European Perspectives A Sores in Socal Phaltoply and Cabral Crit Lawrence D, Ketan and Wich Wei, tors argon Prva ake ele work of smelter yee Burpee ker By ecg ca fal ert aengry wok he ‘esheets ter meal conor oo an hay ce he tf iar wdesuding ‘hee W, Adon Nar Lira vol ad Rabe Wan The Hg Cen A Cra Rar ‘Ras ikon Rowrg Vin The lw Bare iad Crime Aint Home Perm Vi Nagu nine of Moy emer Gal Hg nd Mery Reson Na Wi tintin NOTES TO LITERATURE Volume One THEODOR W. ADORNO EDITED BY ROLF TIEDEMANN na COLUMBIA UNIVERSITY PRESS New Yorkores 70 LITERATURE Ht and tny this “immortal part” of im is that is carved off as thous were noting. The power of life, sa power of continued life is eqs vith forgetting, Te is only in being frgotien and thereby transis that anything survives at all. This is why Pasir Port Toe hs 0 Prelude the rests sleep of forgeting. The man who awakens, for “des Lebens Pale fish ebendig schiagen” [life's pues beat fresh val lively], and who “ieder nach der Erde Blick” ("looks back t cath {guin"], can do so only becuse he no loager knows aaything abou horrors that went on before. "Diets ist lange her” ["That was hig ‘2g0"]. At the beginning ofthe second acta well, which shows him ‘more in the marrow Gothic room, “shemals Fausen, unverne [once Faus’s, unchanged”) he appreaches his ow prehistory only sv» san tlep, lid low bythe phantamagoria of what ff come, Fler ‘The fact that few of the concrete details of part one are real in pt "wo, that the connection becomes loser tothe point where the intern rs have nothing to hold onto but the meg tea of pogresive prs cation —that is lf the idea But when, in an acon to logic whe radiance heals al logics acts of valence the memory of Gretchen's ies fin the dungeon dawns on us, asf acrus the eons, i the invocation the Mater gloriosa asthe Usvergichlihe, the incomparable ove, thee ‘speaks from it, ia boundless jy, the feeling that must have seized the Pct when, shortly before his death, be reread onthe boards of chicken oop the poem, “Wanderers Nackled” ["Wandere’s Nightsong", ‘nd inscribed on it 2 Lftime before, Thit hut to has burned dann [Hope isnt memory held fast bt the return of what has been forgot EBB Reading Balzac For Gretel tenth emt omen creying ye ln to hi Mle mative deo, the windows with tr bln the Inumenc Jenico he my oot pa ander ply of emingln, re the ope wih thr fre varo-al tr him amy, A pinigoken novela by Mapua das on te humilnice of = Dircraking cfr 1 a0 uae savienment wo mikes « fey delng for» br, In thoes ofthe semen every Ming tn Tce wp rx» weil, myn sd etngy fine. Cooly itp cogil even pir and pry groupe depending co the pressce oe abet of Gortece ici the fron he is own sbrepty fom ie on te ic experienc is daaston in the fy wth pun nee Dalac we probaly ter sch py Para of Pasian est, nie that een rer he ery al a as isu she sme ines the prt fore fe barge on ie til of adrncd apa er nce nine i se ton to bing ltd ct that fe inventive ene: ll gt rare on formyl what gor on bchnd ned do, sn the ‘rv wil esting thet Te eesti fe provi, who Tis outrage fgnerane i obcrd with te tings Heth go ca tre isthe fry Bat ce, whee ane wold lint eget, bene Me vn free of ee agit. Semetine the dine vel ro tan wt wich ler cmmeraly led hey {scons et ometinesth eid ocr of tees ke i mgs hy he hum 37 Rue Mice on Fay ra 1in the morning and the green shuters oa the second for aren't open yt, you can be sure there was an ory there the night before.” Sometines, however, the compensitory fantasies of the naive man are more securae shout the world than the relist Balzac is eedited with being, The alienation that occasioned his wrting—it as though every sentence of his industrious pen were constructing 4 bridge ito the unknown — is itself the secret life he was trying to discover by guesswork. The sme ‘hing that Separates people from oae anther and keps the writer isolat from them is wh keeps the movement of society going, the movernent ‘those rhythm Balza's novels ae imitating. ‘The fantastic and improb- ble fate of Lacien de Rubempre is et in motion by the techni changes, expertly described, ia printing methods and paper tht made the res production of literature posble; one ofthe Fesoas Cousin Pont, the collector, is out of fashion i that a 2 composer he didnot keep pace mith ‘0 to speak industrial advances in orchestration, Such insight on Balzac part are worth their weight ia esearch because they both derive fron tnd aterpt to reconstruct an understanding ofthe subject mater tht research in its blindness tiesto eliminate ‘Through his intellectual intuition Balas realized that n advanced eaptliam people ae character masks, fo use an expresion Marx coined later. Refiation i more terrifying radiant inthe freshness of dawn and the glowing colors of sew Fife than the critique of politcal economy at high noon. An employee of 2 funeral parlor in 1845 who resembles the sirt of deh inthe hundred yeas since then no sie of Americanism, aot een Evelyn Wangh’s, has surpass that. Dalsion, or dsilusionment, ‘hich provided the name’ of one of his greatest novel, Ler iio: perdus, Last Hsin, 25 wel a iterary genre, isthe experience tht human beings and their social functions do not coincide. With the ‘thunderbolt of citstion Balzac brovght sity as totality, something classical politcal economy and Hegelian philsophy had formulated in ‘heoretial rms, down from the ary realm of ise tothe sphere of sensory evidence, That totality is by no means only an extensive totality, by no means oly the physiology of ie asa whole in ts varous branches, which was to comprise Balzac program fr the Come humaine. As 4 functional complex, it becomes tensive aswel. A dynamic rages init society reproduces itelf only as a whole, in and through the sem, and to do 50 it needs every ast man a a customer. That perspective my seem foreshortened, to immediate, ai always the ease when act pe sumes to conjure up in perceptible form a society that has become Pee ee eee i aburact. But the individual foul deeds through which people visibly {tempt to tal from one another the surplus vale that hs already been Spproprstd invisibly make the horror graphic, something that would “athersse be posible only through conceptual maison. Ts her mane vers to aequire wealth through inheritance, the Président uses the shady lawyer andthe concierge: equality i relied inthe sense thatthe false toaity harness all soil clases ois gl. There is trath even i the pulp Iteature at which literary tte and worldly wisdom tar up chair Pons i sony onthe margins thatthe things that goon in the its of sociey, the underworld of ts sphere of produstion, become vsible— the things From which totalitarian atrocities arose in later phase. Bala's time favored this kind of eccentric trith, primitive accumulation," an antiquated conquiadaian barbara inthe ride ofthe French indus trial revolution of the early nineteenth ceaary. In all probability the appropriation of hetrotorsous labor alot never accured in complete ‘cordance with the hws of the marketplace, The injustice inberem in those laws is maltiplied by the injustice of every individual ation, 2 surplus prof of guilt. Those versed in such thing an find Balzac guilty ofthe bad pychology of the movies. Thee is enough good psychology in him. That concierge i not simply a monster; before she wae stricken With their social disease, greed, she was what her fllow citizens call a ree perm. Equally, Bales knows how coonoiseurship-—the mater st and —outripe mere prot motive, how the forces of production out- strip the relations of production. At the same time, he alo knows how bourgeois individuti, the proliferation of idiosyncratic tas, de- stroys individuals, the confirmed gluttons or risers. Fle see that the Imatersal quality isthe sert of friendship, and he Knows instinctively how the lightest weakness suffices forthe dwafl of the noble person, when Pons becomes entangled in the machinery of destruction through his gourmandise, Madanse de Nocingen IL using ft ames in froat of sn aristocrat to create the illson hat she tom intimate terms wih her that could come from Proust. But when Balzac really does give his Caractere puppet features their legitimacy etends beyood the sphere ‘of psychology Inthe sabia Zovemgue of society, huraa beings beave Tike the marines ia the mechanical model in the Cate of Hellbruna. ‘There is 2 good reson why many of Daumicrs caricatures reemble Polchinello: In the same spirit, Buza's ries demonstrate the social impossibility of good behavior and integrity. They sneer that anyone whois not 2 riminal will perish; often they shot it out. And the ight16 of humanness [das Humane] fills onthe outcasts, on the whore who ie Capable of great passion and self-sacrifice and on the galley slave and murderer whose actions are thow of a dkinterested alts, Bese ‘alza's physiological suspicions tel him tht the good citizens are cri ins; becuse everyone who strolls down the sret unknown and impen- ‘erable loks as though be ha commited the original sn ofall of sci. this why for Baza itis the crimizals and utes who are the human beings. Ths may be why’ he discovered homoxexality for Irate, hs sovella Sarvarin is devoted to it and his conception of Varin is based ‘on it, In view of the irresistible ascendancy ofthe exchange principle, he ‘may have dreamea of something like love in its undistorted form ou ing ina despised and inhercaly hopeless love: it ste false clei, the ‘rnd chief who cancels the exchange of equivalents, whom he believes capable oft a Balzac had 2 special fondues for the Germans, for Joan Paul and Beethoven, something for which he was repaid by Richard Wagner and Schénberg. Despite his penchant for the visual, there is something rusia abou is work 2+ whole, Much of the symphonic musi ofthe nintenth and ery weit cetare is reminicen of the nove nite penchant for dramatic situations, in its passionate rise and fll, init ‘unruly abundance of lif; conversely, Bala's novels, archetypes of the genre, ae musial in their owing quality, inthe way they spawn Figures tnd then sallow them back wp agai, isting up and transforming charters who move along 2 in a dream sequence If aovellike music Seems to repeat the movements of the miteria) world in the listener’ head, inthe darkness, with the lights dimmed to show the contours of the material world, thea the heads of Balac's readers spin as they turn the pages waiting eagerly fr the continuation, ss though al the descrp- tions and actions were a pretense forthe wild and varegted son tht foods through his work. They provide the reader withthe same thing the fate, clarinet, hora, and deum lines promised the child before he really knew how to re 4 score. If music isthe world demateralized and reproduced in interior space, thea the interior space of Balzac novels, projected outward as world, i the retansltion of muse nto the kaleidoscope. rom his description of Schmucke, the musician, we ‘an alo infer what his Germanophilia was directed toward Is the sme in eseace atthe impact of German Romanticism in France, from the richire and Schumann to he atirationalim ofthe twentieth century ‘Butts not only thatthe German obscurity in the labyrinth of alae’ 1s 1 conrased wih the Lain terrorism of let, embeds an Thou of tpi xl the ant of enlightenment the Germans, Conver, reese In ato, Bale may have adceed the con: Stllaso of he chthonic and Hanon [annem honarees] Hono sinus of aren hurts tings, Halzac tk 1 the ptt at wich immtincy rep sy Bef the feel empl ff sciey and comes fo grief Butte asc fret gives rie wo the igri scheran of deat in hie ally arc. The Everyman the ‘Tamecndenal subj ait were, who sts himself up behind Baas ‘She eremor of sok) th bas een magically tase into Tocond ues i 2 Lindred ait of the mythical “of cased German phish and the muse corresponding 10, which derives verhing tht x rom ol th kn of abjeivty te haan Seven ice though he force of gral Mestton with the Other Silch ic knows tobe itl, bt thi subjectivity is alo lays iabuan {Pibe wpe tein th i isan at of vee ht ers rnd ad tras the Other sujet wll Baa tacks the word all the are Ui farther he moves nay fom i by creing There tan aecote Scoring to whch Bale tuaed hi bck on he pla even of the Murch Revlason [of 1848] sod went to hs Ss, ying, "Les pt tack to ret ths nee deers him ful, even if is spotryplls His demeanor tat of the le Beethoven, drewed in = Mahi, mutering furious and psig ganized notes from his CSharp mir quarto he aloft rm. Asin paranoia, love ae tage ale nertned. jut the sme wry, lamest prt play heir ‘rmsd help the poo. a “he fact hat he pray ik the ilnophers ae» apse dine ape Feat: Breryhing is ceaneed, rtohp overn everthing, ering serses 2 wart and init en Bat the things tat ae ‘Technine rea ssc of wich Base ccna peak Hie threw rh ny “be, bes ete they apa eat French ae to fer: A gc of univer penn od commanitios in te pes of rman, Te mine ve th proof ra Mn the oot poy fer th ond, xpi evel ni at wipes them oat, The eet yey nk the fe of the oe to the fat of the tthe, what hey nw tor ot The tity thee those who np ith deacon by repredcing then, while trie Ssuyt comply ig woven, powder limps of he ena fhe srocion, Funan charatere~the obsess, Reign ad126 NOTES 70 LireRATURE 11 Vasrine—reaper spay a the mst unepeted pis i he Comic hamais, in oeliaions that aly deo reece coh think up and tt cly the Divina graphs do pene at ! 4 ls Comte Iaine could re nie of Ba he ea hes Smagin these forces at work everwhere cate shot ccs i ke vel proces is momentary laminated. Ths why he sje deschient om rey i anfrmed by cacao ts ne oe sxc ene Balzac, who sympathized withthe Restoration, sees symptoms in erly industrials tha are ordinarily ascribed tothe stage of degeneration, Ia ‘the Hsom pers he anticipates Karl Krats’ attack onthe pres; Kraus its him. It is precisely the resrationiet journals whose station is the worst in Balzar; the contadictionbetwien thet ideology and thelr & Prior! demacratc medium forces them to eynicism, Such objective shes of afl donot sit well with Halse’ turn of mind. The conflict within | the rising new mode of production ar as intense a his imagination and se perpetuted in the structure of his works. The romantic and the realistic aspects form a historia compusite in Balzac’ work. The faa ier pioneers of an industry not yet established, ae adventurers om the genre ofthe epi, whose categories Balzac, born inthe eighteenth entary, savages and imports ito the nineteenth Against the back, _sround ofa pre-bourgens order tite sake but continues to sarvve, unleashed rationality takes on an irstionality similar ty the unvera | ‘nexus of gi tht that ratonlty remain is ist raids were the prelude ‘othe irrationality of tle phase. The moras of home commits have ot yet become standardized modes of aman conduc, the hun for prot sil resembles the bloods of undostestited hunters, and the ly sill resembles the remorseless blind enchainment of ite. In Bale’ Adam Smith's “iavisible hand” becomes the black ad onthe graveyard wall. What Hegel’ speculation in bis Phila of Righ shrank from in fear, a8 did the positivist Comte—the explosive tendencies of « spac that suppresses matrally evolved structures —burts int ames chase nature in Balzac’ enraptured contemplation. His epic is intoxicated with ‘hat the theoreticians found so italerable tit Flegel ell up the te 1 arbiter and Comte called up sociology. Balzac nests neither, because in him the work of ar itself server asthe authority that embrace the Centrifugal fees of sacery ina sweeping gesture, ta can soe fi oa eon Yes pani f son ee gc afd wrt nae mong he nS Shen a, eh onan ug sea Une tps mt no Sn Teg te ate Soe mpi we lt Fy th et sete i cma To enn go ch se eyo op the ies ele 2 Sante ein br eh oc {Svs comple opt Te mt cheno we ac fee cg Dom eh a ed rn oe erage he od ‘Sle te Arian Nigh an he deen ore rea aang nape ne ie oo SEkcSmans met porn dip wo pounced he ae wy) Sete Pred eo tied poe he rit dD eh EOE SUSREIST AIS l ne oti he Ua ah wes oe rane eng fe win {hil Forum, wh km hem dows with he hy of he ergs faa Sede nh ene o gol hn eee ae nah ace mh nb ew oes one i eng XESTILCe yiepr of tm pi tll he over of Soa empl Cpa ne ei Rc Sots aero pt Bs rk my Soe Seon rl tne fem te rept Pe eee ci ne pay we mee lsat cre ear ed eo mee oe of marae ra Cid every inh sea a et ie cca ps = “0 Wt Geman der of ue, cose ring the ech es nat eye hes ir ms pecife differences between objets, terms he bas to ‘up in the STE ating ee oe on ul oie nd18 ores 70 LirERATURE 1 humilsted, he etrusts himself to the transitions, The caftmaalike Precision ofthe French language isl, the respect for nuances of mate Fil and workmanship ia whieh w much of culture i edimented, may bbe responsible for this. But Balzac takes i to extremes. At times he presupposes familiarity with whole technical terminologies in specialized fields. This art of larger context in his work, The reader is ofen Arawn into that context with the Bit lines of a niraive. Precision simulates extreme closeness to the mater at hand and hence physical presence. Balzac uss the suggestion of concreteness Butts 50 cxesive ‘hat one cant yield ot mavely, canter it othe ominous richness of epic vision. Rather, that conretenes ix what is ardor sugges an ‘evocation. IF the word isto be sen dr, i ean no longer be looked 21. One can ete no beter wisest the fat that trary reais became tbwolete because, 26 representation of rely, i did ot capure elit, than that sre Brecht who later slipped int the striae of realism a hough it were a costume for 2 masked ball. He srw tht the xr ‘nalisimam consis of proces, not immadiate fact, and they cannot Be epic ‘The sation becomes 9 complied bee simple *rprodtion of reli” says ethan ever boat reiy. A. phorgraph of the Keepy factories or the AEG provid virwlly o infraton about he sa Tishmeas. Trae rely hae slipped over into Functor. ‘The reifeon of human rlions, hati, the factory, on loge delivers man elton tou? In Balas time that could aot yet be understood. He resonsracts the world from the suspicions of the outsider. In doing so he needs, in reaction, permanent asuance tht i sso and not otherwise, Conrete- ‘nes isthe substitute forthe real experience that is not only almost inevitably lacking in the grt writers of the industrial age but also incommensirable with the ages own concept. Balzc’s oddnessshéds light on something that characterizes aizeeenth century pros a2 whole afer Gosthe, The realism with which even thse who are ieaitialy ineined are preocupied is not primary but derived reals onthe basis ‘ofa los of reality, The epic that sno longer in comma ofthe materi fonereteess it tempts 1b protect has to exaggerate tin is demeanor, tas to describe the world with exaggerated precision precisely because it fas become alien, can no longer be kept in physical proximity. A pathogenic core—euphemism—isaleeady inherent nthat more modern a form of concreteness, a in Stites technique or even in the linguistic forms ofthe late Goethe, and later, in Works like Zol’s Vere de Pars avery modern conclusion is drawn from i the divslusin of time tnd action. Analogously, the drawings of schizophrenics do not create a fantasy world out ofan isolated consciousness. Rather, they scribble the details of lent objects with an extreme precision that express lsinss itself. It is that, and ao dest semblance to object, that isthe rth of| literary coneetism, Inthe language of analytic pschstry this would be called a restitution phenomenon. ‘This is why i i s silly to equate realistic tylisic principles in iterature witha the Eastera boe cliché would have ita helt, non-decadent relationship to reality, That {eltionship would be norma, in the emphatic sense of the word, where the literary subject exoreied the social horror by breaking through the ‘gid and thereby sient facade of empirical reality Mare cites Balzac in a rematk on the capitals function of money in cantast tothe archaic hard: Exclaion of money frm ccltion would als exude boll it selfexansion cil, while sccmalaon of w ond in the shape of onnoditis wold be seer tf. Thus frinaance Blac, wh Choroehly sid every shade of avarice, represents the old wsrer ‘Gosek ain his sod ido whe he pias o Bea up hoard of comedies" ‘But the path tht leds Balear to that “profound conception of rel contin” to which Marx ates elsewhere runs in a drettion opposite to economic anlyis. Like a child, he is fascinated by the terrifying Fmmage andthe foishnes ofthe usurer, The emblem ofthe usurer ithe treasure with which he suerounds himself in infantile fashion. His foolshaes is something that has developed hstrially, a precepts vrstge in the heart ofthe fecbooterof civilization. It is this kind of| blind physiognomy, ost theoretically oriented ering, tha satisfies dae Tectia theory and grasps the central tendency. No legtimate relationship between art and Knowledge i eablished when art borrows theses fom iene, illustrates them, and aniiptes science, only to have scence Catch up with it ter. Art becomes knowledge when it devotes ivelt lunrservedly to work on its material. With Balzac, however, this work Comised in the efforts of an imagination that never rested until its130 products were so like ise vat they alo resembled the sity from Uhh they were in retreat. Balzac is sill, or already, fre from the bourgessillsion that the individual exists eseaally for himself while the society, or the environ ‘ment, influences him from the outside. His novels depict not only the superior power of social and espzially economic interes over private psychology but also the socal genesis ofthe characters in themselves ‘They are motivated fst of all by thee interes, interests ia carer and income, the hybrid product offndal-hirarchicl satus an bourgeoe capitalist manipulation. Ia the proces, the divergence Between human ‘destiny and socal role becomes something unkaowable. Those sho by ‘rte oftheir interes function a the wheels of commerce retin etin characteristics which they loge in ater phase of development. Interests and interes-psychology do not go together. In Balzac the se people ‘who, a5 captains of industry, rain ther competitors, using bth economic nd criminal means rain emselves when Se, for which thee interests leave no time, overpowers them. Necingen, elderly, brutal, aad without ‘conscience, clumsily succumbs tothe very Young Esher, tho chet him out of herelf to the bes of er ability, ata whore would Because she is the angel who vsialy throws berelf under the wheel of fortune inorder to ve ber beloved ‘The Dake of Rbétoré ties to win Lucien Chardon, who bas come an overnight success as journalist, over to he Royse cause with the words: Vous vous &es montré un homme desprit, ope mainte un homme de bon seas” ["You've shown that you are x wity man, now bea ‘man with good sense”). With those words he has codified the urges view of reason [Verma] and understanding (Vartan). That view is the opposite of Kant’s teaching. Sprit, “esprit” —the “ideas?—do aot ide, “regulate” the undersanding; they impede Bale diagnoses ‘he health that is deathly afraid that someone might be to clever. The person whois governed by sprit cstead of governing it «means t an nd, is concerned with the mater at band as an end in itself, He is repeatedly defsted by those who are indiferent to the mater at hind, 2+ in governing bodies; he merely delays them, They can devote their undiminished energies t0 tactics for accomplishing something. Con trated with their ssecess,spirt becomes stupidity. Refletion that docs to accommodate to given stations, demands, and necessities —Iack of tive that —s too ave, and fais. Not nly are Bow an and esprit ft the same thing, they are aatinomic. The person with eit will fearcely grasp the deserts of Bow ren: “T have ever understood the Tanguage of men.” Bat do se is always on the gui ce to ward af eprit tsa temptation to ide speclation. What the psychologist Theodor Lipps tiled the “narrowness of coasciouses,” which does not permit anyone full self-actualization in exces of the Limited supply of bis libidinal encegies, guarantees that person has only the one or the other, eit or don sem. Those who play the game without being adversely affected

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