Étant en usine, confondue aux yeux de tous et à mes propres yeux avec la masse anonyme, le malheur des autres est entré dans ma chair et dans mon âme. Rien ne m'en séparait, car j'avais réellement oublié mon passé et je n'attendais aucun avenir, pouvant difficilement imaginer la possibilité de survivre à ces fatigues.
Simone Weil, "Attente de Dieu", 1942
MICHELLE TY
Abstract
Michelle is assistant professor of English at Clemson University.
Simone Weil draws thought toward that drift in which “extreme attention” becomes identified with “prayer.” In lieu of an act of “interpretation” that would actively produce textual signification out of the materials that lie at its disposal, she gestures toward a practice of looking at objects—and continuing to look upon them until “the light suddenly dawns.” Reading is thus a kind of self-forgetting—that is, not so much a total annihilation than a suspension of intention, and in that suspension, an emptying of thought into a readiness to receive the object as it enters le vide that thought has necessarily become in order to be thought. Such an orientation toward understanding realizes an auto-dislocation from conventional epistemological and phenomenological centerings around the I that grasps what is around and brought before it. I would like to lend time to the relationships that are traced between this being en attente; the ego’s relinquishment (particularly as it is enacted in and through writing-as-waiting); and the arrival of illumination from without. Touch-points that offer lines of sight for this exploration include literary moments of preoccupation with a mirror that holds no face in view (an image that recurs in the writings of both Virginia Woolf and Clarice Lispector); and the notion of wu wei in Taoist philosophy, which translates into a non-programmatic principle of nonaction. What forms of sustenance and disorientation attend this seeing without a self to hold that looking? And how does the extremity of an anti-narcissistic stance avoid re-consolidating the grounds of the I through the concentration on its absence? In what senses might decreation be scarcely exhausted by obliteration? And how might Weil’s notion of attention be re-thought without the presumption of a self that was.
New contributions:
Rachel Pafe (Berlin): The Miracle of Love Amidst the Crushes of War: Thinking through The Iliad with Susan Taubes and Simone Weil
Rachel Pafe is a writer and researcher interested in modern Jewish thought and critical theories of mourning. She is currently doing a joint PhD at Goethe University of Frankfurt and Université Lille. For more information visit Rachel’s Page. To read the German-version of the article, please click here. In her 1956 dissertation on French philosopher-mystic Simone
Marcus Steinweg (Berlin): “Notizen zu Simone Weil”
Leseschlüssel Die hier gelisteten – teils veröffentlichten, teils unveröffentlichten – Notizen von Marcus Steinweg beziehen sich allesamt auf Simone Weil. Die Liste ist offen und wird schrittweise durch neue Notizen erweitert. RIGORISMUS An Simone Weil besticht ihr Rigorismus und ihre Klarheit. Noch wenn sie sich dem Alltäglichen zuwendet, geht der Vektor ins Nichts. Nie versenkt
Elisabeth Hubmann (Genève): Organ improvisations in response to Simone Weil’s “Les Lutins du feu” (ca. 1921/22)
Il dansait, il dansait toujours, le peuple des âmes candides, des âmes des enfants qui ne sont pas encore nés; attendant leur tour d’être des hommes, les lutins se poursuivaient sur les bûches crépitantes. Simone Weil, Les Lutins du feu, 1921/22. ELISABETH HUBMANN Abstract Elisabeth is an organist, musicologist, and environmentalist active in Genève, Amsterdam