People From Paris

"André Malraux, the French novelist who had fought in the Spanish Civil War, now offered to take up arms again with the Mukti Bahini—which might have been somewhat more intimidating to Yahya if he had not been seventy years old."

"Malraux offers a revolutionary understanding of the nature and significance of art and, in doing so, also provides a glimpse of a new humanism — a “tragic humanism” to borrow his own phrase — which, unlike the optimistic idealisms inherited from the nineteenth century, is compatible with the agnosticism and disenchantment of the world in which we now live."

"L'art est un anti-destin."

"Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism."

"Our art culture makes no attempt to search the past for precedents, but transforms the entire past into a sequence of provisional responses to a problem that remains intact."

"History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history."

"In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art."

"The great Christian art did not die because all possible forms had been used up; it died because faith was being transformed into piety. Now, the same conquest of the outside world that brought in our modern individualism, so different from that of the Renaissance, is by way of relativizing the individual. It is plain to see that man's faculty of transformation, which began by a remaking of the natural world, has ended by calling man himself into question."

"Each form of the sacrosanct was regarded by members of the culture which gave rise to it as a revelation of the Truth; at Byzantium it was not a mere hypothesis that was sponsored by the majesty of the Byzantine style. To us, however, these forms make their appeal as forms alone — in other words, as they would be were they the work of a contemporary (and, since this actually is unthinkable, they affect us in a puzzling manner); or else as so many grandiose vestiges of a faith that has died out. We look at them from outside; they are still emotive, but they are no longer true. Thus we deprive them of what was their most vital element; for a religious civilization that regarded what it revered as a mere hypothesis is inconceivable."

"An individualism which has got beyond the stage of hedonism tends to yield to the lure of the grandiose. It was not man, the individual, nor even the Supreme Being, that Robespierre set up against Christ; it was that Leviathan, the Nation."

"Surely that little pseudo-gothic church on Broadway, hidden amongst the skyscrapers, is symbolic of the age! On the whole face of the globe the civilization that has conquered it has failed to build a temple or a tomb."

"Athirst for personal salvation, the West forgets that many religions had but a vague notion of the life beyond the grave; true, all great religions stake a claim on eternity, but not necessarily on man's eternal life."

"Once the masterpiece has emerged, the lesser works surrounding it fall into place; and it then gives the impression of having been led up to and foreseeable, though actually it is inconceivable — or, rather, it can only be conceived of once it is there for us to see it. It is not a scene that has come alive, but a latent potentiality that has materialized. Suppose that one of the world's masterpieces were to disappear, leaving no trace behind it, not even a reproduction; even the completest knowledge of its maker's other works would not enable the next generation to visualize it. All the rest of Leonardo's oeuvre would not enable us to visualize the Mona Lisa; all Rembrandt's, the Three Crosses or The Prodigal Son; all Vermeer's, The Love Letter; all Titian's, the Venice Pietà; all medieval sculpture, the Chartres Kings or the Naumburg Uta. What would another picture by the Master of Villeneuve look like? How could even the most careful study of The Embarkation for Cythera, or indeed that of all Watteau's other works conjure up L'Enseigne de Gersaint, had it disappeared?"

"If modern painters feel qualms about applying the term "masterpiece" to describe a work of capital importance, this is because it has come to convey a notion of perfection: a notion that leads to much confusion when applied to artists other than those who made perfection their ideal."

"The present age delights in unearthing a great man's secrets; for one thing because we like to temper our admiration and also perhaps we have a vague hope of finding a clue to genius in such "revelations.""

"The ordinary man puts up a struggle against all that is not himself, whereas it is against himself, in a limited but all-essential field, that the artist has to battle."

"Though man's feeling for the other-worldly often has recourse to solitude, solitude does not foster its development; rather, it is nourished by communion, to which the church is more propitious than the cemetery."

"A large share of our art heritage is now derived from peoples whose idea of art was quite other than ours, and even from peoples to whom the very idea of art meant nothing."

"Could we bring ourselves to feel what the first spectators of an Egyptian statue, or a Romanesque crucifixion, felt, we would make haste to remove them from the Louvre. True, we are trying more and more to gauge the feelings of those first spectators, but without forgetting our own, and we can be contented all the more easily with the mere knowledge of the former, without experiencing them, because all we wish to do is put this knowledge to the work of art."

"Il n'y a pas cinquante manières de combattre, il n'y en a qu'une, c'est d'être vainqueur. Ni la révolution ni la guerre ne consistent à se plaire à soi-même."

"One cannot create an art that speaks to me when one has nothing to say."

"La liberté n'est pas un échange, c'est la liberté."

"The sons of torture victims make good terrorists."

""Why do you fight?" ... He kept his wife, his kid, from dying. That was nothing. Less than nothing. If he had had money, if he could have left it to them, he would have been free to go and get killed. As if the universe had not treated him all his life with kicks in the belly, it now despoiled him of the only dignity he could ever possess — his death."

"The attempt to force human beings to despise themselves… is what I call hell."

"The great mystery is not that we should have been thrown down here at random between the profusion of matter and that of the stars; it is that from our very prison we should draw, from our own selves, images powerful enough to deny our own nothingness."

"… The deepest opposition [between the West and India] rests on the fact that the fundamental evidence of the West, whether Christian or atheist, is death, whatever meaning the West gives to it, whereas India’s fundamental evidence is the infinite of life in the infinite of time: “Who could kill immortality?”"

"The West regards as truth what the Hindu regards as appearance (for if human life, in the age of Christendom, was doubtless an ordeal it was certainly truth and not illusion), and the Westerner can regard knowledge of the the universe as the supreme value, while for the Hindu the supreme value is accession to the divine Absolute.... But the most profound difference is based on the fact that the fundamental reality for the West, Christian or athiest, is death, in whatever sense it may be interpreted --- while the fundamental reality for India is the endlessness of life in the endlessness of time: Who can kill immortality?"

"On peut aimer que le sens du mot “art” soit tenter de donner conscience à des hommes de la grandeur qu’ils ignorent en eux."

"On this earth of ours where everything is subject to the passing of time, one thing only is both subject to time and yet victorious over it: the work of art."

"The artist is not the transcriber of the world, he is its rival."

"Chanel, General De Gaulle and Picasso are the three most important figures of our time."

"Our civilization … is not devaluing its awareness of the unknowable; nor is it deifying it. It is the first civilization that has severed it from religion and superstition. In order to question it."

"What is man? A miserable little pile of secrets."

"The human mind invents its Puss-in-Boots and its coaches that change into pumpkins at midnight because neither the believer nor the atheist is completely satisfied with appearances."

"The greatest mystery is not that we have been flung at random between the profusion of the earth and the galaxy of the stars, but that in this prison we can fashion images of ourselves sufficiently powerful to deny our nothingness."

"No one can endure his own solitude."

"The primitive mentality is a condition of the human mind, and not a stage in its historical development."

"I very much believe in the influence of magic and the subconscious on the literary process...I think that magic has to do with the subconscious, much as the ancient sorcerers believed. The identification of man with his material surroundings and his active participation in that world are detailed in the books of Carlos Castaneda, for example, as well as, on a different level, with the books of sociologists like Lévy-Bruhl and Ernest Cassirer, or Lévi-Strauss. The magical identification has a lot to do with literature, this alternate way of viewing the world."

"at the same time almost as much work is going into the development of the information bomb; a bomb that will have the same destructive effects on society's capacity to remember its past, a past that has a structure of its own and shapes the present."

"a caste of "technology monks" is being created in our times, and that there exist monasteries of sorts whose goal it is to pave the way for a new kind of "civilisation"; one that has nothing to do with civilisation as we remember it. The work of these technology monks is not carried out in the way that it was in the Middle Ages. Rather, it is carried out through the revaluation of knowledge, like that achieved for Antiquity. The contribution of monks to the rediscovery of Antiquity is well known... And with information monotheism comes what I think of as the greatest danger of all, the slide into a future without humanity."

"The thing about collaborators is that you don’t know you are one whereas as a member of the resistance, you do. [In WWII,] the worst cases of collaboration weren’t among the real collaborators, that official militia, but among the people at large, who were collaborators without knowing it, by a sort of laxity, an apathy."

"Wealth is the hidden side of speed and speed the hidden side of wealth."

"All of us are already civilian soldiers, without knowing it…The great stroke of luck for the military class’s terrorism is that no one recognizes it. People don’t recognize the militarized part of their identity, of their consciousness."

"The first deterrence, nuclear deterrence, is presently being superseded by the second deterrence: a type of deterrence based on what I call 'the information bomb' associated with the new weaponry of information and communications technologies. Thus, in the very near future, and I stress this important point, it will no longer be war that is the continuation of politics by other means, it will be what I have dubbed 'the integral accident' that is the continuation of politics by other means."

"When you invent the ship, you also invent the shipwreck; when you invent the plane you also invent the plane crash; and when you invent electricity, you invent electrocution... Every technology carries its own negativity, which is invented at the same time as technical progress."

"What he resists is not technology proper, but the propensity for us to confer upon technology a salvific function. Virilio, in other words, resists the mythologizing of technology, and he does so because it is precisely by idealizing technology that we come to unthinkingly embrace it."

"When asked by a grumpily puzzled professor what "rules" he followed, Debussy is said to have retorted, mon plaisir — "whatever I please" — and he further claimed that more was to be gained by watching the sun rise than by listening to the Pastoral Symphony. Although such remarks were intended to shock, they contain a core of Debussyan verity..."

"Among all our musical masters, l should say, Claude Debussy was the least weighed upon by the dead hand of formula. Yet neither was he an improviser. This latter art, indeed, among all the compositional techniques, is the one most servile to rules of thumb. Debussy's operation was more thorough. Like any Frenchman building a bridge or cooking a meal, painting a picture or laying out a garden, he felt, he imagined, he reasoned, he constructed—and in that order."

"The Sea of Debussy does not call for many words of comment. The three parts of which it is composed are entitled From Dawn till Noon, Play of the Waves and Dialogue of the Wind and the Sea, but as far as any pictorial suggestiveness is concerned, they might as well have been entitled On the Flatiron Building, Slumming in the Bowery and A Glimpse of Chinatown During a Raid. Debussy's music is the dreariest kind of rubbish. Does anybody for a moment doubt that Debussy would not write such chaotic, meaningless, cacophonous, ungrammatical stuff, if he could invent a melody?... Even his orchestration is not particularly remarkable."