Cioran, in an Interview With Michael Jakob…

Cioran, in an interview with Michael Jakob:

M. J. : Aviez-vous décidé avant votre arrivée en France de ne pas travailler dans ce pays non plus ?

C. : Oui, c’est d’une façon ultra-lucide que j’ai compris qu’il faut accepter n’importe quelle humiliation ou souffrance pour se refuser à exercer un métier, à faire des choses qu’on n’aime pas et qu’on ne peut pas aimer, à exercer tout travail impersonnel. Seul j’aurais accepté un travail physique. J’aurais accepté de balayer les rues, n’importe quoi, mais pas d’écrire, de faire du journalisme ! Il fallait tout faire pour ne pas gagner sa vie. Pour être libre il faut supporter n’importe quelle humiliation et c’était presque le programme de ma vie.

Freedom and humiliation! Perhaps no two words are so closely linked. Such a response clearly reveals the feeling that pulsates within a true writer. And this writer, whether he likes it or not, will do little more than bear a life that, for others, would be unthinkable. There is no such thing as recognition in literature. The man dedicates his life to building a body of work, financially becomes a nobody, perseveres against all odds, renounces everything else—and yet, he must hope to remain in the peace of anonymity, to never be read. When that luck does not come, he is envied by his peers and insulted by the first imbecile. In the end, however, it is worth it, because the writer who accepts this, in truth, chooses an authentic life, and can be proud of having sustained it without betraying himself.

When Nabokov Talks About His Butterflies…

When Nabokov talks about his butterflies, they become interesting even to those who despise them. This is because Nabokov, in addition to being a masterful writer, when he talks about butterflies, he talks about something that captivates him; he speaks enthusiastically, causing at least some of this great enthusiasm to radiate to the reader. With this example, it becomes easy to see that literature makes possible unlikely, unexpected, even impossible readings, provided the author is authentic and deals with subjects that truly interest him—acting as a host who, in an act of good faith, shows the visitor what he considers to be his most valuable possession. Perhaps the most evident effect of a great writer is precisely this: he stimulates, even if by force, the reader’s interest.

It Is as Liberating as It Is Unpopular…

It is as liberating as it is unpopular to reject all labels, to cling to nothing, to allow oneself to always say what one wants. To philosophize without the title of philosopher, to write poetry without the title of poet, to write without ever earning the title of writer. In this way, it is possible to do all of this authentically, that is, by employing authentic means of expression in an attempt to address the problems that experience has presented. No title will provide gratification comparable to this, to know oneself, to feel oneself spending time on matters of personal importance. And if nothing comes of the effort, at least the comforting sensation will remain that one’s attention was directed toward the questions that life has prescribed.

“I Am a Philosopher; I Do Philosophy”

“I am a philosopher; I do philosophy”—says the builder of imaginary castles, just as the one who plays at creating, arranging, and tampering with words says: “I am a writer; I do literature.” And although both, perhaps, feel justified by the status their craft confers upon them, the truth is that nothing they produce has any existential meaning. Pointing this out seems silly, but the years pass and life presses for a true justification. The philosopher, the writer, cannot find it in the past, having dedicated it to external motivations, detached from themselves. So they repent; perhaps still with time to redeem it, but having already left behind the harmful influence and example.