Léon Bloy, “Le Musicien du silence” (1893)
I [the composer Pouyadou] could point you to important pieces written for a set of completely voiceless trumpets that I call the bugles of Silence, after the model of the unrecoverable buccins that once overthrew the walls of Jericho [via].
“He lived at a little distance from his body, regarding his own acts with doubtful side-glasses.”
– James Joyce, “A Painful Case,” Dubliners
“I know who you are,” she said.
“That makes one of us,” I said.
– Sam Lipsyte, “Nate’s Pain is Now,” The Fun Parts (2013)
Lydia Davis, The End of the Story
I’m afraid I may realize after the novel is finished that what actually made me want to write it was something different, and that it should have taken a different direction. But by then I will not be able to go back and change it, so the novel will remain what it is and the other novel, the one that should have been written, will never be written.
William Faulkner, “William Faulkner, The Art of Fiction No. 12″ by Jean Stein, The Paris Review 12 (Spring 1956)
None of my work has met my own standards.
Tom McCarthy, “Writing Machines,” London Review of Books 18 December 2014: 21-22
In ‘Literature Considered as a Bullfight’, Michel Leiris compares the writer to a toreador. Imagine a bullfight without the bull: it would be a set of aesthetic manoeuvres, pretty twirls and pirouettes and so on — but there’d be no danger. The bull, crucially, brings danger to the party, and for Leiris, that’s what the real is: the tip of the bull’s horn. He, too, disappoints by offering candid confession and exposure of personal peccadillos as examples of dalliances with the bull-horn — i.e. Oprah literature. But Leiris’s conceit is rich in ways that even he seems not to realise. Think about it: if a matador is gored, the bullfight, the entire spectacle, suddenly comes to an appalled halt; what the bull’s horn brings to the party is not just danger but also the possibility that the party itself could be catastrophically interrupted. If the bullfight is an analogue for literature, and if the bull’s horn is a vision of the real, then what the real represents is an event, something that would involve the violent rupture of the form and procedure of the work itself. The real, here, is no longer anything like a fact or a secret. It doesn’t depend on any putative correspondence between the writer’s work and the empirically understood world. And it certainly has nothing to do with authenticity.
. . . The matador is gored, the real jumps out and punctures the screen or strip of film, destroying it. This is a real that happens, or forever threatens to happen, not as a result of the artist ‘getting it right’ or being authentic, but rather as a radical and disastrous eruption inside the always and irremediably inauthentic; a traumatic real; a real that is psychoanalytic as much as literary: the real that Lacan defines as ‘that which always returns to the same place’ and as ‘that which is unassimilable by any system of representation’. The challenge isn’t to depict this real realistically, or even ‘well’, but to approach it in the full knowledge that, like some roving black hole, it represents (though that’s not the right word anymore) the point at which the writing’s entire project crumples and implodes.
Tom McCarthy, “Kafka and the Crash of the System: An Interview with Tom McCarthy” by Jonathon Sturgeon, Flavorwire 26 February 2015
In a way, all of my books are about this kind of quest for the now, to close down the buffer zone of consciousness and self-awareness and irony or language or whatever. Just to close that down and occupy “the now” — which is an impossible or unrealizable fantasy. I guess that’s what Present Tense Anthropology ™ would be. But U. never achieves it. All he ever achieves is buffering. That space of delay and separation. . . . Nothing is less contemporary than contemporary art or fiction. Than art that has something to say about the now. I think the whole point of the now is that it’s precisely what we can’t articulate.