Meeting in the Book:
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Rosmarie Waldrop’s Lavish Absence is an extraordinary mixture of reminiscence, a study of the writing of the poet Edmond Jabès, reflections on the nature of poetry and translation, and a somewhat autobiographical piece of writing that gives us occasional glimpses into Waldrop’s own development as a writer. I find Waldrop’s book to be extremely engaging. Often, it feels perfectly continuous with Jabès’s own writing, becoming an extension of or a meditation in the same environment of thinking. Lavish Absence represents an appropriately cross-genre and unclassifiable piece of writing — an appropriate portrait and homage to Edmond Jabès, one of the twentieth-century’s important writers of “the book,” a poet who, fittingly, died reading a book. |
Energy, matter. It exists, but it becomes “world” only in the book, in language, which is created by man and at the same time creates him. “You who are the one who writes and is written” stands at the beginning of The Book of Questions. Faced with an undecipherable world we set out to create language, a place where human discourse can arise, and we come to exist as human beings; where, at the same time, we can maintain a relation to what transcends us, the undecipherable, the ultimate otherness, and speak to it under the name of God. (1)
Jabès’s writing addresses and embodies the most fundamental aspects of human being, particularly the paradoxical nature of the human as a being housed within the possibilities of language and, most often, the accidents and wonders of a particular language. A particular assemblage of the possibilities of language is the book. For Jabès, “The world exists because the book does” (15). the desert, that infinity where there is nothing. It’s fundamentally the white page. My questioning, my obsession with the book, may very well have been born from that white page, which becomes written. I never thought of a Mallarméan book, of a totality. To think of a book in advance, as a project, is to limit it. The book for me should be without limits, like the desert, thus an exploded book. (126) Jabès critiques and rejects the Mallarméan conception of a grand project — the book-architecture that Mallarmé refers to in a letter to Théodore Aubanel (July 28, 1866), in which he foresees the need for “twenty years for the five volumes of this Work.” [Note 2] But Jabès’s book does resemble Mallarmé’s as a site capable of incarnating the complexities of our being, though Jabès insists simultaneously on the need for the book to be exploded, broken, and questioned. Jabès locates that conception of the book in a Hebrew (not a French) tradition of the book: My books are for me both a place of passage and the only place where I might live. Isn’t it surprising that the word of God should come from the desert, that one of the names of God in Hebrew should be PLACE, and that the book should have been lived as the place of the word by the Jews for millennia? But at the same time I don’t accept the book as it is. I believe that the refusal is what one also finds in the Jewish tradition.
Waldrop, in Lavish Absence, does not really address the relationship of Jabès’s thinking about the book to Mallarmé’s, focusing instead more steadily on Jabès’s Jewish sense of textuality, and on the implications and nature of the book. Waldrop writes, |
It is language, the book, that enables us to perceive — and to live. It is our universe to the point where we ourselves metamorphose into the word. “I took you in as a word,” the narrator says to Yaël. And Jabès to Marcel Cohen: “We become the word that gives reality to the object, to the being.” (15)
As Waldrop notes throughout Lavish Absence, Jabès places his faith in the efficacy and accuracy of the fragmentary: “‘The fragment, the exploded book, is our only access to the infinite,’ Edmond Jabès says in conversation after conversation. And writes: ‘Only in fragments can we read the immeasurable totality’” (18). Here, perhaps, in a rejection of a totalizing book (or of a book that would achieve closure) lies Jabès’s fundamental difference from Mallarmé’s conception of the book, though the radically dispersed textuality of Mallarmé’s Un Coup de Dés should call into question any such simple conclusion. I look at my translation: “The book never actually surrenders.” This now seems inadequate. The adverbial form weakens the statement, makes us read over it rather than pause to ponder its strangeness and implications. In 1973, I did not see this sentence as I see it today. This pleases me in as far as it shows my reading and interpretation are not frozen. (138)
Waldrop’s consideration of the complexities of translation inevitably becomes a thinking about the nature of language. She understands and takes some pleasure in the fact that language — in translation, but also in the “primary” act of writing — exceeds our control of it, and “that language is not necessarily a tool we can simply ‘use’” (100). Waldrop’s philosophy of translation resembles Walter Benjamin’s, concurring with his conclusion that a literary work’s “essential quality is not statement or the imparting of information” (7). For Waldrop, such understandings do not lead to the more customary laments about the impossibilities and woeful imperfections of translation. For example, rather than seek a translation that perfects an imagined harmonious relationship of sound and sense, Waldrop realizes (and confirms by way of Giorgio Agamben) that poetry often lives in the particularities of a disagreement or productive tension and discord between sound and meaning. Waldrop writes of Jabès: “His aim is not to invert the traditional hierarchy of sense over sound, but to establish parity between them, or, rather, to establish a dynamic relation between language and thinking, where the words do not express pre-existing thoughts, but where their physical characteristics are allowed to lead to new thoughts” (70). “The name of God is the juxtaposition of all the words in the language,” Edmond Jabès reminds Marcel Cohen. “Each word is but a detached fragment of that name.”
Attention to the word leads to some remarkable perspectives: “According to Kabbalistic tradition this pure spiritual light of the first day was, but did not remain. Where did it go? Into the Torah. That is, into the word” (151). The Jew has been persecuted for being “other.” But “otherness” is the condition of individuation, the condition of being set apart from the rest of creation in the glorious — and murderous — species of humankind and, in addition, set apart from our fellow humans as individuals, always “other.”
Jabès’s sustained, intensely spiritually engaged writing — of a professed nonbeliever, of a professed atheist — establishes, oddly, a powerful relationship to the most fundamental issues and questions of belief, of the divine, of our complicated and barely expressible relationships to various abstractions that bear down on our lives with an invisible intensity. His peculiar relationship to God is at the heart of his writing: “You say you are an atheist. How can you constantly write of God?”
I find Jabès’s writing — and Derrida’s too — to be the most important religious writing of our time. Yet I find myself wondering how that comes to be: how a non-believing Jew, an atheist, writes a poetry (or, truly, a generically unclassifiable writing) that has such a powerful capacity to engage and to instruct. Perhaps Jabès’s writing demonstrates to us — in book after book — how inadequate and crude terms such as “belief” and “non-belief” are, and that while Jabès may be classified as being a “non-believing Jew” and an “atheist,” the opposing qualities of belief are, throughout his writing, of equal intensity. Perhaps what matters, then, is the intensity (and credibility and the nuanced nature) of Jabès’s relationship to these fundamental portals of “Jew” and “God,” and in this regard his writing is unsurpassed. I sometimes suspect (or entertain the thought) that for Jabès (and for Derrida as well) a direct or simple profession of belief, particularly a profession that assumed a static or definitive quality, would not only be a betrayal of the fundamentals of their thinking and writing and of their profound sense of thinking as always being in motion, but also a violation of an orthodox interpretation of the commandment prohibiting one to have or worship any false images of the divine. For such a fixity of belief carries with it the hazard of actually standing between one and one’s relationship to the divine by becoming a sign or site or formulation that one mistakenly substitutes for that engagement. Edmond seems not to be listening. Then, after some silence, begins to talk about the concept of simsum, which arose in Lurianic Kabbalism around the time of the expulsion of 1492. The creation occurs when God voluntarily contracts himself into nothingness to make room for the world to emanate from him. A projection of exile onto the cosmic plane. (128)
In a passage cited by Waldrop, Marjorie Perloff declares, “Language is the new Spiritus Mundi!” (87). Perhaps what writing such as Jabès’s demonstrates, is that while indeed it may be true that the attention of poets has shifted to the operations and idiosyncrasies of language itself — and that language has become the site wherein spiritual relationships (or relationships generally to the numinous) have been enacted — we may also be gradually backing into renewed relationships with older modes of that Spiritus Mundi as we’ve found that a devotion to language as an end in itself has its own problems, limitations, self-indulgences, romanticizings, and evasions. I had half expected a severe ascetic. I come to know a man with an enormous sense of humor, a man who loves food, tells jokes, who at the drop of a hat improvises parodies and skits, who plays the clown for his grandchildren. Faire l’idiot, he calls it. A man who cultivates lightness because he knows gravity? (5)
One important dimension of Lavish Absence becomes the intimate sense we get for Jabès’s daily life. When Rosmarie and Edmond reflect on their first meeting, Rosmarie also suggests, “I guess we met in The Book of Questions.” Edmond adds, “We are still meeting in the book” (57). Such dialogues allow us to realize that indeed through reading we do meet in books — with an intimacy and depth peculiar to the experience of poetry. An unusual and intimate (and often unacknowledged) friendship — not simply among the living, but also between the living and the dead — occurs in this book, and Waldrop’s Lavish Absence offers an affectionate and thorough exploration of such a meeting and its continuing reverberations. The person that we meet in the writing is also a “person” that the writer meets there as well, for that written person is, of course, different (in nature, not simply different in opinions or voices) than the person-in-the-world. As Jabès notes, this difference occurs because “to write means ‘to wait for words that wake our thoughts as they write us’” (119). And thus his views of the experience of writing bear an interesting relationship to poets such as Robert Duncan who often found himself to be a medium during the moment of composition. Thus, while poetry is often thought of as having a revelatory intimacy of autobiography, Jabès points as well to a self in erasure through writing, a self that is absorbed in writing, in the word, and in the book. |
NotesNote 1] Page 14, included in The Book, Spiritual Instrument, edited by Jerome Rothenberg and David Guss, New York: Granary Books, 1996. “The Book, Spiritual Instrument,” translated and visually interpreted by Michael Gibbs, pp. 14–20. The passages subsequently cited from Philippe Boyer’s 1980 interview with Edmond Jabès are also included in this same volume, pp. 124–134, translated by Jack Hirschman.
Note 2]
Stéphane Mallarmé: Selected Poetry and Prose, edited by Mary Ann Caws, New York: New Directions, 1982, p. 85. |
Hank Lazer’s most recent books of poems are Days (Lavender Ink, 2002 — reviewed by Geraldine McKenzie in Jacket 21) and Deathwatch for My Father (Chax, 2003). Forthcoming is Elegies & Vacations (poems, Salt Publishing, Cambridge UK, Spring 2004). Lazer edits the Modern and Contemporary Poetics Series for the University of Alabama Press. |
August 2003 | Jacket 23
Contents page |