Writing Without Authority–Kierkegaard and Wittgenstein

Kierkegaard understands himself to be, wants to be understood as, writing without authority.  I’ve lately been mulling over whether it means anything, and if means anything whether it means anything sufficiently interesting, to say that Wittgenstein understands himself to be, wants to be understood as, writing PI without authority.  The answer of course hinges on what it is to write without authority.  For Kierkegaard we might say that writing without authority is, first and foremost, to abjure the role of preacher.  But that is not all that it is for him:  he clearly means not only to reject one form of relationship to his reader, but a panoply of forms–any form that would make it the case that the reader’s attention finds it easier, more natural, to perch on Kierkegaard than on the reader himself, any form that deflects self-attention.  So Kierkegaard is always and forever side-stepping, ducking out, disappearing.  He wants his reader to read as if the reader is reading what the reader has written.  Reading as self-confrontation.

But how is that to work?  Is the experience of such reading supposed to be like the experience of finding something you’ve written previously but forgotten, so that now its content seems news, as does the fact that you are its author?  That seems too distanced a relationship to what is written.  Is the experience supposed to be like the experience of re-writing something that you have written, editing, poking, patting and scraping?  That seems a not-distanced-enough relationship to what is written.  (Partly because there is, in an important sense, nothing written yet.  You are still writing.  Everything remains in the flux of composition.)  So what is the experience supposed to be like?

Wittgenstein writes:

Nearly all my writings are private conversations with myself. Things that I say to myself tete-a-tete.

And Kierkegaard prefaces For Self-Examination with this:

My dear reader!  Read, if possible, aloud!  If you do this, allow me to thank you.  If you not only do it yourself, if you induce others to do it also, allow me to thank them severally, and you again and again!  By reading aloud you will most powerfully receive the impression that you have only yourself to consider, not me, who am without authority, or others, the consideration of whom would be a distraction.

I reckon that what Kierkegaard wants from his reader is for the reader to experience the reading as private conversation with himself, as saying things to himself tete-a-tete.  Doing so fastens the reader’s attention on himself, makes any examination the reading requires self-examination.  We read Kierkegaard aright when we read in forgetfulness of him–and only read in remembrance of ourselves.  I believe that this is something Wittgenstein aspires to as well.  That is, I take his remark about conversations with himself as not purely descriptive but as also prescriptive, say as a registration of a realized writerly intention, realized in PI.

In this way, Wittgenstein aims to write without authority.  And I think Wittgenstein signposts this aim:  PI’s self-effacing (as I read it) epigraph leaves it to the reader what sort of advance, if any, and if any, how much, PI represents.  His desire not to spare others the trouble of thinking and his hope that he would stimulate thinking seem not to target thinking about him (Wittgenstein) but rather thinking by the reader and for the reader and about the reader–specifically, about the reader in relationship to philosophical problems.  (As Kierkegaard targets thinking by, for and about the reader–specifically, about the reader in relationship to existential problems.)

Here is what I find myself moved to say:  PI exists as being-for-another.  Wittgenstein writes it as a gift to his readers.  It is a work of testimony, of confession, and Wittgenstein wrote it for those who are troubled as he is troubled.  It is a gage of his friendship, even his love, for them, for his readers.  But for it fully to exist as such, the reader must fully acknowledge it, fully acknowledge it as such.  To fully acknowledge it is to answer its call to self-awakeness.  Wittgenstein wrote a book to be acknowledged, not, if I may put it this way, a book to be known.  (I judge this one of the deep similarities between Wittgenstein and Emerson and Thoreau.  What they write puts the reader in the space of acknowledgement, and their reader answers the call of the writing, or not.  Sometimes gifts are refused.  And sometimes what looks like acceptance is still a form of refusal.)

Wittgenstein toyed seriously with the idea of prefacing his work with Bach’s epigraph to the Little Organ Book:

To the glory of the most high God, and that my neighbour may be benefited thereby.

He hesitated because he thought that in the darkness of our time such a remark would be misunderstood.  And so it probably would.  But why is that?  What has gone wrong in a time when giving and receiving have soured, a time in which we have become so stuffy even while so indigent, a time so graceless as ours?  Job endured the Lord taking back what He had given.  We will never have to endure that.  But only because we have made ourselves unreceptive, and so have never been given anything.  Job got everything back, double; we go on and on with nothing.

Strange Evidence: On Writing

Reflecting on writing and on the difficulties of writing, both my own and others’, I was reminded of this final passage in Fairfax and Moat’s fascinating and idiosyncratic, The Way to Write:

So it is important to be published?  You answer.  After all, you are the only one who can tell you.

But, if it’s any help, here are two things that publication will never do.  First, it will never prove that you are any good as a writer.  Second, it will not even prove that you are a writer.

If you look to publication for such proof, then watch out:  you’re a very inflammable moth, the one in the legend who is consumed by the flame of his own illusion.

In the first place, no writer ever knows whether he is any damn good.  In the second place, there is for the writer only one proof of identity that is meaningful and incontrovertible:  the strange evidence that he continues to write.

This is followed by the most succinct Suggestions for Practice that may ever have been given:

Practice…

Over the past year or so, C., at Distinctly Praise the Years, has been writing what I only know to call a hymnography of embodiment, sublime, intimate, joyful and aching. Her latest posts are beyond my meager powers of description. I simply bow in her direction, in respect, and as a way of pointing you towards her.

Daily Bread, The Sky

I was talking a few days ago with my good friend, Loxley, about the mysteries of ‘ἐπιούσιον‘, daily bread, supersubstantial bread (Matt 6:11).  Today I found this line of Emerson’s:

The sky is the daily bread of the eyes.

That’s quite a line, isn’t it?

Heading North

Off to the north country:  I’ll read my essay, see old friends and former students, enjoy the change of scenery.  I will learn a lot, I’m sure.  I return to the heart of Dixie on Saturday, I hope in time to celebrate the Paschal Divine Liturgy with my parish.

For those who do not know the Paschal Liturgy, one of its many highlights (and indeed one of my favorite pieces of writing of all time) is John Chrysostom’s Paschal Homily.  I post it here:

If any man be devout and love God, let him enjoy this fair and radiant triumphal feast. If any man be a wise servant, let him rejoicing enter into the joy of his Lord. If any have labored long in fasting, let him now receive his recompense. If any have wrought from the first hour, let him today receive his just reward. If any have come at the third hour, let him with thankfulness keep the feast. If any have arrived at the sixth hour, let him have no misgivings; because he shall in nowise be deprived therefor. If any have delayed until the ninth hour, let him draw near, fearing nothing. If any have tarried even until the eleventh hour, let him, also, be not alarmed at his tardiness; for the Lord, who is jealous of his honor, will accept the last even as the first; he gives rest unto him who comes at the eleventh hour, even as unto him who has wrought from the first hour.

And he shows mercy upon the last, and cares for the first; and to the one he gives, and upon the other he bestows gifts. And he both accepts the deeds, and welcomes the intention, and honors the acts and praises the offering. Wherefore, enter you all into the joy of your Lord; and receive your reward, both the first, and likewise the second. You rich and poor together, hold high festival. You sober and you heedless, honor the day. Rejoice today, both you who have fasted and you who have disregarded the fast. The table is full-laden; feast ye all sumptuously. The calf is fatted; let no one go hungry away.

Enjoy ye all the feast of faith: Receive ye all the riches of loving-kindness. let no one bewail his poverty, for the universal kingdom has been revealed. Let no one weep for his iniquities, for pardon has shown forth from the grave. Let no one fear death, for the Savior’s death has set us free. He that was held prisoner of it has annihilated it. By descending into Hell, He made Hell captive. He embittered it when it tasted of His flesh. And Isaiah, foretelling this, did cry: Hell, said he, was embittered, when it encountered Thee in the lower regions. It was embittered, for it was abolished. It was embittered, for it was mocked. It was embittered, for it was slain. It was embittered, for it was overthrown. It was embittered, for it was fettered in chains. It took a body, and met God face to face. It took earth, and encountered Heaven. It took that which was seen, and fell upon the unseen.

O Death, where is your sting? O Hell, where is your victory? Christ is risen, and you are overthrown. Christ is risen, and the demons are fallen. Christ is risen, and the angels rejoice. Christ is risen, and life reigns. Christ is risen, and not one dead remains in the grave. For Christ, being risen from the dead, is become the first fruits of those who have fallen asleep. To Him be glory and dominion unto ages of ages. Amen.

Drama of the Soul in Exile: PI, (Yet) Again

Those who have been following the blog will recognize this as a both recapitulation and variation on earlier bits and pieces.  It is from the essay I am working on.

Soul in Exile

Immortal Openings, 7: Clarice Lispector, The Stream of Life

It’s with such intense joy.  It’s such an hallelujah.  “Hallelujah,” I shout, an hallelujah that fuses with the darkest human howl of the pain of separation but is a shout of diabolical happiness.  Because nobody holds me back anymore.  I still have the ability to reason–I’ve studied mathematics, which is the madness of reason–but now I want plasma.  I want to feed directly from the placenta.  I’m a little frightened, still afraid to give myself over since the next instant is the unknown.  Do I make the coming instant?  Or does it make itself?  We make it together with our breathing.  And with the ease of a bullfighter in the ring.

Immortal Openings, 6: K. L. Evans, Whale!

One question underlies all of Moby Dick: “So what’s eating you?” Many readers of the novel have put this question to its author, coming up with pat explanations of what is called Melville’s pessimism, or madness–even genius–as a response to his father’s breakdown or his poverty or his sexuality or his marriage, instead of asking the question of themselves, which is really what should be asked, and is asked, by Melville, and not rhetorically, What is eating us, what is eating you?

Swelter Sings (from Titus Groan–by Mervyn Peake)

“I shall sing to you, Steerpike, to you” whispered the cook, reeling and supporting himself with one hand against the stone pillar that was glistening with condensed heat, little trickles of moisture moving down its fluted sides.

“To you, the newcomer, the blue mummer, and the slug of summer–to you the hideous, and insidious, and appallingly cretinous goat in a house of stenches.”

The apprentices rocked with joy.

“To you, only to you, my core of curdled cat bile.  To you alone, so harken diligentiums.  Are you harkening? Are you listening for this is how it goes.  My song of a hundred years ago, my plaintively most melancholic song.”

Swelter seemed to forget he was about to sing, and after wiping the sweat from his hands on the head of a youth below him, peered for Steerpike again.

“And why to you, my ray of addled sunshine? Why to you alone? Taking it for granted, my dear little Steerpike–taking it for more than for most granted, that you, a creature of less consequence than stoat’s blood, are so far removal’d from anything approaching nature–yet tell me, more rather, don’t tell me why your ears which must have originally been designed for flypapers, are for some reason better known to yourself, kept immoderately unfurled.  You move here and there on your little measly legs.  I have seen you at it.  You breathe all over my kitchen.  You look at things with you insolent animal eyes.  I’ve seen you doing it.  I have seen you look at me.  You’re looking at me now.  Steerpike, my impatient lovebird, what does it all mean, and why should I sing for you?”…

“It is a song, my Steerpike, to an imaginary monster, just like yourself if only you were a trifle bigger and more monstrous still.  It is a song to a hard-hearted monster so listen most fixedly, my pretty wart.  Closer!  Closer! Can’t you come a little closer to a dirgeous masterpiece?”…

“I am Swelter, the great Chef Abiatha Swelter, cook to his Lordship, boardship, and sorts of ships that sail on slippery seas.  Abiatha Swelter, man and boy and girls and ribbons, lots of kittens, forty year of cold and sunny, where’s the money, thick and hairy, I’m a fairy! I am a songster!  Listen well, listen well!”

“Are you listening?”…

The kitchen had become as silent as a hot tomb.  At last, through the silence, a weak gurgling sound began to percolate, but whether it was the first verse of the long-awaited poem none could tell, for the Chef, like a galleon, lurched into his anchorage.  The great ship’s canvas sagged and crumpled and then suddenly an enormousness foundered and sank.  There was a sound of something spreading as an area of seven flagstones became hidden from view beneath a cataleptic mass of wine-drenched blubber.

Swelter: Copyright, The Mervyn Peake Estate

Immortal Openings, 5: Alexander Theroux, The Primary Colors

Blue is a mysterious color, the hue of illness and nobility, the rarest color in nature.  It is the color of ambiguous depth, of the heavens and the abyss at once; blue is the color of the shadow side, the tint of the marvelous and the inexplicable, of desire, of knowledge, of the blue movie, of blue talk, of raw meat and rare steak, of melancholy and the unexpected (once in a blue moon, out of the blue)…