busted myths. If anything, the individuality that creates grows extremely
anxious at the acknowledgment of patterns. One finds out, for instance, that
there is a form in which ideas need to be put, be they beautiful or glorious or
absolutely novel, as the case may be. While this is supposed to provide
reassurance and to calm the spirit that doesn't know what to do with the
so-called freedom, in reality the recognition of patterns causes doubt,
degringolade, anxiety. When many can do one thing, and when that thing is so
well delimited that little escapes from the confines of possibility, the
likelihood of another's doing it better looms over the entire project like the
sword of Damocles.
The way out of this impasse is the way of originality. But in order to
be original one needs to be without patterns; one needs to work outside genres,
outside communities, outside recognition. Unrecognized, one's work is without
value, in the sense that there is no axiology in place (yet) to assess the
worth of this work without patterns. Originality eventually leads to more anxiety,
since to be original means to be in a void, to be where nothing or very little
has existed before. And unless one is never anxious in a situation of freedom,
the creative act cannot be enjoyed; there can be no jouissance in writing.
Ignorance is bliss
Re-writers need to be oblivious of precedence if they were to operate at
all within the field of writing.
It is precisely this oblivion, this need to ignore the fact that a text
was written before, that brings along a very powerful element of hope.
Writing in full awareness of the precedence of those who did it before
transform the writing process into something like a phobia of repetition. The
anxiety of influence, to use now the term so frequently used by literary
critics, is the phobia of coming again, of arriving at a text already
formulated by a predecessor. That, in the field of creative writing, where
success is measured in terms of originality, is doubtlessly problematic. If
saying it again is not permitted, then the very act of saying is fraught with a
fear of repetition. Hence the anxiety.
The anxious writer who seeks emancipation from this fear perceives the
act of inscription as something that has to be without borders. But borders,
when it comes to writing, are impossible to ignore. And so, the desire to write
in a creative manner is constantly faced with this frightening reality of the
other who is always a surplus, in the sense of being a parasite intruding the
process of writing not in order to participate creatively but in order to
deter. This third element is the reminder that precedence is a fact, and, more
significantly, that it is a fact present at this particular moment, while I,
the writing individuality, am trying to proceed with my own writing.
Moreover, because the precedent cannot be located with any degree of
exactitude, it appears to the subject as a plurality.
To put it in more practical terms, every awareness of the precedent
generates a further awareness of an entire plane of precedence, where ideas
pre-exist, and along with them the signs that one could use in order to build
one’s own idea.
Domenico Feti, Ecce Homo. Source: Zinzendorf Jubilee |
And so the creative writer has the privilege as well as the terror of
knowing the extent of precedence. To be without this terror, writers have to be
able to forget the obvious. They have to be well trained in the art of not
recognising a precedent when they see one. This is not unlike the Christian
principle of kenosis: Christ's purposeful forgetting of his divine nature,
which is the only way he can die on the cross, like a mere mortal. Had he remained
divine, he would have never accomplished that most humane act of bleeding to
death; conceiving that dying was his utmost gesture of creativity, his point of
distinction, his originality.
The eternal game of pain and pleasure
I don’t believe in the myth of the talented writer. But to use this myth
as a figure of speech, I would say that a truly talented writer is not one who
finds it easy to write but one who finds it easy to perform a slalom between
the texts that precede their own text. And this is a form of wisdom rather than
one of talent. A wise writer, rather than a talented writer, is capable of
seeing the signposts left in the field by their predecessors, and by being able
to see them they also become capable of eschewing those signposts before
committing the crime (drastically sanctioned by the creative environment in
which they operate, and which is founded on the principle of originality) of
repetition. Of course, in order to acquire this habit one needs to train
oneself. One needs, first and foremost, to learn the conventions of writing.
Conventions which act not as aids but as constraints.
“Don’t go there” is the maxim, indeed the warning, that guides a
creative writer. The writer who is aware of the possibilities left in the field
after everything (or almost everything) has already been said is one who, then,
can turn strictures into possibilities.
It’s like in the quasi-absurd joke about the guy who masturbates using a
hammer. He bludgeons his sexual organ with all his might and screams in pain
every time he hits the target. A friend who sees him asks: Hey, as far as I
know, masturbation should cause pleasure. Where is your pleasure?"
And the answer is: “I get my pleasure when I miss the target.”
Francisco Goya, Saturn Devouring His Son. Source: The Masterpiece Cards |
The certitude of pain leaves room for very little pleasure. Indeed,
pleasure is possible only in an accident, when the hammer doesn't hit the
target. The omnipresence of pain that preceded the act has made room for little
satisfaction. And one can imagine the protagonist of this anecdote purposefully
missing the target, so as to acquire the pleasure associated with the act.
But the point is that restriction (pain) is being turned here into
possibility. The pleasure-to-come is worth all the effort and all the
(unavoidable) anxiety. Cohabitation with the threat - one of the great truths
of writing.
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