Art of Traveling (a text of Dany Laferrière translated by Vadim Bystritski) — Before and After Francis Ponge

The Art of Traveling

.

The ultimate luxury in our increasingly gregarious world, 

the thing more and more refused to each other, is being

alone. That is why we need to have delivered to a small

local hotel the complete works of Balzac, then announce

to everyone our departure on a trip, severing all links and

making ourselves unavailable for a few days. We shouldn’t

need to go sight-seeing, because we live there. The hotel room

is booked for reading. If we want to have a drink or see people,

we may go to the barroom, later returning to a made bed to

slip between clean sheets and sip tea brought up by the room

service and so on until the end of Human Comedy

without skipping long scenery descriptions.

.

L’art de voyager

On choisit un petit hôtel de sa propre ville

en y apportant l’œuvre complète de Balzac.

On annonce à tout le monde qu’on est

en voyage, puis on coupe tous les fils

qui nous relient aux autres.

Inatteignable durant quelques jours.

Dernière luxe dans un monde

de plus en plus grégaire

où l’on refuse de laisser à l’autre le plaisir

d’être seul même pour une minute.

On n’a pas besoin de visiter la ville

puisqu’on y vit.

On reste dans la chambre pour lire.

Si on veut boire un coup et voir du monde,

on descend au bar.

Et après un temps, on remonte pour pour trouver

le lit bien fait.

On se glisse alors sous les draps propres

après avoir fait monter du thé,

et on y reste jusqu’à ce qu’on ait terminé

La Comédie humaine

sans sauter, cette fois, les descriptions

de paysage.

Art of Traveling (a text of Dany Laferrière translated by Vadim Bystritski) — Before and After Francis Ponge

Art of Traveling (a text of Dany Laferrière translated by Vadim Bystritski) — Before and After Francis Ponge

The ultimate luxury in our increasingly gregarious world,  the thing more and more refused to each other, is being alone. That is why we need to have delivered to a small local hotel the complete works of Balzac, then announce to everyone our departure on a trip, severing all links and making ourselves unavailable for a few days. […]

Art of Traveling (a text of Dany Laferrière translated by Vadim Bystritski) — Before and After Francis Ponge

Passivity ( a text of Maurice Blanchot translated by Vadim Bystritski) — Before and After Francis Ponge

Passivity is not just acceptance, not like amorphous, inert matter ready to fit into a form, but passive as under pressure of death — death whose silent intensity does not resemble a welcome reception, leaving its imprint without a word, a body being delegated to the past, a body seen as an interval, a being in suspension, whose syncope is produced by snipping of time and which we can only see as some unarticulated savage history that presently makes no sense. Passive here is a complete absence of narrative, leaving us with an event that cannot be cited and is impossible as a recollection of a forgotten thought, because it was never forgotten, always remaining outside the field of memory.

Passivité n’est pas simple réception, pas plus qu’elle ne serait l’informe et inerte matière prête à toute forme — passives, les poussées de mourir (le mourir, silencieuse intensité ; ce qui ne se laisse pas accueillir ; ce qui s’inscrit sans parole, le corps au passé, corps de personne, le corps de l’intervalle :

[…]

Passivity ( a text of Maurice Blanchot translated by Vadim Bystritski) — Before and After Francis Ponge

Death As an Imposter (a text of Georges Bataille translated by Vadim Bystritski) — Before and After Francis Ponge

I exist, around me extends the void, the real world’s darkness. I exist and continue blind, anxious, because people next to me are so obviously other beings, feeling nothing of what I feel. As I imagine my arrival in this world from the union of a man and a woman, and at the very moment of that conjunction, a unique opportunity is a decision taken about this me that I am, and without which for me, ultimately, there would not be anything. Of this small difference, I am the consequence. As far as I am concerned, without that there wouldn’t be anything, the same as in case of my death.

This tiny chance of my arrival suspended over void, seems to challenge the void, this infinite painful impossibility facing the unique being that I am.

The others’ presence near me matters little, given my unsubstentiabiliity in the midst of negligence, my awareness of my loneliness. The notion of unique chance follows me in the world where I abide, and where we both, the world and myself, are total strangers to it all.

And if the world fails to grasp this consciousness of mine, trembling, I give up all hope of logical cohesion, vowing myself to immobility, first my own, then to take it to another level, of everything else, which is a situation of some staggering drunk, who mistaking his life for a candle that he has blown out, is left screaming in the dark…

J’existe — autour de moi, s’étend le vide, l’obscurité du monde réel — j’existe, je demeure aveugle, dans l’angoisse : chacun des autres est tout autre que moi, je ne sens rien de ce qu’il sent. Si j’envisage ma venue au monde liée à la naissance puis à la conjonction d’un homme et une femme, et même, à l’instant de la conjonction — une chance unique décida de la possibilité de ce moi que je suis : en dernier ressort l’impossibilité folle du seul être sans lequel, pour moi, rien ne serait. La plus petite différence dans la suite dont je suis le terme : au lieu de moi avide d’être moi, il n’y aurait quant à moi que le néant, comme si j’étais mort.

Death As an Imposter (a text of Georges Bataille translated by Vadim Bystritski) — Before and After Francis Ponge

Obsession or Two Men at Sea (an excerpt from a text of Paul Valéry translated by Vadim Bystritski) — Before and After Francis Ponge

All day long, I wandered around the city and its port. This simple and plain walking can excite the dreamer. No matter if he accelerates or slows down, it changes nothing for him. Madness, no matter whether good or evil is hiding behind it, will bend to its will the law of equal steps. Only yesterday, I knew the happiness of being divinely transported by what sings and creatively delivers. Now I had to flee my thoughts. I had been bearing it until I was ready to die of frustration, anger, affection, and impotence. My hands were dreaming. Unnoticed, they took, folded and contorted shapes and acts — so crisp and deadly. And at every moment I was everywhere where I was not, and I saw everything replaced by something that made me moan.

Nothing is more creative than an incarnated venomous idea whose sting will push life against life before pushing it out of life. This venomous idea continuously elaborates, retouches and reanimates innumerable stories of hope and despair. These stories by far surpass reality. I’d been walking for some time now, knowing well that being carried by my exasperated soul doesn’t bother the atrocious insect that had inflicted upon my soul a burning wound. The ardent tip had abolished the value of all visible things. That’s why I remained unfazed by the sun and radiant ground I was walking upon. Objects could only contradict or irritate my preoccupations. I noticed the passerby less than their shadows. I could only stare at what was above my head or under my feet. The route led to the sea. A light beam from a lighthouse zoomed over the trees’ voluminous foliage. To my eyes this immense and pure panel of most tender color appeared naked and tense. And while the trees were rocking the breeze and the searchlight was sweeping over their subtle and gilded mass, I heard a voice coming from the bottom of my heart and calling me a fool and lunatic.

L’idée fixe ou deux hommes à la mer.

Je me mis à errer presque tout le jour, à battre la ville et le port. Mais la marche simple et plane ne fait qu’exciter ce qui songe : il la presse, il la ralentit: il n’en est point gêné. La loi des pas égaux se plie à tous les délires, et porte également nos démons et nos dieux. Jadis, j’avais connu le mouvement de l’invention heureuse et le transport d’un corps vivement mené par ce qui chante et s’enfante divinement. Je fuyais à présent devant mes pensées. Je portais ça et là de quoi mourir de dépit, de fureur, de tendresse et d’impuissance. Mes mains rêvaient; prenaient, tordaient; créaient à mon insu des formes et des actes; et je les retrouvait crispées et meurtrières. Et j’étais à chaque instant où je n’étais point; et je voyais, à la place de toute chose, tout ce qu’il fallait pour gémir.

Quoi de plus inventif qu’une idée incarnée et envenimée dont l’aiguillon pousse la vie contre la vie hors de la vie? Elle retouche et ranime sans cesse toutes les scènes et les fables inépuisables de l’espoir et du désespoir, avec une précision toujours croissante, et qui passe de loin la précision finie de toute réalité. Je marchais, je marchais; et je sentais bien que cet emportement par l’âme exaspérée n’inquiétait pas l’atroce insecte qui entretenait dans la chair de mon esprit une brûlure indivisible de mon existence. L’ardente pointe abolissait toute valeur de chose visible. Le soleil ni le sol éclatant ne m’éblouissaient. Les objets contrariaient, irritaient mes soucis; et je percevais les passants un peu moins que leurs ombres sur la route. Je ne pouvais fixer que la terre ou le ciel. Cette route allait à la mer. La lanterne d’un phare étincelait au-dessus des feuillages. Une immense et pure paroi, de la plus tendre couleur, m’apparut nue et tendue à la hauteur de mes yeux, au delà des masses souples et dorées de beaux arbres que berçait la brise de terre; et quelqu’un dans mon coeur me traita de fou et de sot.

London Bridge (a text of Paul Valéry translated by Vadim Bystritski) — Before and After Francis Ponge

Some time ago, while I was crossing the London Bridge, I stopped to watch what I like best — rich, heavy and complex water, covered by mother-of-pearl fabric, blurred by the clouds of mud, bewilderingly busy with a great number of vessels, whose white steam, moving spinnakers, all bizzare maneuvers that ballance bales and crates, […]

via London Bridge (a text of Paul Valéry translated by Vadim Bystritski) — Before and After Francis Ponge