No Surrender To Horror
Apr 30, 05 | 7:11 pm by John SabottaAn extremely perceptive post by Curt over at Selling Waves:
Which brings me to the thrust of things. Philip Roth has just published some correspondence with Saul Bellow in the New Yorker in which Bellow describes mainly the genesis of The Adventures of Augie March, his first major success. He was living in Paris when the inspiration came to him; I find many parallels between his situation and my own, and not only on that account. He felt, as I often do here, “that Europe was defying me to do something about it” and was consequently terribly depressed. And then, ah! inspiration, “I discovered that I could write whatever I wished…I did not have to kill myself in the service of art.” It seems that this disburdening is not purely personal, but also has larger cultural overtones, for, as he says, “That “Augie March” happened in dismal postwar Europe (knowledge of the Holocaust was slowly coming to us back then) is evidence of an independent move of the mind, a decision not to surrender to horror. I discovered that I no longer wanted to be put upon by art seriousness.” This moment of inspiration at the end of a downcast sojourn in Paris seems to symbolically indicate, then, a break with an exhausted and morbid European culture, a discovery of an artistic vitality native to America and the English language. And there you have it: Bellow had discovered a new free language and mode of expression which was also implicitly an assertion of freedom, a step forward and away from the onerous legacy that extinguishes everything in Perec and so many others’ writings and thoughts. It would no doubt be a great over-simplification to say that Europe has followed the cultural path of Perec and America of Bellow, but it is comforting to find a soul from my culture that, in contrast to much of Europe’s (and possibly America’s) cultural élite, understands that Adorno’s belief that poetry after Auschwitz is barbaric is a “surrender to horror” and, more importantly, actually discovered a vital form of expression that could resist it, and resist it sensibly and animatedly, not tragically and despairingly. And this has made him practically the founder of postwar American literature
“Why, I am a sort of Columbus of those near-at-hand and believe you can come to them in this immediate terra incognita that spreads out in every gaze. I may well be a flop at this line of endeavor. Columbus too thought he was a flop, probably because they sent him back in chains. Which didn’t prove there was no America.” - from The Adventures of Augie March by Saul Bellow



