Just for the record and to save this.
Essay by: Milan Kundera
Essay by: Milan Kundera
1.
In 1935, three years before his death, Edmund Husserl gave his celebrated lectures in Vienna and Prague on the crisis of European humanity. For Husserl, the adjective “European” meant the spiritual identity that extends beyond geographical Europe (to America, for instance) and that was born with ancient Greek philosophy. In his view, this philosophy, for the first time in History, apprehended the world (the world as a whole) as a question to be answered. It interrogated the world not in order to satisfy this or that practical need but because “the passion to know had seized mankind.”
The crisis Husserl spoke of seemed to him so profound that he wondered whether Europe was still able to survive it. The roots of the crisis lay for him at the beginning of the Modern Era, in Galileo and Descartes, in the one-sided nature of the European sciences, which reduced the world to a mere object of technical and mathematical investigation and put the concrete world of life, die Lebenswelt as he called it, beyond their horizon.
The rise of the sciences propelled man into the tunnels of the specialized disciplines. The more he advanced in knowledge, the less clearly could he see either the world as a whole or his own self, and he plunged further into what Husserl’s pupil Heidegger called, in a beautiful and almost magical phrase, “the forgetting of being.”
Once elevated by Descartes to “master and proprietor of nature,” man has now become a mere thing to the forces (of technology, of politics, of history) that bypass him, surpass him, possess him. To those forces, man’s concrete being, his “world of life” (die Lebenswelt), has neither value nor interest: it is eclipsed, forgotten from the start.
2.
Yet I think it would be naive to take the severity of this view of the Modern Era as a mere condemnation. I would say rather that the two great philosophers laid bare the ambiguity of this epoch, which is decline and progress at the same time and which, like all that is human, carries the seed of its end in its beginning. To my mind, this ambiguity does not diminish the last four centuries of European culture, to which I feel all the more attached as I am not a philosopher but a novelist. Indeed, for me, the founder of the Modern Era is not only Descartes but also Cervantes.
Perhaps it is Cervantes whom the two phenomenologists neglected to take into consideration in their judgment of the Modern Era. By that I mean: If it is true that philosophy and science have forgotten about man’s being, it emerges all the more plainly that with Cervantes a great European art took shape that is nothing other than the investigation of this forgotten being.
Indeed, all the great existential themes Heidegger analyzes in Being and Time—considering them to have been neglected by all earlier European philosophy— had been unveiled, displayed, illuminated by four centuries of the novel (four centuries of European reincarnation of the novel). In its own way, through its own logic, the novel discovered the various dimensions of existence one by one: with Cervantes and his contemporaries, it inquires into the nature of adventure; with Richardson, it begins to examine “what happens inside,” to unmask the secret life of the feelings; with Balzac, it discovers man’s rootedness in history; with Flaubert, it explores the terra previously incognita of the everyday; with Tolstoy, it focuses on the intrusion of the irrational in human behavior and decisions. It probes time: the elusive past with Proust, the elusive present with Joyce. With Thomas Mann, it examines the role of the myths from the remote past that control our present actions. Et cetera, et cetera.
The novel has accompanied man uninterruptedly and faithfully since the beginning of the Modern Era. It was then that the “passion to know,” which Husserl considered the essence of European spirituality, seized the novel and led it to scrutinize man’s concrete life and protect it against “the forgetting of being”; to hold “the world of life” under a permanent light. That is the sense in which I understand and share Hermann Broch’s insistence in repeating: The sole raison d'etre of a novel is to discover what only the novel can discover. A novel that does not discover a hitherto unknown segment of existence is immoral. Knowledge is the novel’s only morality.
I would also add: The novel is Europe’s creation; its discoveries, though made in various languages, belong to the whole of Europe. The sequence of discoveries (not the sum of what was written) is what constitutes the history of the European novel. It is only in such a supranational context that the value of a work (that is to say, the import of its discovery) can be fully seen and understood.
3.
As God slowly departed from the seat whence he had directed the universe and its order of values, distinguished good from evil, and endowed each thing with meaning, Don Quixote set forth from his house into a world he could no longer recognize. In the absence of the Supreme Judge, the world suddenly appeared in its fearsome ambiguity; the single divine Truth decomposed into myriad relative truths parceled out by men. Thus was born the world of the Modern Era, and with it the novel, the image and model of that world.
To take, with Descartes, the thinking self as the basis of everything, and thus to face the universe alone, is to adopt an attitude that Hegel was right to call heroic. To take, with Cervantes, the world as ambiguity, to be obliged to face not a single absolute truth but a welter of contradictory truths (truths embodied in imaginary selves called characters), to have as one’s only certainty the wisdom of uncertainty, requires no less courage.
What does Cervantes’ great novel mean? Much has been written on the question. Some see in it a rationalist critique of Don Quixote’s hazy idealism. Others see it as a celebration of that same idealism. Both interpretations are mistaken because they both seek at the novel’s core not an inquiry but a moral position.
Man desires a world where good and evil can be clearly distinguished, for he has an innate and irrepressible desire to judge before he understands. Religions and ideologies are founded on this desire. They can cope with the novel only by translating its language of relativity and ambiguity into their own apo-dictic and dogmatic discourse. They require that someone be right: either Anna Karenina is the victim of a narrow-minded tyrant, or Karenin is the victim of an immoral woman; either K. is an innocent man crushed by an unjust Court, or the Court represents divine justice and K. is guilty.
This “either-or” encapsulates an inability to tolerate the essential relativity of things human, an inability to look squarely at the absence of the Supreme Judge. This inability makes the novel’s wisdom (the wisdom of uncertainty) hard to accept and understand.
4.
Don Quixote set off into a world that opened wide before him. He could go out freely and come home as he pleased. The early European novels are journeys through an apparently unlimited world. The opening of Jacques le Fataliste comes upon the two heroes in mid-journey; we don’t know where they’ve come from or where they’re going. They exist in a time without beginning or end, in a space without frontiers, in the midst of a Europe whose future will never end.
Half a century after Diderot, in Balzac, the distant horizon has disappeared like a landscape behind those modern structures, the social institutions: the police, the law, the world of money and crime, the army, the State. In Balzac’s world, time no longer idles happily by as it does for Cervantes and Diderot. It has set forth on the train called History. The train is easy to board, hard to leave. But it isn’t at all fearsome yet, it even has its appeal; it promises adventure to every passenger, and with it fame and fortune.
Later still, for Emma Bovary, the horizon shrinks to the point of seeming a barrier. Adventure lies beyond it, and the longing becomes intolerable. Within the monotony of the quotidian, dreams and daydreams take on importance. The lost infinity of the outside world is replaced by the infinity of the soul. The great illusion of the irreplaceable uniqueness of the individual—one of Europe’s finest illusions—blossoms forth.
But the dream of the soul’s infinity loses its magic when History (or what remains of it: the suprahuman force of an omnipotent society) takes hold of man. History no longer promises him fame and fortune; it barely promises him a land-surveyor’s job. In the face of the Court or the Castle, what can K. do? Not much. Can’t he at least dream as Emma Bovary used to do?
No, the situation’s trap is too terrible, and like a vacuum cleaner it sucks up all his thoughts and feelings: all he can think of is his trial, his surveying job. The infinity of the soul—if it ever existed—has become a nearly useless appendage.
5.
The path of the novel emerges as a parallel history of the Modern Era. As I look back over it, it seems strangely short and limited. Isn’t that Don Quixote himself, after a three-hundred-year journey, returning to the village disguised as a land-surveyor? Once he had set out to seek adventures of his own choosing, but now in the village below the Castle he has no choice, the adventure is imposed on him: a petty squabble with the administration over a mistake in his file. So what, after three centuries, has happened to adventure, the first great theme of the novel? Has it become its own parody? What does that mean? That the path of the novel winds up in a paradox?
Yes, so it would seem. And that is by no means the only paradox. The Good Soldier Schweik is perhaps the last great popular novel. Isn’t it astonishing that this comic novel is also a war novel, whose action unfolds in the army and at the front? What has happened to war and its horrors if they’ve become laughing matters?
In Homer and in Tolstoy, war had a perfectly comprehensible meaning: people fought for Helen or for Russia. Schweik and his companions go to the front without knowing why and, what is even more shocking, without caring to know.
What, then, is the motor of war if not Helen or country? Sheer force that wills to assert itself as force? The “will to will” that Heidegger later wrote about? Yet hasn’t that been behind all wars since the beginning of time? Yes, of course. But this time, in Hasek, it is stripped of any rational argument. No one believes in the drivel of the propaganda, not even those who manufacture it. Force is naked here, as naked as in Kafka’s novels. Indeed, the Court has nothing to gain from executing K., nor has the Castle from tormenting the Land-Surveyor. Why did Germany, why does Russia today want to dominate the world? To be richer? Happier? Not at all. The aggressivity of force is thoroughly disinterested; unmotivated; it wills only its own will; it is pure irrationality.
Kafka and Hasek thus bring us face to face with this enormous paradox: In the course of the Modern Era, Cartesian rationality has corroded, one after the other, all the values inherited from the Middle Ages. But just when reason wins a total victory, pure irrationality (force willing only its will) seizes the world stage, because there is no longer any generally accepted value system to block its path.
This paradox, masterfully illuminated in Hermann Broch’s The Sleepwalkers, is one of those I like to call terminal. There are others. For example: The Modern Era has nurtured a dream in which mankind, divided into its separate civilizations, would someday come together in unity and everlasting peace. Today, the history of the planet has finally become one indivisible whole, but it is war, ambulant and everlasting war, that embodies and guarantees this long-desired unity of mankind. Unity of mankind means: No escape for anyone anywhere.
6.
Husserl’s lectures on the European crisis and on the possible disappearance of European mankind were his philosophical testament. He gave those lectures in two capitals of Central Europe. This coincidence has a deep meaning: for it was in that selfsame Central Europe that, for the first time in its modern history, the West could see the death of the West, or, more exactly, the amputation of a part of itself, when Warsaw, Budapest, and Prague were swallowed up by the Russian empire. This calamity was engendered by the First World War, which, unleashed by the Hapsburg empire, led to the end of that empire and unbalanced forever an enfeebled Europe.
The time was past when man had only the monster of his own soul to grapple with, the peaceful time of Joyce and Proust. In the novels of Kafka, Hasek, Musil, Broch, the monster comes from outside and is called History; it no longer has anything to do with the train the adventurers used to ride; it is impersonal, uncontrollable, incalculable, incomprehensible—and it is inescapable. This was the moment (just after the First World War) when the pleiad of great Central European novelists saw, felt, grasped the terminal paradoxes of the Modern Era.
But it would be wrong to read their novels as social and political prophecies, as if they were anticipations of Orwell! What Orwell tells us could have been said just as well (or even much better) in an essay or pamphlet. On the contrary, these novelists discover “what only the novel can discover”: they demonstrate how, under the conditions of the “terminal paradoxes,” all existential categories suddenly change their meaning: What is adventure if a K.’s freedom of action is completely illusory? What is future if the intellectuals of The Man Without Qualities have not the slightest inkling of the war that will sweep their lives away the next day? What is crime if Broch’s Huguenau not only does not regret but actually forgets the murder he has committed? And if the only great comic novel of the period, Hasek’s Schweik, uses war as its setting, then what has happened to the comic? Where is the difference between public and private if K., even in bed with a woman, is never without the two emissaries of the Castle? And in that case, what is solitude? A burden, a misery, a curse, as some would have us believe, or on the contrary, a supremely precious value in the process of being crushed by the ubiquitous collectivity?
The periods of the novel’s history are very long (they have nothing to do with the hectic shifts of fashion) and are characterized by the particular aspect of being on which the novel concentrates. Thus the potential of Flaubert’s discovery of the quotidian was only fully developed seventy years later, in James Joyce’s gigantic work. The period inaugurated seventy years ago by the pleiad of Central European novelists (the period of terminal paradoxes) seems to me far from finished.
7.
The death of the novel has been much discussed for a long time: notably by the Futurists, by the Surrealists, by nearly all the avant-gardes. They saw the novel dropping off the road of progress, yielding to a radically new future and an art bearing no resemblance to what had existed before. The novel was to be buried in the name of historical justice, like poverty, the ruling classes, obsolete cars, or top hats.
But if Cervantes is the founder of the Modern Era, then the end of his legacy ought to signify more than a mere stage in the history of literary forms; it would herald the end of the Modern Era. That is why the blissful smile that accompanies those obituaries of the novel strikes me as frivolous. Frivolous because I have already seen and lived through the death of the novel, a violent death (inflicted by bans, censorship, and ideological pressure), in the world where I spent much of my life and which is usually called totalitarian. At that time it became utterly clear that the novel was mortal; as mortal as the West of the Modern Era. As a model of this Western world, grounded in the relativity and ambiguity of things human, the novel is incompatible with the totalitarian universe. This incompatibility is deeper than the one that separates a dissident from an apparatchik, or a human-rights campaigner from a torturer, because it is not only political or moral but ontological. By which I mean: The world of one single Truth and the relative, ambiguous world of the novel are molded of entirely different substances. Totalitarian Truth excludes relativity, doubt, questioning; it can never accommodate what I would call the spirit of the novel.
But aren’t there hundreds and thousands of novels published in huge editions and widely read in Communist Russia? Certainly; but these novels add nothing to the conquest of being. They discover no new segment of existence; they only confirm what has already been said; furthermore: in confirming what everyone says (what everyone must say), they fulfill their purpose, their glory, their usefulness to that society. By discovering nothing, they fail to participate in the sequence of discoveries that for me constitutes the history of the novel; they place themselves outside that history, or, if you like: they are novels that come after the history of the novel.
About half a century ago the history of the novel came to a halt in the empire of Russian Communism. That is an event of huge importance, given the greatness of the Russian novel from Gogol to Bely. Thus the death of the novel is not just a fanciful idea. It has already happened. And we now know how the novel dies: it’s not that it disappears; it falls away from its history. Its death occurs quietly, unnoticed, and no one is outraged.
8.
But hasn’t the novel come to the end of the road by its own internal logic? Hasn’t it already mined all its possibilities, all its knowledge, and all its forms? I’ve heard the history of the novel compared to a seam of coal long since exhausted. But isn’t it more like a cemetery of missed opportunities, of unheard appeals? There are four appeals to which I am especially responsive.
The appeal of play: Laurence Sterne’s Tristram Shandy and Denis Diderot’s Jacques le Fataliste are for me the two greatest novelistic works of the eighteenth century, two novels conceived as grand games. They reach heights of playfulness, of lightness, never scaled before or since. Afterward, the novel got itself tied to the imperative of verisimilitude, to realistic settings, to chronological order. It abandoned the possibilities opened up by these two masterpieces, which could have led to a different development of the novel (yes, it’s possible to imagine a whole other history of the European novel…).
The appeal of dream: The slumbering imagination of the nineteenth century was abruptly awakened by Franz Kafka, who achieved what the Surrealists later called for but never themselves really accomplished: the fusion of dream and reality. This was in fact a longstanding aesthetic ambition of the novel, already intimated by Novalis, but its fulfillment required a special alchemy that Kafka alone discovered a century later.
His enormous contribution is less the final step in a historical development than an unexpected opening that shows that the novel is a place where the imagination can explode as in a dream, and that the novel can break free of the seemingly inescapable imperative of verisimilitude.
The appeal of thought: Musil and Broch brought a sovereign and radiant intelligence to bear on the novel. Not to transform the novel into philosophy, but to marshal around the story all the means—rational and irrational, narrative and contemplative—that could illuminate man’s being; could make of the novel the supreme intellectual synthesis. Is their achievement the completion of the novel’s history, or is it instead the invitation to a long journey?
The appeal of time: The period of terminal paradoxes incites the novelist to broaden the time issue beyond the Proustian problem of personal memory to the enigma of collective time, the time of Europe, Europe looking back on its own past, weighing up its history like an old man seeing his whole life in a single moment. Whence the desire to overstep the temporal limits of an individual life, to which the novel had hitherto been confined, and to insert in its space several historical periods (Aragon and Fuentes have already tried this). But I don’t want to predict the future paths of the novel, which I cannot know; all I mean to say is this: If the novel should really disappear, it will do so not because it has exhausted its powers but because it exists in a world grown alien to it.
9.
The unification of the planet’s history, that humanist dream which God has spitefully allowed to come true, has been accompanied by a process of dizzying reduction. True, the termites of reduction have always gnawed away at life: even the greatest love ends up as a skeleton of feeble memories. But the character of modern society hideously exacerbates this curse: it reduces man’s life to its social function; the history of a people to a small set of events that are themselves reduced to a tendentious interpretation; social life is reduced to political struggle, and that in turn to the confrontation of just two great global powers. Man is caught in a veritable whirlpool of reduction where Husserl’s “world of life” is fatally obscured and being is forgotten.
Now, if the novel’s raison d'etre is to keep “the world of life” under a permanent light and to protect us from “the forgetting of being,” is it not more than ever necessary today that the novel should exist?
Yes, so it seems to me. But alas, the novel too is ravaged by the termites of reduction, which reduce not only the meaning of the world but also the meaning of works of art. Like all of culture, the novel is more and more in the hands of the mass media; as agents of the unification of the planet’s history, the media amplify and channel the reduction process; they distribute throughout the world the same simplifications and stereotypes easily acceptable by the greatest number, by everyone, by all mankind. And it doesn’t much matter that different political interests appear in the various organs of the media. Behind these surface differences reigns a common spirit. You have only to glance at American or European political weeklies, of the left or the right: they all have the same view of life, reflected in the same ordering of the table of contents, under the same headings, in the same journalistic phrasing, the same vocabulary, and the same style, in the same artistic tastes, and in the same ranking of things they deem important or insignificant. This common spirit of the mass media, camouflaged by political diversity, is the spirit of our time. And this spirit seems to me contrary to the spirit of the novel.
The novel’s spirit is the spirit of complexity. Every novel says to the reader: “Things are not as simple as you think.” That is the novel’s eternal truth, but it grows steadily harder to hear amid the din of easy, quick answers that come faster than the question and block it off. In the spirit of our time, it’s either Anna or Karenin who is right, and the ancient wisdom of Cervantes, telling us about the difficulty of knowing and the elusiveness of truth, seems cumbersome and useless.
The novel’s spirit is the spirit of continuity: each work is an answer to preceding ones, each work contains all the previous experience of the novel. But the spirit of our time is firmly focused on a present that is so expansive and profuse that it shoves the past off our horizon and reduces time to the present moment only. Within this system the novel is no longer a work (a thing made to last, to connect the past with the future) but one current event among many, a gesture with no tomorrow.
10.
Does this mean that, “in a world grown alien to it,” the novel will disappear? That it will leave Europe to founder in “the forgetting of being”? That nothing will be left but the endless babble of graphomaniacs, nothing but novels that come after the history of the novel? I don’t know. I merely believe I know that the novel cannot live in peace with the spirit of our time: if it is to go on discovering the undiscovered, to go on “progressing” as novel, it can do so only against the progress of the world.
The avant-garde saw things differently; it was possessed by an ambition to be in harmony with the future. It is true, avant-garde artists did create works that were courageous, difficult, provocative, ridiculed, but they did so in the conviction that “the spirit of the time” was with them and would soon prove them right.
Once upon a time I too thought that the future was the only competent judge of our works and actions. Later on I understood that chasing after the future is the worst conformism of all, a craven flattery of the mighty. For the future is always mightier than the present. It will pass judgment on us, of course. And without any competence. But if the future is not a value for me, then to what am I attached? To God? Country? The people? The individual?
My answer is as ridiculous as it is sincere: I am attached to nothing but the depreciated legacy of Cervantes.
Source: THE ART OF THE NOVEL By Milan Kundera. Translated by Linda Asher. 165 pp. New York: Grove Press. $16.95.
