theparisreview
theparisreview:

Go on, go on down,      bring the man up …                          In here, Mr. Wilde. This room is not such a ruin as it seems:                          I find most things I search for without much trouble—
In 1882, Walt Whitman and Oscar Wilde spent an afternoon together. They had some homemade elderberry wine and talked about how to be famous. Above is Richard Howard’s imaginary account of the meeting, from his poem “Wildflowers.”

theparisreview:

Go on, go on down,
      bring the man up …
                          In here, Mr. Wilde.
This room is not such a ruin as it seems:
                          I find most things I search for
without much trouble—

In 1882, Walt Whitman and Oscar Wilde spent an afternoon together. They had some homemade elderberry wine and talked about how to be famous. Above is Richard Howard’s imaginary account of the meeting, from his poem “Wildflowers.”

therelentlessprocessionoftime
therelentlessprocessionoftime:

fuckyeahgillesdeleuze:

pieto:

Walter Benjamin’s library card, Bibliothèque Nationale, Paris, 1940.
The greater the shock factor in particular impressions, the more vigilant consciousness has to be in screening stimuli; the more efficiently it does so, the less these impressions enter long experience [Erfahrung] and the more they correspond to the concept of isolated experience [Erlebnis]. Perhaps the special achievement of shock defense is the way it assigns an incident a precise point in time in consciousness, at the cost of the integrity of the inci­dent’s contents. This would be a peak achievement of the intellect; it would turn the incident into an isolated experience. Without reflection, there would be nothing but the sudden start, occasionally pleasant but usually distasteful, which, according to Freud, confirms the failure of the shock de­fense. Baudelaire has portrayed this process in a harsh image. He speaks of a duel in which the artist, just before being beaten, screams in fright. This duel is the creative process itself. Thus, Baudelaire placed shock experience [Chockerfahrung] at the very center of his art. This self-portrait, which is corroborated by evidence from several contemporaries, is of great signifi­cance. Since Baudelaire was himself vulnerable to being frightened, it was not unusual for him to evoke fright. Valles tells us about his eccentric gri­maces; on the basis of a portrait by Nargeot, Pontmartin establishes Baude­laire’s alarming appearance; Claudel stresses the cutting quality he could give to his utterances; Gautier speaks of the italicizing Baudelaire indulged in when reciting poetry; Nadar describes his jerky gait.
from On Some Motifs in Baudelaire - Walter Benjamin

therelentlessprocessionoftime:

fuckyeahgillesdeleuze:

pieto:

Walter Benjamin’s library card, Bibliothèque Nationale, Paris, 1940.

The greater the shock factor in particular impressions, the more vigilant consciousness has to be in screening stimuli; the more efficiently it does so, the less these impressions enter long experience [Erfahrung] and the more they correspond to the concept of isolated experience [Erlebnis]. Perhaps the special achievement of shock defense is the way it assigns an incident a precise point in time in consciousness, at the cost of the integrity of the inci­dent’s contents. This would be a peak achievement of the intellect; it would turn the incident into an isolated experience. Without reflection, there would be nothing but the sudden start, occasionally pleasant but usually distasteful, which, according to Freud, confirms the failure of the shock de­fense. Baudelaire has portrayed this process in a harsh image. He speaks of a duel in which the artist, just before being beaten, screams in fright. This duel is the creative process itself. Thus, Baudelaire placed shock experience [Chockerfahrung] at the very center of his art. This self-portrait, which is corroborated by evidence from several contemporaries, is of great signifi­cance. Since Baudelaire was himself vulnerable to being frightened, it was not unusual for him to evoke fright. Valles tells us about his eccentric gri­maces; on the basis of a portrait by Nargeot, Pontmartin establishes Baude­laire’s alarming appearance; Claudel stresses the cutting quality he could give to his utterances; Gautier speaks of the italicizing Baudelaire indulged in when reciting poetry; Nadar describes his jerky gait.

from On Some Motifs in Baudelaire - Walter Benjamin