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.
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'These tales are quite extraordinarily delicate—everyone realizes that. But not everyone notices that they are the product not of the nervous tension of the decadent, but of the pure and vibrant mood of a convalescent. "I am horrified by the thought that I might attain worldly success," he says, in a paraphrase of Franz Moor's speech. All his heroes share this horror. But why? Not from horror of the world, moral resentment, or pathos, but for wholly Epicurean reasons. They wish to enjoy themselves, and in this respect they display a quite exceptional ingenuity. Furthermore, they also display a quite exceptional nobility. And a quite exceptional legitimacy. For no one enjoys like a convalescent. The enjoyment of the convalescent has nothing of the orgy about it. His reinvigorated blood courses toward him from mountain streams, and the purer breath on his lips flows down from the treetops. Walser's characters share this childlike nobility with the characters in fairy tales, who likewise emerge from the night and from madness—namely, from the madness of myth. It is commonly thought that this process of awakening took place in the positive religions. If that is the case, it did not do so in any very straightforward or unambiguous way. The latter has to be sought in that great profane debate with myth that the fairy tale represents. Of course, fairy-tale characters are not like Walser's in any simple manner. They are still struggling to free themselves from their sufferings. Walser begins where the fairy tales stop. "And if they have not died, they live there still." Walser shows how they live.'
'If a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work on his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style.'
'the magnanimity of the sea which will permit no records'
'What is it about this song, I wonder, that so beguiles and moves my heart? It has a capricious charm I do not understand at all; nevertheless, I am quite incapable of singing it through to the end without dissolving into tears. I have often been on the point of writing to Paris to enquire about the rest of the words, in case there should be anyone there who still knows them. But I suspect that some of the pleasure I take in recalling this little tune would fade if I knew for certain that others apart from my poor aunt Suzanne had sung it.'
'Socratic irony is the only involuntary and yet completely deliberate dissimulation. It is equally impossible to feign it or divulge it. To a person who hasn't got it, it will remain a riddle even after it is openly confessed. It is meant to deceive no one except those who consider it a deception and who either take pleasure in the delightful roguery of making fools of the whole world or else become angry when they get an inkling that they themselves might be included. In this sort of irony, everything should be playful and serious, guilelessly open and deeply hidden. It originates in the union of savoir vivre and scientific spirit, in the conjunction of a perfectly instinctive and a perfectly conscious philosophy. It contains and arouses a feeling of indissoluble antagonism between the absolute and the relative, between the impossibility and necessity of complete communication. It is the freest of all licenses, for by its means one transcends oneself; and yet it is also the most lawful, for it is absolutely necessary. It is a very good sign when the harmonious bores are at a loss about how they should react to this continuous self-parody, when they fluctuate endlessly between belief and disbelief until they get dizzy and take what is meant as a joke seriously and what is meant seriously as a joke.'
'my name had never been my own,— rather belonging, all this time, to the Authorities, who forbade me to change it, or withhold it, as 'twere a Ring upon the Collar of a Beast, ever waiting for the Lead to be fasten'd on….'
'The truth is I have no idea what he thought about, what his internal life might have been like.'
On DFW in the New Yorker.
Dubbing The Wire into German.