Contradictory Passion: Inspiration in Blanchot's "The Space of Literature"

Author(s): Timothy Clark

Source: SubStance, Vol. 25, No. 1, Issue 79 (1996), pp. 46-61
Published by: University of Wisconsin Press
Stable URL: http://www.jstor.org/stable/3685228
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Contradictory Passion: Inspiration
in Blanchot's The Space of Literature

Timothy Clark

In The Space of Literature (1955; trans. 1982) Maurice Blanchot gives

what is surely the fullest, least idealizing and most detailed theory of
literary inspiration to be found in Western literature, vindicating the fruit-
fulness of this ancient concept. By definition, inspiration finds its
provenance outside or beyond the consciousness of the writer; in Blanchot,
the outside from which inspiration comes is, counterintuitively, both the
emerging work itself and, literally, nowhere. Inspiration forms a complex
and contradictory passion, one that does not belong to the writer, but
possesses from out of nothing.
The pivotal section of The Space of Literature, "Inspiration" (163-87), is
the culmination of a series of studies of the way Post-Romantic writers
(especially Valery, Mallarm6, Kafka and Rilke) valorize the process of com-
position as giving access to a unique realm of human possibility. This
Romantic tradition of trying to grasp inspiration as a form of human power
may be said to come to an end in Blanchot. His argument also transcends
the terms of that particular debate by giving an account of the paradoxical
and contradictory factors at work in the process of writing--an account
that remains unsurpassed in its detail. Throughout, Blanchot presupposes
a certain valorization of the unique and the original in the literary work of
art. At the same time, he takes these Romantic and modernist criteria of
value to an extreme at which they undergo a qualitative transformation,
justifying the growing recognition of Blanchot's place in the genealogy of
deconstruction (Bruns; Clark; Gregg; Rapaport). What remains striking
about Blanchot, however, is that this transformation takes place not
through concern with a critic's problems of interpretation, but through
concern with a writer's sense of the crisis of subjectivity undergone in
composition.
Blanchot's meditations on writing seek to elucidate what he terms the
characteristic features of a writer's "experience," traceable as the work
itself. This is not a reference to some sort of biographical decoding, but a
peculiar variant of formalism. To read the work by reference to the extra-

46 SubStance #79, 1996

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 Inspiration in Blanchot 47

literary is, for Blanchot, not only

denies the real force of the literary;
the work as the site of the writer's e
itself and the existential space (pr
work-in-process. The emergent wo
tween its inherent demands and co
writer, whose relation to the work is
literary inspiration is incalculable, a

Literature as a "limit-experience"

In The Infinite Conversation, Blanch

perience":

The limit-experience is the response that man encounters when he has

decided to put himself radically in question. This decision involving all
being expresses the impossibility of ever stopping, whether it be at some
consolation or some truth, at the interests or the results of an action, or with
the certitudes of knowledge and belief. (203-4)

In The Space of Literature literary inspiration is precisely such a limit-ex-

perience, an experience of insecurity that enacts a crisis in the relation to
being as a whole. The notion emerges from Blanchot's complex debate with
phenomenological and existential philosophy, especially the work of
Heidegger and of Levinas (see Collin; Critchley; Davies; Libertson). For
Blanchot, the literary passion as a limit-experience, while it emerges in a
pure form only in the relatively recent past, is both acultural and ahistori-
cal. In this respect, he remains closer to the Heidegger who describes
anxiety (Angst) in Being and Time as a shattering of human being, a crisis of
the human essence. Anxiety is a mood in which whomever it possesses is
anxious not about any particular item or aspect of life, but about the
totality of existence as the question of its own contingency, and about
death as the possibility of the impossibility of existing. Anxiety is thus less
an expression of individual subjectivity than a questioning of subjectivity's
very essence--its syncope, its paralysis. At its extreme, this total question
pitches Dasein beyond any sense of either history, culture or environment,
or anything that still serves to define Dasein as "being-in-the-world."
Hubert Dreyfus observes that Heidegger is justified when he writes not
"Dasein is anxious," but, tautologically, "anxiety is anxious" (180). There is
here neither "you" nor "I" only a "someone" (cf. The Space of Literature 31).
Similarly, for Blanchot, literature as a total experience, is "foreign to all

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 48 Timothy Clark

culture," possessing an
modate oneself easily" (
familiar claim that literature has some universal value that remains in-
variant across time. Rather, the literary is radically ahistorical as the bearer
of a movement of transcendence that holds the text open on the question of
its own nature-a question that any reading in terms of historical context
could only foreclose. The very concept of literature as its own question
situates it in a perpetual crisis of belatedness. For Blanchot, H1lderlin's
phrase describing the loss to poetry of any generally recognized role or
purpose, "the time of distress," designates "the time which in all times is
proper to art," (246) and is without the possible promise of renewal that
Heidegger reads into the phrase ("What are Poets for?"). Literature be-
comes the institution of the limit-experience, and simultaneously, that of
the question of the totality itself.

Inspiration and Exigency

The Space of Literature invites its reader to participate in a deepening

series of engagements with literary inspiration, moving almost stage by
stage between general meditations on the writer's predicament and close
readings of Kafka, Mallarm6 and Rilke, and especially of their thinking on
the relations between writing and death. My purpose here in schematizing
the account of inspiration that emerges (sometimes even from passages
widely separated) cannot but repeat Blanchot's own unavoidable distor-
tion in presenting in narrative form a topic whose force and complexity
resists linear presentation. Nevertheless, it may also underline the logic of
what Blanchot teases out.

One could hardly be further from an aesthetic of mimesis than is

Blanchot. The artist, even while gazing at the environment with a view to
the art-work, does not see a realm of things to be imitated. If they are
"inspirational" in any way, it is insofar as the exigency of the work is
already shimmering as a horizonal Stimmung, determining what "appears"
to the artist, The work might be called an emergent affect, without (as yet)
determinacy in any subject or material:

it is because, through a radical reversal, he already belongs to the work's

requirements that, looking at a certain object, he is by no means content to
see it as it might be if it were out of use, but makes of the object the point
through which the work's requirements pass and, consequently, the mo-
ment at which the possible is attenuated, the notions of value and utility
effaced, and the world "dissolves." (47)

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Inspiration in Blanchot 49

The writer becomes involved with

something that does not yet exist ex
memories and perceptions into itse
work" when the writer reaches the s
something other and more pressing
sonal expression, when it takes on a
authority whose law may dictate, i
ing. (Blanchot is thoroughly tradition
anti-instrumental). It is the moment

that which is glorified in the work is

some way to have been made, to refer
gathers all the essence of the work in
beginning and initial decision-th
author....(200)

This moment--if it can be called

definable, and Blanchot is certainly n
The writer's relation to the work is
of reading it; he or she oscillates a
work and being too alienated from
nalization only or as an object whose
Blanchot, dearly, the intentionalis
the writer submits to its exigenc
process of inevitable misconstru
writer's predicament is often the bas
of Blanchot's work, its humane come

It is true: the writer is willing to put

work has for him alone. Then it does n
or bad, famous or forgotten. If circu
himself, since he only wrote it to neg
that comes into being by chance, pr
lassitude, without value or significan
piece by circumstantial events, what a
for the glory himself... [and] see his ow
his mind in providential harmony with
to Death" 29)

The work should become, at som

projects the law of its own con
schematized as a first aspect of th
inspiration in Blanchot. The writer
spiration, as much as to inspiration a

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50 Timothy Clark

one writes only if one reach

approach in the space opene
has to write already. In thi
ing, the snag in the experie

The Reader: An Intimacy

Another tension in ins

reader.1 The quotation give
ceases to be something m
moment which cancels the
to itself, the reading find
Blanchot is not yet referr
cal agent, but as a structur
comparison with Derrida
trans. 1978) on the opacity
(as well as suggesting one
any mark is committed to
ing unpredictably beyon
that escape the initial au
moment of escape is ne
authorial self-expression:

the work is a work only wh

who writes it and someone
contest between the power

This moment also brings

between world and earth i
and reader. One danger
merely for a predetermin
tion, no less than the writ
as self-expression. Blancho
say nothing fundamentally
work's emergent self-aff
the law of its own emer
desire for self-expression
words may already hav
foreclose the work's emer
In The Infinite Conversa
ways differs from itself,

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Inspiration in Blanchot 51

sense, is identified simply as "poetr

language whereby, for instance,
dialogue, even if the interlocutors m
Space of Literature, Blanchot constr
says more or other than what can b
silenced, not by reference to the diac
ogy with Levinas's notion of the i
anonymous and contentless affirma
determinacy or subject (Critchley
about that point at which the work w
authorial intentionality, the writer is
reader and with this movement, alwa
signifiying without form. The deman
thus less to instrumentalize languag
the urge to personal expression, to
upon that "giant murmuring" upon
[of a writer's oeuvre] is not the writer
he imposes upon the word" (27).
The writer then is at the crossroad
forces. These must be endured in t
"worklessness" [d6soeuvrement] tha
than the product, the work, its con
them all. In The Infinite Conversati
following formulation:

I would even say that every important

extent that it puts more directly and m
this [poetic] turn; a turning that, at the
makes the work pitch strangely. This is
always decentered center, holds sway:

Blanchot's notion of the literary s

phenomenological notion outlined in
(1952; trans. 1964), a study with whic
(43-4, 114). Blanchot does not see the
tional and affective field that make
space opens itself instead from the
reader and work, bearing an affect th
finally as a mode of dispossession o

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52 Timothy Clark

The Desire of the Origin

Let us consider in more

be that annuls the write
impersonal affirmation. E
transformation; my pre
series of visits and revisit
The transformation is, a
is one in which the writer
his or her own intentiona
exigencies. These compe
vectors of effective acti
instrument or a sign to
not the language of ima
guage" (34). Jean Pfeiffer

One cannot comport onese

are not capable of doing any
the relation we are able to
possessor ... we are on the

The language of the wo

is expressed or addresse
Blanchot's language and
86), the work's force is
Blanchot's account is mo
content and without truth
tion, that of a "neutral
stop its saying, and to w
however, is also more th
affirming its being as an
of reversed intentionality
of passion. It is the passio
The word "origin" here
as in Heidegger's Der LUrs
Work of Art"]--origin in
For Heidegger, "The artist
of the artist" (17) (i.e., it
artist is an artist). For b
source; both find their or
In Blanchot, however, d
the work does not spring

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Inspiration in Blanchot 53

cally, the search for this origin. The w

This is tantamount to saying that th
realized, either in the work or the art
essential nature is open. The literary,
able crisis of its own question: "The
art exists already, not knowing tha
125), a position that anticipates much
on the practice of the avant garde, an
Moreover, yet another source of c
demands of the artist and the exige
may claim to know in theory or in ge
have any force, Blanchot says, "his
is ignorant of it" (56). If a writer is an
"the anxiety of this ignorance" (ibid
the question of the totality, both o
essence or source of the work cannot
future. Hence, for the writer and th
that of an exigency, a passion, the a
intensification of itself as a question,
against, not for, security.
Let us turn now to the second s
Literature. The work's exigency, for
that has none of the historical, disc
Heidegger as a mode of fundamental S
Heidegger in the prominence he give
the movement of inspiration, a term
because of its subjectivist association
the writer is of marginal importanc
work of art, he argues, "the artist
with the work, almost like a passagew
process for the work to emerge" ("
Destroys is a strong word, yet it is lef
tions, often in terms that evince a pr
and his notion of a pure expenditu
intense beyond the possibility of b
83-108). "Origin," then, in Blanchot's
not prominent in Heidegger: it is th
point to which the work is tending.
skill, that marks the writer as a write

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 54 Timothy Clark

The origin becomes att

escaping intentionality,
from its own exigency to
space the work projects
this movement, the quest

The central point of the wo

be reached, yet the only on

This point is the sovereign

of the completed work, but
approach. (54-5)

What can one say of this

an unreality. It is replete
who, even while surrend
resist the seemingly ma
illusion that if one main
back from it to the world
thing' could be said" (52
the hubristic ambitions
"automatic writing" also
form "to the initial poet
inspiration is a power t
the origin" names, among
movement from whence t
act coincide in the process
readings of Kafka, Malla
the exigencies of the liter
of inspiration, and find
impossibility of possibilit

Risks and Evasions

Needing to give way to inspiration, and yet to resist its delusions, th

writer remains in a position riven by contradiction. In this situation, decep-
tion, bad faith and persons from Porlock are inevitable. In this respectTh
Space of Literature constitutes an implicit answer to Sartre on writing and
commitment. Elsewhere Blanchot writes that

as soon as honesty comes into play in literature, imposture is already

present. Here bad faith is truth, and the greater the pretension to morality

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 Inspiration in Blanchot 55

and seriousness, the more surely will

("Literature and the Right to Death" 28)

Blanchot outlines several traps or

writer. One is that during writing
contact with the world, with himsel
'I"' (53). Contrary to the stereotype of
the complexities of mundane life, th
the sources of the literary are trauma
the desert from the responsibilities of

The work requires of the writer that he l

his own "nature," that he lose all charac
others and to himself by the decision th
empty place where the impersonal affir

Denial of this loss could entail aban

renouncing the passion of the origi
self-representation, or material for a
to this risk that, with what may
Blanchot situates the whole traditio
"The notion of characters, as the trad
of the compromises by which the wri
in search of its essence, tries to salv
himself" (27; also 202-3). Blanchot i
novels are without value, but that the
sense at issue (but lies, say, in socia
tion). The section on Kafka (57-83)
conflict between a writer's desire to use literature for certain ends

(religious, in Kafka's case) and the exigency of the literary passion itse
fact, Blanchot's work is a qualified defense of a certain purity of
literary.
The third risk is "impatience," a term with a precise sense in Blanchot.
He finds in it nothing less than "the principle of figuration" itself (79), a
necessary and decisive aspect of the literary process, albeit one at odds in
many ways with the work's exigency to affirm itself not "as a language
containing images or one that casts reality in figures" but as "an image of
language (and not a figurative language)" (34). The writer, striving with
the elusive and indefinite space of the work in quest of its origin, may
abandon the patience inherent to the work's unfolding, the requirement
"that one never believe the goal is close or that one is coming nearer to it"
(79):

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 56 Timothy Clark

This demand for a prematu

engenders the image, or, if
to it is that which attaches

To seize an image or sym

what is only intermediary
form to the pull of the
despite the hope of closur
diately reconstitutes th
himself more and more"
tation of the origin. Nev
its alternative is indolen
work--the writer's situa
These concepts are elabor
(1926), a reading that al
malism. He reads the ac
enacting the writer's pr
these become, paradoxica

Scarcely having arrived, u

clusion in which he finds h
the end. He won't expend a
he is indolent. This is prob
force of his tense striving t
the less glaring. It consist
mediary, a representation b

In K.'s absurd career, Blan

also the writer's--that o
developed in all its possibl
such a tracing is itself im
of premature figuration
tude of his writing, its
known as his realism.

The Work's End

Blanchot's argument is that the notion of a truly finished work is

incoherent; the more a work affirms its singularity, the less certain ar
criteria that propose to say whether it is finished or not (22). How, then
does any work come to a relatively satisfactory stop? Blanchot argues th
the writer has to confront episodes of intense alienation from the work in

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 Inspiration in Blanchot 57

progress, an experience in which the w

as a force of repulsion: "What the a
which he cannot turn away, but ne
writer will only reenter the field o
contingent and incalculable leap, "t
through some distraction or thro
patience" (54; also 81). Finally, a poin
continued just as well from outside
within it. This is a point where techni
to complete the job. However, this i
justified" (54). The work is always a
A fourth risk is the decisive one,
borne by inspiration about as far as
terms of the myth of Orpheus and
Space of Literature. This is again the r
but not because it demands the surr
work will come to seem unrealizable
portance compared to that passion
further perhaps than the work can be
consist in "the impossibility which
outside of "tasks, of acquired form
work then "may return ever closer to
tion" (53).
This last risk, however, is essential to the work, even if as a result it
may remain "unfinished" in a technical sense. Inspiration is both the origin
of the work and also, in its purest and most singular form, its paralysis and
ruination, confronting the work with impossibility. Its exigency is stronger
than the need to finish the work: "the work counts less than the experience
of the search for it ... an artist is always ready to sacrifice the work's
accomplishment to the truth of the movement that leads to it" (The Infinite
Conversation 397). This is the gaze of Orpheus-the moment at which he
cannot not look back at Eurydice, even at the cost of ruining his enterprise
and losing her. The work may become a "sacrifice" to inspiration, and
inspiration itself becomes "the gift par excellence" (175), in Bataille's sense
of a giving so extreme that it breaks with any logic of restitution, or any
economy of adequation or measure (see Comay). From the writer's
perspective, inspiration is undergone as an experience of impossibility, of
being thrown beyond the possibilities of language, beyond the law that
governs the work; it is a syncope in which subjective consciousness is

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58 Timothy Clark

paralyzed in the essenti

the scattering of Orpheu
The experience of sacri
for the artist-a furthe
the measureless, imprud
itself; for, "Had he no
towards him" (172). In
since the work got und
him to lead Eurydice fo
daytime truth or ever
obscurity, "as the foreig
have living in her the
impossibly, to possess t
ing,even while continu
combine act and know
exorbitant point and ri
becomes impossible, an
short, Blanchot's defin
regard for the song, i
forgets the law: that is
Blanchot says that th
comes an impossibility,
free from the writer, ev
the work surpasses itself
(174), this is certainly
stant, its point of extre
words, is the "moment
crisis of its own questi
The work, in conclusi
There is always an unb
what the writer can sa
between act and know
his well-known but rat
said to answer the post
spiration to its ancient f
issue is precisely the in
Homer's inability) to g
some theory or techne.
the performative and
leads Socrates to the du

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 Inspiration in Blanchot 59

know what he is doing, Ion must b

this ignorance effective in inspiration
Although Blanchot's account i
vehemence with which it depends o
tween the aesthetic and the instrume
l'art pour l'art. Rather, The Space of
extreme modernist aesthetic, pushe
becomes the transgressive drive tha
the criteria of singularity and orig
longer an aesthetic artefact, an object
classification; it becomes a crisis in h
standing.
University of Durham

NOTES

1. See my companion article, "Blanchot and The Impossible Lightness of Rea

ing," forthcoming in Southern Review (Adelaide), 1995.
2. For analyses of how Blanchot's phrase "the impossibility of possibility" c
tests Heidegger's account of death as the "possibility of impossibility" see Critch
123.

3. Blanchot's use of the myth of Orpheus surely makes him vulnerable to t

kind of critique Alice Jardine conducts in Gynesis against avant garde male wri
who project on woman the image of some desired otherness. See Karen Jaco
reading of Blanchot in these terms.
4. De Man argues that Blanchot's work as a critic is directed towards a readin
his work as a writer. Yet, this coincidence of writing as act and writing as crit
knowledge, which would assimilate Blanchot too closely to Mallarmd and Valery
exactly the pivotal impossibility in Blanchot's theory of inspiration.

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