|To write, I meditated, must be an act devoid of will. The word, like the deep ocean current, has to float to the surface of its own impulse. A child has no need to write, he is innocent. A man writes to throw off the poison which has accumulated because of his false way of life. He is trying to recapture his innocence, yet all he succeeds in doing (by writing) is to inoculate the world with a virus of his disillusionment. No man would set a word down on paper if he had the courage to live out what he believed in. His inspiration is deflected at the source. If it is a world of truth, beauty and magic that he desires to create, why does he put millions of words between himself and the reality of that world? Why does he defer action - unless it be that, like other men, what he really desires is power, fame, success. 'Books are human actions in death,' said Balzac. Yet, having perceived the truth, he deliberately surrendered the angel to the demon which possessed him.
A writer woos his public just as ignominiously as a politician or any other mountebank; he loves to finger the great pulse, to prescribe like a physician, to win a place for himself, to be recognized as a force, to receive the full cup of adulation, even if it be deferred a thousand years. He doesn't want a new world, which might be established immediately, because be knows it would never suit him. He wants an impossible world in which he is the uncrowned puppet-ruler dominated by forces utterly beyond his control. He is content to rule insidiously - in the fictive world of symbols - because the very thought of contact with rude and brutal realities frightens him. True, he has a greater grasp of reality than other men, but he makes no effort to impose that higher reality on the world by force of example. He is satisfied just to preach, to drag along in the wake of disaster and catastrophes, a death-croaking prophet always without honour, always stoned, always shunned by those who, however unsuited for their talks, are ready and willing to assume responsibility for the affairs of the world. The truly great writer does not want to write: he wants the world to be a place in which he can live the life of the imagination The first quivering word he puts to paper is the word of the wounded angel: pain. The process of putting down words is equivalent to giving oneself a narcotic. Observing the growth of a book under his hands, the author swells with delusions of grandeur. 'I too am a conqueror - perhaps the greatest conqueror of all! My day is coming. I will enslave the world - by the magic of words...' Et cetera ad nauseam.
The little phrase - Why don't you try to write? - involved me, as it had from the very beginning, in a hopeless bog of confusion. I wanted to enchant but not to enslave; I wanted a greater, richer life, but not at the expense of others; I wanted to free the imagination of all men at once because without the support of the whole world, without a world imaginatively unified, the freedom of the imagination becomes a vice. I had no respect for writing per se any more than I had for God per se. Nobody, no principle, no idea, has validity in itself. What is valid is only that much - of anything, God included - which is realized by all men in common. People are always worried about the fate of the genius. I never worried about the genius: genius takes care of the genius in a man. My concern was always for the nobody, the man who is lost in the shuffle, the man who is so common, so ordinary, that his presence is not even noticed. One genius does not inspire another. All geniuses are leeches, so to speak. They feed from the same source - the blood of life. The most important thing for the genius is to make himself useless, to be absorbed in the common stream, to become a fish again and not a freak of nature. The only benefit, I reflected, which the act of writing could offer me was to remove the differences which separated me from my fellow man. I definitely did not want to become the artist, in the sense of becoming something strange, something apart and out of the current of life.
The best thing about writing is not the actual labor of putting word against word, brick upon brick, but the preliminaries, the spadework, which is done in silence, under any circumstances, in dream as well as in the waking state. In short; the period of gestation. No man ever puts down what he intended to say: The original creation, which is taking place all the time, whether one writes or doesn't write, belongs to the primal flux: it has no dimensions, no form, no time element. In this preliminary state, which is creation and not birth, what disappears suffers no destruction: something which was already there, something imperishable, like memory, or matter, or God, is summoned and in it one flings himself like a twig into a torrent. Words, sentences, ideas, no matter how subtle or ingenious, the maddest flights of poetry, the most profound dreams, the most hallucinating visions, are but crude hieroglyphs chiseled in pain and sorrow to commemorate an event which is untransmissable. In an intelligently ordered world there would be no need to make the unreasonable attempt of putting such miraculous happenings down. Indeed, it would make no sense, for if men only stopped to realize it, who would be content with the counterfeit when the real is at everyone's beck and call? Who would want to switch in and listen to Beethoven, for example, when he might himself experience the ecstatic harmonies which Beethoven so desperately strove to register. A great work of art, if it accomplishes anything, serves to remind us, or let us say to set us dreaming, of all that is fluid and intangible. Which is to say, the universe. It cannot be understood; It can only be accepted or rejected. If accepted we are revitalized: if rejected we are diminished. Whatever it purports to be it is not: It is always something more for which the last word will never be said. It is all that we put into it out of hunger for that which we deny every day of our lives. If we accepted ourselves as completely, the work of art, in fact the whole world of art would die of malnutrition. Every man Jack of us moves without feet at least at least a few hours a day, when his eyes are closed and his body prone. The art of dreaming when wide awake will be in the power of every man one day. Long before that books will cease to exist, for when men are wide awake and dreaming their powers of communication (with one another and with the spirit that moves all men) will be so enhanced as to make writing seem like the harsh and raucous squawks of an idiot.
I think and know all this, lying in the dark memory of a summer's day, without having mastered, or even halfheartedly attempted to master, the art of the crude hieroglyph. Before ever I begin I am disgusted with the efforts of the acknowledged masters. Without the ability or the knowledge to make so much as a portal in the facade of the ground edifice, I criticize and lament the architecture itself; If I were only a tiny brick in the vast cathedral of this antiquated facade I would be infinitely happier; I would have life, the life of the whole structure, even as an infinitesimal part of it. But I am outside, a barbarian who cannot make even a crude sketch, let alone a plan of the edifice he dreams of inhabiting. I dream a new blazingly magnificent world which collapses as soon as the light is turned on. A world that vanishes but does not die, for I have only to become still again and stare wide-eyed into the darkness and it reappears.
...There is then a world in me which is utterly unlike any world I know of. I do not think it is my exclusive property - it is only the angle of my vision which is exclusive, in that it is unique. If I talk the language of my unique vision nobody understands: the most colossal edifice may be reared and yet remain invisible. The thought of that haunts me. What good will it do to make an invisible temple?