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[...] it is not the highest praise of a translation, particularly in the age of its origin, to say that it reads as if it had originally been written in that language. Rather, the significance of fidelity as ensured by literalness is that the work reflects the great longing for linguistic complementation. A real translation is transparent; it does not cover the original, does not block its light, but allows the pure language, as though reinforced by its own medium, to shine upon the original all the more fully. This may be achieved, above all, by a literal rendering of the syntax which proves words rather than sentences to be the primary element of the translator. For if the sentence is the 'wall before the language of the original, literalness is the arcade.
pretty
[...] never has experience been contradicted more thoroughly than strategic experience by tactical warfare, economic experience by inflation, bodily experience by mechanical warfare, moral experience by those in power. A generation that had gone to school on a horse-drawn streetcar now stood under the open sky in a countryside in which nothing remained unchanged but the clouds, and beneath these clouds, in a field of force of destructive torrents and explosions, was the tiny, fragile human body.
wow
[...] The word "unfolding" has a double meaning. A bud unfolds into a blossom, but the boat which one teaches children to make by folding paper unfolds into a flat sheet of paper. This second kind of "unfolding" is really appropriate to the parable; it is the reader's pleasure to smooth it out so that he has the meaning on the palm of his hand. Kafka's parables, however, unfold in the first sense, the way a bud turns into a blossom. That is why their effect resembles poetry. This does not mean that his prose pieces belong entirely in the tradition of Western prose forms; they have, rather, a similar relationship to doctrine as the Haggadah does to the Halakah. They are not parables, and yet they do not want to be taken at their face value; they lend themselves to quotation and can be told for purposes of clarification. [...]
[...] For just as K. lives in the village on Castle Hill, modern man lives in his body; the body slips away from him, is hostile toward him. It may happen that a man wakes up one day and finds himself transformed into vermin. Exile-his exile-has gained control over him. The air of this village blows about Kafka, and that is why he was not tempted to found a religion. The pigsty which houses the country doctor's horses; the stuffy back room in which Klamm, a cigar in his mouth, sits over a glass of beer; the manor gate, to knock against which brings ruin-all these are part of this village. The air in this village is not free of all the abortive and overripe elements that form such a putrid mixture. This is the air that Kafka had to breathe all his life. He was neither mantic nor the rounder of a religion. How was he able to survive in this air?
The man who wrote these pieces was no flaneur. They embody, in ironic form, the same experiences which Baudelaire put into this sentence, without any trimmings and in passing: "Perdu dans ce vila in monde, coudoye par les fouIes, je suis comme un homme lasse don't l'oeil ne voit en arriere, dans les annees profondes, que desabusement et rtmertume, et, devant lui, qu'un orage aU rien de neuf n'est contenu, ni enseignement ni douleur." [...]
"Lost in this mean world, jostled by the crowd, I am like a weary man
whose eye, looking backwards, into the depth of the years, sees nothing but
disillusion and bitterness, and before him nothing but a tempest which contains nothing new, neither instruction nor pain."
wow
Since the spiritual exercises of Loyola there has hardly been a more radical attempt at self-absorption. Proust's, too, has as its center a loneliness which pulls the world down into its vortex with the force of a maelstrom. And the overloud and inconceivably hollow chatter which comes roaring out of Proust's novels is the sound of society plunging down into the abyss of this loneliness. This is the location of Proust's invectives against friendship. It was a matter of perceiving the silence at the bottom of this crater, whose eyes are the quietest and most absorbing. Something that is manifested irritatingly and capriciously in so many anecdotes is the combination of an unparalleled intensity of conversation with an unsurpassable aloofness from his partner. There has never been anyone else with Proust's ability to show us things; Proust's pointing finger is unequaled. But there is another gesture in amicable togetherness, in conversation: physical contact. To no one is this gesture more alien than to Proust. He cannot touch his reader either; he could not do so for anything in the world. [...]
i wish all lit crit were like this
Not man or men but the struggling, oppressed class itself is the depository of historical knowledge. In Marx it appears as the last enslaved class, as the avenger that completes the task of liberation in the name of generations of the downtrodden. This conviction, which had a brief resurgence in the Spartacist group," has always been objectiontable to Social Democrats. Within three decades they managed virtually to erase the name of Blanqui, though it had been the rallying sound that had reverberated through the preceding century. Social Democracy thought fit to assign to the working class the role of the redeemer of future generations, in this way cutting the sinews of its greatest strength. This training made the working class forget both its hatred and its spirit of sacrifice, for both are nourished by the image of enslaved ancestors rather than that of liberated grandchildren.
need to unpack this more
[...] The nature of this sadness stands out more clearly if one asks with whom the adherents of historicism actually empathize. The answer is inevitable: with the victor. And all rulers are the heirs of those who conquered before them. Hence, empathy with the victor invariably benefits the rulers. Historical materialists know what that means. Whoever has emerged victorious participates to this day in the triumphal procession in which the present rulers step over those who are lying prostrate. According to traditional practice, the spoils are carried along in the procession. They are called cultural treasures, and a historical materialist views them with cautious detachment. For without exception the cultural treasures he surveys have an origin which he cannot contemplate without horror. They owe their existence not only to the efforts of the great minds and talents who have created them, but also to the anonymous toil of their contemporaries. There is no document of civilization which is not at the same time a document of barbarism. [...]
famous quote
Communism is also the name for the positive alternative to capitalism’s permanent and expanding exploitation, crisis, and immiseration, the name of a system of production based on meeting social needs—from each according to ability to each according to need, to paraphrase Marx’s famous slogan—in a way that is collectively determined and carried out by the producers. This positive dimension of communism attends to social relations, to how people treat each other, animals, things, and the world around them. Building communism entails more than resistance and riot. It requires the emancipated egalitarian organization of collective life.
The comrade relation remakes the place from which one sees, what it is possible to see, and what possibilities can appear. It enables the revaluation of work and time, what one does, and for whom one does it. Is one’s work done for the people or for the bosses? Is it voluntary or done because one has to work? Does one work for personal provisions or for a collective good? We should recall Marx’s lyrical description of communism in which work becomes “life’s prime want.” We get a glimpse of that in comradeship: one wants to do political work. You don’t want to let down your comrades; you see the value of your work through their eyes, your new collective eyes. Work, determined not by markets but by shared commitments, becomes fulfilling. French communist philosopher and militant Bernard Aspe discusses the problem of contemporary capitalism as a loss of “common time”; that is, the loss of an experience of time generated and enjoyed through our collective being-together.10 From holidays, to meals, to breaks, whatever common time we have is synchronized and enclosed in forms for capitalist appropriation. Communicative capitalism’s apps and trackers amplify this process such that the time of consumption can be measured in much the same way that Taylorism measured the time of production: How long did a viewer spend on a particular web page? Did a person watch a whole ad or click off of it after five seconds? In contrast, the common action that is the actuality of communist movement induces a collective change in capacities. Breaking from capitalism’s 24-7 injunctions to produce and consume for the bosses and owners, the discipline of common struggle expands possibilities for action and intensifies the sense of its necessity. The comrade is a figure for the relation through which this transformation of work and time occurs.