The Kraus Project. Jonathan Franzen

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СКАЧАТЬ trades: there’s no difference between author and reader. There’s only one person now, and that’s the feuilletonist. Art backs away from him like a glacier from an alpine hotel guest. There was a time, the guide boasts, when you could put your hands on it. If a reader today can put his hands on a work, the work must have a bad side. The publisher of this magazine is well aware that it owes its reputation mainly to a sensibility that doesn’t shrink from some excellent novelist merely because he’s also rumored to be an artist. He can confidently exploit the indulgence. The publisher of Die Fackel not infrequently has the feeling that he’s freeloading on it. It would be retracted irrevocably should his readers ever discover in what a state of insanity such witty happenstances came to be written, on what powers of self-annihilation such self-assurance lives, and how many hundredweight of suffering the lightest pen can carry. And how gloomy the thing that brightens the idler’s day.3 Their laughter, which doesn’t reach as far as my wit, would die in their mouths. If they could see that the petty material directly in front of them is just a shabby remnant of a thing they cannot touch, they would finally go away. Among those who flatter themselves that they’re my victims, I am not loved; but the people who look on with schadenfreude still give me far more credit than I deserve.4

      Given that Die Fackel finds itself in so many wrong hands: if something I’ve written proceeds to venture into other print, few people will reach for it. With a collection of satires or aphorisms, this would be nothing to complain about.5 Things of that sort are content to find the rare reader for whom textual alteration signifies new work. But the essay “Heine and the Consequences,” which came to the book publisher as a manuscript, has made it clear that there no longer are any readers besides these few.6 And it, of all texts, can’t help feeling pained by this discovery. For its wish is to create readers, and it can’t succeed at this unless it finds readers. It enacts the misery of German-language letters, and it isn’t content to make itself the demonstration of its own truth. And so it treads the path of remorse, which leads from the book back into the magazine; and would that even this exigency might please it, as proof of the perversity of the business of the Spirit in our times. Here, in familiar environs, it will at least make the attempt to speak to more deaf ears than are to be had in the greater German public.

      Because it’s not to be thought that they were simply deaf to the subject about which they were being addressed. They’re still happy to hear about Heine, even if they know not what it means.7 If the essay merely rejected the living value of his art, it would surely say nothing new to that contemporary sensibility that doesn’t even let itself be fooled by the collusions of the commentariat. It would surely sooner be brought around to begging for a Heine monument than to a reading of his books. And the hate that developed there, where not love but mere intellectual hypocrisy stands watch over the grave, would be greeted with some bitterness, to be sure, but not with any general interest. This text, meanwhile, as far removed from suspicion of being unfair to Heine as from pretension of being fair to him, is not a literary essay. It doesn’t exhaust the problem of Heine, but it does more than this.8 The most ridiculous reproach—that it holds Heine responsible as an individual culprit for his consequences—can’t touch it. The people who pretend to defend him are defending themselves and revealing the true direction of the attack. They should be held responsible for their existence, and the sputum that German intellectuals immediately coughed up is evidence that they feel themselves to be the responsible consequence. There were individuals severely enough punished by their own poetry or too gravely insulted by their own polemics to have needed to respond in detail. The few who were annoyed and the many who didn’t read have confirmed what was written.9 It wasn’t the danger of experiencing a desecration of Heine, but surely the fear of hearing the most hostile thing that can be said to this age of talents, that prevented the shout from having a stronger echo. It wasn’t an evaluation of Heinean poesy, but a critique of a form of life in which everything uncreative has once and for all found its place and its brilliantly wretched accommodation, that was essayed here. Not a denunciation of the invention of a pestilence, nor even of its importation, but a description of a spiritual condition on which ornaments fester. This offended the pride of the bacteria carriers. Here language is somehow released from everything it was obligated to outwit, and the power to acquire better content is celebrated. Here this very language declares itself a stranger to the calligraphic fraud that admires the beauty mongers from Paris to Palermo for the verve with which, in art and in the hotel bill, a five-note is made into a niner. This they didn’t understand, or recognized as dangerous enough that they didn’t want to hear it.

      But so as not to chastise lack of ability, which is an honest effect of the gifted zeitgeist, more severely than the malice that social possibilities of every age have mobilized against thought, it must be said that a particular suspicion has compelled the author to ask the publisher Albert Langen for the reprint rights to this document. The author’s well-known persecution mania, which has gone so far as to whisper to him that he hasn’t managed to make himself loved in twelve years’ time, led him to believe that the pamphlet was intentionally suppressed.10 He imagined that bugs flushed from Heine’s mattress-grave had sprung into action and settled in precisely on the road they know so well, the one that leads from thinking to commerce. Fear of the press can move mountains and shutter halls; a hint is perhaps not even needed to make a Viennese bookseller tepid in marketing a dangerous pamphlet that generates only paltry profit.11 Especially not one of the ones who are even now still sore with Die Fackel about a civil action that its first printer brought against it. Is it not, then, a most indicative Viennese circumstance that not only will the glances of the strolling city be spared the irritation of my books, but that copies of Die Fackel—one line of which contains more literature than the collective show windows of every downtown bookstore, and on whose least comma more torment and love are expended than on a library of luxury editions by Insel—are compelled to offer themselves amid cigars, lottery tickets, and tabloids to cover the costs of a never-rewarded and never-appreciated labor, while an entire chorus of humor-loving vermin considers the thing lucrative and gloats over the idea of the “double issue.”12 A magazine that avoids like leprosy the most legitimate sponsorship,13 that in its desire to earn its own living makes life harder for itself, and that is book-born like hardly a book in contemporary Germany, has to do without the support of its own industry, which ought to have an obligation to it, and to get a taste, in Austrian exile, of the sort of ignominy that throws the person condemned for a political offense into jail with the pickpockets. The pack of liberals whose cosmic feeling is avarice, and whom you have to beg for the mercy of excusing you as crazy if you fail to make a profit: Does it have any idea how many pleasures it could buy with the money that my work of hate devours before it achieves the form with which a self-glorifier is never satisfied—because only then does it reveal to him the errors that the others don’t notice? But here, in his archive, he takes what he likes and collects what is liked nowhere else. Here nothing can disappoint him. A work that instead of twenty editions didn’t see a second one: here nothing more can happen to it. Its author, whose pleasure it is to reach into the spokes of his own wheel to shut down both himself and the machine when the tiniest point displeases him, will never again lend his assistance to an alien publishing concern.14 He will never again try to win a new audience. For him, Die Fackel is not a platform but a haven. Here the destiny of a work can move him only through the point of its completion, not through its dissemination. What’s being lived here may be resurrected in a book. But it’s recompense enough to be bound to one’s own wheel.15

BETWEEN TWO STRAINS OF LIFE

      FINAL СКАЧАТЬ