Ordinary language is all right.
One could divide humanity into two classes:
those who master a metaphor, and those who hold by a formula.
Those with a bent for both are too few, they do not comprise a class.
William M. Johnston's description of Karl Kraus calls to mind Borges' Funes the Memorious:
'Kraus's idolatry of language sprang from a photographic memory. He claimed that he could remember every occurrence undergone since age two, and he was such an uncanny mimic that those who heard him recite Nestroy or Shakespeare deemed his the definitive interpretation of every role. If Kraus had left a legacy of phonograph records instead of books, he would, suggests Willy Haas, rank as one of the greatest of actors. So accurate was Kraus's recall of quotations that he endured a kind of permanent anamnesis: "Much of what I experience for the first time I can already remember." Small wonder that Kraus excelled at weaving quotations into sardonic prose. One third of his "mammoth-drama," Die letzten Tage der Menschheit (Vienna, 1922), consisted of excerpts from the daily press. Similarly his conviction that linguistic usage reflects morality stemmed from a tyrranical memory for words. Like that other superb listener, Freud, Kraus averred that every slip of the tongue - or increasingly, every printer's error - betrayed some deeper intention. Whatever Kraus's mind recorded, he interpreted with unrelenting literalness, as if the speaker had meant exactly what his words said. Kraus could not stomach anyone who lacked command of words.
That Kraus regarded memory as a mixed blessing is amply illustrated by the poem, "Return into Time" [Rückkehr in die Zeit]:
Mein Zeiger ist zurückgewendet,
nie ist Gewesnes mir vollendet
und anders steh' ich in der Zeit.
In welche Zukunft ich auch schweife
und was ich immer erst ergreife,
es wird mir zur Vergangenheit.
. . . . . . . . . . .
Ich bin mein truester Begleiter
und lebe das Gelebte weiter,
und Neues kann mir nicht geschehn.
Von einem Urbild war gesegnet,
was mir zum erstenmal begegnet,
und ist mir wie ein Wiedersehn.
My watch is turned backward,
Never is what's past over for me
And I stand differently in time.
Whatever future I may reach
And whatever I graps for the first time
becomes for me the past.
. . . . . . . . . . .
I am my own truest companion.
I relive what I have lived before,
and nothing new can happen to me.
What I encounter for the first time
Has been blessed with a primal form
And is to me like a second meeting.
Kraus yearned to experience something genuinely new, unsullied by memory. Overwhelmed by a sense of déjà vu, he juggled an unending supply of Platonic models, which he used to classify and judge whatever might occur. Imprisoned by what his mind had etched upon it, he flailed at solecisms and disharmonies of contemporary speech, which he could not avoid assimilating. This satirist suffered the agony of a musician blessed with perfect pitch, yet fated to spend a lifetime listening to the tone-deaf.'
(Borges' narrator, on Funes: 'It was hard for him to sleep.')
'Your Pazz & Jop albums ballot was submitted as follows:
1. Smog - A River Ain't Too Much to Love - Drag City (30)
2. Amerie - Touch - Sony Urban Music / Columbia (30)
3. WC - West Side Heavy Hitter - Vista Media (5)
4. Z-Ro - Let the Truth Be Told - Rap-a-Lot / Asylum (5)
5. Beanie Sigel - The B.Coming - Roc-a-Fella (5)
6. Seu Jorge - Cru - Wrasse (5)
7. Danger Doom - The Mouse and the Mask - Epitaph (5)
8. DJ Muggs vs The GZA - Grandmasters - Angeles (5)
9. Lil' Wayne - Tha Carter II - Cash Money / Universal (5)
10. Takacs Quartet - Beethoven: Late String Quartets - Decca / Universal (5)
Your Pazz & Jop singles ballot was submitted as follows:
1. Mike Jones f. Slim Thug and Paul Wall - Still Tippin' - Swishahouse / Warner Bros.
2. Amerie - 1 Thing - Sony Urban Music / Columbia
3. Z-Ro f. Devin the Dude and Juvenile - The Mule - Rap-a-Lot / Asylum
4. Tweet - Iceberg - Atlantic
5. Low - Walk Into the Sea - Sub Pop
6. Geto Boys - I Tried - Rap-a-Lot / Asylum
7. Rihanna - Pon de Replay - Def Jam
8. The Juan Maclean - Give Me Every Little Thing - DFA / Astralwerks / EMI
9. Pimp C f. Z-Ro, Bun B & Twista - I'sa Playa - Rap-a-Lot / Asylum
10. Kelley Polar - Here in the Night - Environ'
'I am convinced that we do not only love ourselves in others but hate ourselves in others too.'
- I don't have any pictures of you, I said. I'll be sad when we're not together anymore and I don't have any pictures to remember you by.
- Then I won't give you any pictures, she said, so you can't break up with me.
Now, no her, and no pictures.
I wrote little this year, most of it ephemeral even to me. But when the year is done and gone there will still be some entries I return to fondly:
- nine notes on Law and Order
- 'Some Things to Note About Robert Creeley'
- notes on Menippean satire, Pynchon's V., and two notes on satirical elements of V.
- baby steps into Adorno
- artistic form of jokes, the promise of beauty
I'll return to them fondly because they'll serve as reminders of the writer I wanted to be (but did not yet prove to become, as my meager production attests), and they'll serve as places from which to begin thinking again.
What exactly do I think I would do if she did call?
'When these painful contradictions are removed, the question as to the nature of force will not have been answered; but our minds, no longer vexed, will cease to ask illegitimate questions.'
A fall breakup, again.