[-empyre-] Monika Weiss Post

[simon]

On 18/11/14 10:22, Monika Weiss wrote:
> looking at our own past and our future as they are collapsing and 
> colliding, the true end of times

On 18/11/14 10:22, Monika Weiss wrote:
> one must ‘go on’

sang Beckett. Meanwhile, Leonard Cohen, somewhere in The Future: "Love's 
the only weapon
of survival" ...

as if 'survival' could ever mean to be living deeply. However, it seems 
there is a relation between memoration and generation - as the act 
proposed when love presents arms; while the former proposes
> pollution of the public sphere through Lament.
This relation perhaps belongs to futurity - since we don't want a future 
that doesn't remember us: it would be the "true end of times" and not 
have it 'going on' at all. (And why, Ana, shouldn't Sweden be used as
> paradise or utopy
? There are worse places, as we hear. (And then we could say "Sweden", 
when, after being told, "She went to a better place", we ask, "Where?" - 
with "all the attractions of the afterlife" - which is the "true" 
survival - in Wilde's words.) After all the weapon sales of love...)

Is it so much the collapse and collision of past and future - whatever 
figure is given for whatever figure is given for their acceleration, 
finale, that excites such operatic noise about ... silence - as what 
Yoko has written about place, the collapse in the theatricality of the 
image (Samuel Weber's concept of theatricality as (dis)placement) of 
here and there? Here where snow is falling. There where the sand is /mit 
Blut/.

The operative function (perlocutionary?) I would attribute to the words 
'our own' and 'our' in Monika's
> looking at our own past and our future as they are collapsing and 
> colliding, the true end of times
and ask not about hope - asking for hope is a hopeless task; hope was a 
killer in the camps according to Gustaw Herling - but about the future, 
and, again, not that it cannot happen again (Nietzsche's sort of useful 
curse of /amor fati/), but can it happen here?

We seem - even in seeming - rather than needing to collapse it to have 
given it away before any collision can take place:
and I thought John Ash was singing about the future in /Disbelief/ when 
he sang: "not to shut heaven out"

/As emptiness and redundancy//
//Approach head-on like trucks.//
//
//Destruction follows from the first premise.//
//In the sunsets you can see it happening.//
//
//In the tired lineaments of buildings//
//It is written as a fateful paragraph.//
//
//If a small plant takes root above//
//The cornice of the power-station, that is not hope.//
//
//Trees, in their way, are astonishing,//
//Especially on summer evenings,//
//
//But all you can do is leave them alone,//
//Which cannot happen. So the canopy is removed.//
//
//Man is an abuse. He writes the history of loathing//
//On the cracked mirror of the earth.//
//
//But the face you might elicit//
//From a doorway and some windows on the street//
//
//Is different: erase its frown,//
//The wrinkles of its mouth.//
//
//
//...
/Best,
Simon
/
//
//
/


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