Adorno monument in Theodor-W.-Adorno-Platz, Frankfurt (containing Adorno's desk, chair, lamp, carpet, metronome and other utilities of his writing room): photo by dontworry, 2007
Behind the mirror. First word of caution for authors: check every text, every fragment, and every line to see if the central motif presents itself clearly enough. Whoever wants to express something, is so carried away that they are driven along, without reflecting on such. One is too close to the intention, “in thought,” and forgets to say, what one wants to say.
Policeman using mirror to direct traffic at 14th St. and Pennsylvania Avenue, Washington, D.C.: photographer unknown, between 1909 and 1932 (National Photo Company Collection, Library of Congress)
Mirror system inside the Reichstag building, Berlin: photo by Björn Laczay, 2004
One should never stint on deletions. Length doesn’t matter and the fear that there isn’t enough there is childish. One shouldn’t consider anything worth preserving, just because it’s written down. If several sentences seem to vary the same thought, this usually indicates several variations of something the author has not yet mastered. In that case one should select the best formulation and work on it further. The toolkit [Technik] of an author should include the capacity to renounce productive thoughts, so long as the construction demands it. The wealth and energy of these latter ultimately come to benefit suppressed thoughts. Rather like the banquet-table, where one shouldn’t eat every last crumb or drink to the dregs. Otherwise one might be accused of stinginess.
View through a camera lucida: photo by Ad Meskens, 2009
Whoever wants to avoid cliches, should not restrict themselves to words, lest one falls victim to vulgar coquetry. The great French prose of the 19th century was especially sensitive to this. Individual words are seldom banal: in music, too, the single tone never wears out. The worst cliches of them all are on the contrary word-grams [Wortverbindungen] of the sort which Karl Kraus skewered: totally and completely, for better or for worse, planned and implemented. For in them gurgles, as it were, the sluggish flow of stale language, precisely where the author should construct, through precision of expression, those resistances which are required wherever language emerges. This applies not just to word-grams but also to the construction of entire forms. If a dialectician always marked the dialectical recoil [Umschlag] of a thought which advances beyond itself by putting a “however” [aber: however, but] in front of the caesura, then the literary schemata would punish the unschematic intent of what is being discussed with untruth.
Mirror in the street, Kings Cross, London: photo by Justinc, 2005
The jungle is no sacred grove. It is obligatory to resolve difficulties which derive solely from the comfort and ease of self-understanding. The distinction between the desire to write with a density appropriate to the depth of the object, and the temptation for the abstruse and pretentious sloppiness, is not automatic: a mistrustful insistence is always healthy. Precisely those who wish to make no concession to the stupidity of common sense must guard themselves against stylistically draping together thoughts which are themselves to be convicted of banality. Locke’s platitudes do not justify Hamann’s cryptology.
If one has even the slightest qualms about a completed work, regardless of its length, then one should take such with inordinate seriousness, out of all proportion to the level of relevance which it might register. The affective investment [Besetzung] in a text and vanity tend to minimize such misgivings. What is passed over with the tiniest doubt, may well indicate the objective worthlessness of the whole.
Reflections in spherical convex mirror, Millennium Square, Bristol, England (photographer seen at top right, in blue shirt): photo by Adrian Pingstone, 2004
The Echternacher spring procession [German folk parade, where marchers move three steps forward and two back] is not the course of the World-Spirit [Weltgeist]; restriction and revocation are not the means of narration [Darstellungsmittel] for dialectics. On the contrary this latter moves by extremes and, instead of qualifying such, drives the thought through uttermost consequence to its dialectical recoil [Umschlag]. The prudence with which one forbids oneself to venture too far with a sentence, is mostly only an agent of social control and thus of dumbing down.
Constance Talmadge: photographer unknown, Lumiere Co., New York, 1921 (Library of Congress)
Skepticism against the oft-cited objection, that a text, a formulation would be “too beautiful.” The reverence for the matter [Sache: thing, philosophic matter], or even for suffering, can easily rationalize the resentment against those who find, in the reified shape of language, the traces of something unbearable, which befalls human beings: debasement. The dream of an existence [Dasein: existence, being] without shame, to which the passion for language clings, even though the latter is forbidden to depict the former as content, is to be maliciously strangled. The author should make no distinction between beautiful and factual [sachlichem: factual, objective, realistic] expression. One should neither entrust this distinction to concerned critics, nor tolerate it in oneself. If one succeeds in completely saying what one means, then it is beautiful. The beauty of expression for its own sake is by no means “too beautiful,” but ornamental, artsy, ugly. Yet whoever leaves off from the purity of the expression, under the pretext of unswervingly stating the facts, thereby betrays the matter [Sache] too.
Still capture from video Ladies Room by Valentina Ippolito (2007): image by videohouse, 2007
Properly worked texts are like spider webs: hermetic, concentric, transparent, well-joined and fastened. They draw everything into themselves, whatever crawls and flies. Metaphors, which fleetingly dart through them, become their nourishing prey. Materials come flying to them. The binding stringency [Stichhaltigkeit] of a conception is to be judged by whether its citations evoke other citations. Wherever the thought opens up a cell of reality, it must push into the next chamber, without an act of violence by the subject. It vouchsafes its relationship to the object, as soon as other objects crystallize around it. In the light that it sheds on its determinate object, others begin to gleam.
A mirror at sunset, having been replaced by a painting on the wall: photo by Öljylautta, 2008
Authors settle into their texts like home-dwellers. Just as one creates disorder by lugging papers, books, pencils and documents from one room to another, so too does one comport oneself with thoughts. They become pieces of furniture, on which one sits down, feeling at ease or annoyed. One strokes them tenderly, scuffs them up, jumbles them up, moves them around, trashes them. To those who no longer have a homeland, writing becomes home. And therein one unavoidably generates, just like the family, all manner of household litter and junk. But one no longer has a shed, and it is not at all easy to separate oneself from cast-offs. So one pushes them to and fro, and in the end runs the risk of filling up the page with them. The necessity to harden oneself against pity for oneself includes the technical necessity, to counter the diminution of intellectual tension with the most extreme watchfulness, and to eliminate anything which forms on the work like a crust or runs on mechanically, which perhaps at an earlier stage produced, like gossip, the warm atmosphere which enabled it to grow, but which now remains fusty and stale. In the end, authors are not even allowed to be home in their writing.
Theodor W. Adorno: Leandro Gonzalez de Leon, 2009