Literary Critics

"‘It was a lot of fuss about nothing, wasn’t it?’"

"I am not capitulating."

"Good men make good rhinoceroses, unfortunately."

"Logician: A cat has four paws. Old Gentleman: My dog had four paws. Logician: Then it's a cat. Old Gentleman: So my dog is a cat? Logician: And the contrary is also true."

"Every work of art (unless it is a pseudo-intellectualist work, a work already comprised in some ideology that it merely illustrates, as with Brecht) is outside ideology, is not reducible to ideology. Ideology circumscribes without penetrating it. The absence of ideology in a work does not mean an absence of ideas; on the contrary it fertilizes them."

"I believe that what separates us all from one another is simply society itself, or, if you like, politics. This is what raises barriers between men, this is what creates misunderstanding. If I may be allowed to express myself paradoxically, I should say that the truest society, the authentic human community, is extra-social — a wider, deeper society, that which is revealed by our common anxieties, our desires, our secret nostalgias. The whole history of the world has been governed by nostalgias and anxieties, which political action does no more than reflect and interpret, very imperfectly. No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa."

"Oh words, what crimes are committed in your name!"

"I didn't mean you were stupid. It's just that you're not logical, which isn't the same thing at all."

"We are all Victims of Duty."

"All the plays that have ever been written, from ancient Greece to the present day, have never really been anything but thrillers... Drama's always been realistic and there's always been a detective about... Every play's an investigation brought to a successful conclusion."

"There are now many invisible people on stage."

"Nothing is so hateful to the philistine as the "dreams of his youth." ... For what appeared to him in his dreams was the voice of the spirit, calling him once, as it does everyone. It is of this that youth always reminds him, eternally and ominously. That is why he is antagonistic toward youth."

"[A]n enormous Anglo-American industry of post-structuralist and postmodernist interpretation has grown up around the translations we have, distorting Benjamin’s real concerns. Apart from specialists familiar with the German background to his work, English-speaking readers are probably no closer to understanding Benjamin’s writings than they were when Hannah Arendt first introduced him in America over twenty-five years ago."

"Walter Benjamin … must surely be among the 20th century's most overrated writers. Paris, Berlin, Moscow, Karl Kraus — Benjamin could render the juiciest of subjects arid."

"Postmodernism, like Walter Benjamin's 'mechanical reproduction', seeks to dismantle the intimidating aura of high-modernist culture with a more demotic, user-friendly art, suspecting all hierarchies of value as privileged and elitist. There is no better or worse, just different."

"Fiction is all about that moment of transition from one to another state of being. If that metamorphosis doesn’t occur, the character doesn’t change. We, the readers, don’t change. This reminds me of Walter Benjamin, who observes that stories transform the storyteller as well as the listeners."

"In the fields with which we are concerned knowledge exists only in lightning flashes. The text is the thunder rolling long afterwards."

"History breaks down in images not into stories."

"Only a thoughtless observer can deny that correspondences come into play between the world of modern technology and the archaic symbol-world of mythology."

"We know that the Jews were prohibited from investigating the future. The Torah and the prayers instruct them in remembrance, however. This stripped the future of its magic, to which all those succumb who turn to the soothsayers for enlightenment. This did not imply, however, that for the Jews the future turned into homogeneous empty time. For every second of time was the straight gate through which the Messiah might enter."

"The present, which, as a model of Messianic time, comprises the entire history of mankind in an enormous abridgment, coincides with the stature which the history of mankind has in the universe."

"The nourishing fruit of the historically understood contains time as a precious but tasteless seed."

"Thinking involves not only the flow of thoughts, but their arrest as well."

"The historical materialist leaves it to others to be drained by the whore called "Once upon a time" in historicism's bordello."

"A Klee painting named ‘Angelus Novus’ shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress."

"The tradition of the oppressed teaches us that the "state of emergency" in which we live is not the exception but the rule. We must attain to a conception of history that is in keeping with this insight. Then we shall clearly realize that it is our task to bring about a real state of emergency, and this will improve our position in the struggle against Fascism. One reason why Fascism has a chance is that in the name of progress its opponents treat it as a historical norm. The current amazement that the things we are experiencing are "still" possible in the twentieth century is not philosophical. This amazement is not the beginning of knowledge — unless it is the knowledge that the view of history which gives rise to it is untenable."

"The nature of this melancholy becomes clearer, once one asks the question, with whom does the historical writer of historicism actually empathize. The answer is irrefutably with the victor. Those who currently rule are however the heirs of all those who have ever been victorious. Empathy with the victors thus comes to benefit the current rulers every time."

"Es ist niemals ein Dokument der Kultur, ohne zugleich ein solches der Barbarei zu sein."

"To articulate the past historically does not mean to recognize it ‘the way it really was’ (Ranke). It means to seize hold of a memory as it flashes up at a moment of danger. Historical materialism wishes to retain that image of the past which unexpectedly appears to man singled out by history at a moment of danger. The danger affects both the content of the tradition and its receivers. The same threat hangs over both: that of becoming a tool of the ruling classes. In every era the attempt must be made anew to wrest tradition away from a conformism that is about to overpower it. The Messiah comes not only as the redeemer, he comes as the subduer of Antichrist. Only that historian will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins. And this enemy has not ceased to be victorious."

"The good tidings which the historian of the past brings with throbbing heart may be lost in a void the very moment he opens his mouth."

"The true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again."

"Nothing that has ever happened should be regarded as lost for history. To be sure, only a redeemed mankind receives the fullness of its past — which is to say, only a redeemed mankind has its past become citable in all its moments. Each moment it has lived becomes a citation à l'ordre du jour — and that day is Judgement Day."

"There is a secret agreement between past generations and the present one. Our coming was expected on earth. Like every generation that preceded us, we have been endowed with a weak Messianic power, a power to which the past has a claim. That claim cannot be settled cheaply."

"Our image of happiness is indissolubly bound up with the image of the past."

"If sleep is the apogee of physical relaxation, boredom is the apogee of mental relaxation. Boredom is the dream bird that hatches the egg of experience."

"The art of storytelling is reaching its end because the epic side of truth, wisdom, is dying out."

"A curious paradox: people have only the narrowest private interest in mind when they act, yet they are at the same time more than ever determined in their behavior by the instincts of the mass. ... The diversity of individual goals is immaterial in face of the identity of the determining forces."

"Man geht immer die gleichen Wege des Denkens wie vorher. Nur scheinen sie mit Rosen bestreut."

"Mir schien: Ausgesprochene Unlust, mich über Dinge des praktischen Lebens, Zukunft, Daten, Politik zu unterhalten. Man ist an die intellektuelle Sphäre gebannt wie manchmal Besessene auf die sexuelle, ist von ihr angesaugt."

"Criticism and prophecy must be the two categories that meet in the salvation of the past"

"Treatises may be didactic in tone, but essentially they lack the conclusiveness of an instruction which could be asserted, like doctrine, by virtue of its own authority. ... Tirelessly the process of thinking makes new beginnings, returning in a roundabout way to its original object. This continual pausing for breath is the mode most proper to the process of contemplation. For by pursuing different levels of meaning in its examination of one single object it receives both the incentive to begin again and the justification for its irregular rhythm."

"Where the presence of truth should be possible, it can be possible solely under the condition of the recognition of myth—that is, the recognition of its crushing indifference to truth."

"Der Kapitalismus ist vermutlich der erste Fall eines nicht entsühnenden, sondern verschuldenden Kultus. ... Ein ungeheures Schuldbewußtsein das sich nicht zu entsühnen weiß, greift zum Kultus, um in ihm diese Schuld nicht zu sühnen, sondern universal zu machen, dem Bewußtsein sie einzuhämmern und endlich und vor allem den Gott selbst in diese Schuld einzubegreifen."

"Im Kapitalismus ist eine Religion zu erblicken, d.h. der Kapitalismus dient essentiell der Befriedigung derselben Sorgen, Qualen, Unruhen, auf die ehemals die so genannten Religionen Antwort gaben."

"Alle zweckmäßigen Lebenserscheinungen wie ihre Zweckmäßigkeit überhaupt sind letzten Endes zweckmäßig nicht für das Leben, sondern für den Ausdruck seines Wesens, für die Darstellung seiner Bedeutung."

"So dürfte von einem unvergeßlichen Leben oder Augenblick gesprochen werden, auch wenn alle Menschen sie vergessen hätten. Wenn nämlich deren Wesen es forderte, nicht vergessen zu werden, so würde jenes Prädikat nichts Falsches, sondern nur eine Forderung, der Menschen nicht entsprechen, und zugleich auch wohl den Verweis auf einen Bereich enthalten, in dem ihr entsprochen wäre: auf ein Gedenken Gottes."

"In what time does man live? The thinkers have always known that he does not live in any time at all. The immortality of thoughts and deeds banishes him to a timeless realm at whose heart an inscrutable death lies in wait. ... Devoured by the countless demands of the moment, time slipped away from him; the medium in which the pure melody of his youth would swell was destroyed. The fulfilled tranquility in which his late maturity would ripen was stolen from him. It was purloined by everyday reality, which, with its events, chance occurrences, and obligations, disrupted the myriad opportunities of youthful time, immortal time. ... From day to day, second to second, the self preserves itself, clinging to that instrument: time, the instrument that it was supposed to play."

"Because he never raises his eyes to the great and the meaningful, the philistine has taken experience as his gospel. It has become for him a message about life's commonness. But he has never grasped that there exists something other than experience, that there are values—inexperienceable—which we serve."

"Besteht das Original nicht um dessentwillen, wie ließe sich dann die Übersetzung aus dieser Beziehung verstehen?"

"Nirgends erweist sich einem Kunstwerk oder einer Kunstform gegenüber die Rücksicht auf den Aufnehmenden für deren Erkenntnis fruchtbar. Nicht genug, dass jede Beziehung auf ein bestimmtes Publikum oder dessen Repräsentanten vom Wege abführt, ist sogar der Begriff eines "idealen" Aufnehmenden in allen kunsttheoretischen Erörterungen vom Übel, weil diese lediglich gehalten sind, Dasein und Wesen des Menschen überhaupt vorauszusetzen. So setzt auch die Kunst selbst dessen leibliches und geistiges Wesen voraus—seine Aufmerksamkeit aber in keinem ihrer Werke. Denn kein Gedicht gilt dem Leser, kein Bild dem Beschauer, keine Symphonie der Hörerschaft."