Georges Perec Quotes

Who, on seeing a Parisian apartment house, has never thought of it as indestructible? A bomb, a fire, an earthquake could certainly bring it down, but what else? In the eyes of an individual, of a family, or even a dynasty, a town, street, or house seems unchangeable, untouchable by time, by the ups and downs of human life, to such an extent that we believe we can compare and contrast the fragility of our condition to the invulnerability of stone.

Madame Altamont was leaving for a holiday. With her characteristic concern for propriety and orderliness, she emptied her refrigerator and gave the left-overs to the concierge: two ounces of butter, a pound of fresh green beans, two lemons, half a pot of redcurrant jam, a dab of fresh cream, a few cherries, a port of milk, a few bits of cheese, various herbs, and three Bulgarian-flavour yoghurts.

4. Or else:
Rough draft of a letter

I think of you, often
sometimes I go back into a cafe, I ist near the door, I order a coffee
I arrange my packet of cigarettes, a box of matches, a writing pad, my felt-pen on the fake marble table
I Spend a long time stirring my cup of coffee with the teasspoon
(yet I don't put any sugar in my coffee, I drink it allowing the sugar to melt in my mouth, like the people of North, like the Russians and Poles when they drink tea)
I pretend to be precoccupied, to be reflecting, as if I had a decision to make
At the top and to the right of the sheet of paaper, I inscribe the date, sometimes the place, sometimes the time, I pretend to be writing a letter

I write slowly, very slowly, as slowly as I can, I trace, I draw each letter, each accent, I check the punctuation marks

I stare attentively at a small notice, the price-list for ice-creams, at a piece of ironwork, a blind, the hexagonal yellow ashtray (in actual fact, it's an equilaterial triangle, in the cutoff corners of which semi-circular dents have been made where cigarettes can be rested)

(...)

Outside there's a bit of sunlight
the cafe is nearly empty
two renovatior's men are having a rum at the bar, the owner is dozing behind his till, the waitress is cleaning the coffee machine

I am thinking of you
you are walking in your street, it's wintertime, you've turned up your foxf

From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzlemaker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.

You are alone. You learn how to walk like a man alone. To stroll, to dawdle. To see without looking, to look without seeing. You learn the art of transparency, immobility, inexistence.You learn how to be a shadow and how to look at men as if they were stones.

As the hours, the days, the weeks, the seasons slip by, you detach yourself from everything. You discover, with something that sometimes almost resembles exhilaration, that you are free. That nothing is weighing you down, nothing pleases or displeases you. You find, in this life exempt from wear and tear and with no thrill in it other than these suspended moments, in almost perfect happiness, fascinating, occasionally swollen by new emotions. You are living in a blessed parenthesis, in a vacuum full of promise, and from which you expect nothing. You are invisible, limpid, transparent. You no longer exist. Across the passing hours, the succession of days, the procession of the seasons, the flow of time, you survive without joy and without sadness. Without a future and without a past. Just like that: simply, self evidently, like a drop of water forming on a drinking tap on a landing.

To write: to try meticulously to retain something, to cause something to survive; to wrest a few precise scraps from the void as it grows, to leave somewhere a furrow, a trace, a mark or a few signs.

The idea occurred to him when he was twenty. At first it was only a vague idea, a question looming - what should I do? - with an answer taking shape: nothing.

As soon as you close your eyes, the adventure of sleep begins."

-from "A Man Asleep

To want nothing. Just to wait, until there is nothing left to wait for. Just to wander, and to sleep. To let yourself be carried along by the crowds, and the streets. To follow the gutters, the fences, the water's edge. To walk the length of the embankments, to hug the walls. To waste your time. To have no projects, to feel no impatience. To be without desire, or resentment, or revolt.

Sometimes Valène dreamt of cataclysms and tempests, of whirlwinds that would carry the whole house off like a wisp of straw and display the infinite marvels of the solar system to its shipwrecked inhabitants; or that an unseen crack would run through the building from top to bottom, like a shiver, and with a long, deep, snapping sound it would open in two and be slowly swallowed up in an indescribable yawning chasm; then hordes would overrun it, bleary-eyed monsters, giant insects with steel mandibles, blind termites, great white worms with insatiable mouths: the wood would crumble, the stone would turn to sand, the cupboards would collapse under their own weight, all would return to dust. But no. Only these shabby squabbles over buckets and tubs, over matches and sinks. And behind that ever-closed door the morbid gloom of that slow revenge, that ponderous business of two senile monomaniacs churning over their feigned histories and their wretched traps and snares.

Question your tea spoons.

Grace Slaughter - the surname of her fifth husband, a manufacturer of pharmaceutical toners and "prophylactic" products, recently deceased due to a ruptured peritoneum - was sharply chauvinistic and would allow no more than two exceptions to her all-American views, exceptions with which her first spouse, Astolphe de Guéménolé-Longtgermain, no doubt had something to do: cooking had to be done by French nationals of male gender, laundry and ironing by British subjects of female gender (and absolutely not by Chinese). That allowed Henri Fresnel to be hired without having to hide his original citizenship, which is what had to be done by the director (Hungarian), the set designer (Russian), the choreographer (Lithuanian), the dancers (Italian, Greek, Egyptian), the scriptwriter (English), the librettist (Austrian), and the composer, a Finn of Bulgarian descent with a large dash of Romanian.

A gap will yawn, achingly, day by day, it will turn into a colossal pit, an abyss without foundation, a gradual invasion of words by margins, blank and insignificant, so that all of us, to a man, will find nothing to say.

What speaks to us, seemingly, is always the big event, the untoward, the extra-ordinary: the front-page splash, the banner headlines....Behind the event there is a scandal, a fissure, a danger, as if life reveals itself only by way of the spectacular, as if what speaks, what is significant, is always abnormal. [But] how should we take account of, question, describe what happens everyday and recurs everyday: the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary, the background noise, the habitual? (209-210)

It seems we only sleep well in our own bed.

What a marvellous invention man is! He can blow on his hands to warm them up, and blow on his soup to cool it down.

What we need to question is bricks, concrete, glass, our table manners, our utensils, our tools, the way we spend our time, our rhythms. To question that which seems to have ceased forever to astonish us. We live, true, we breathe, true; we walk, we go downstairs, we sit at a table in order to eat, we lie down on a bed on order to sleep. How? Where? When? Why?
Describe your street. Describe another. Compare.

This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?

People who choose to earn money first, people who put off their real plans until later, until they are rich, are not necessarily wrong. People who want only to live, and who reckon living is absolute freedom, the exclusive pursuit of happiness, the sole satisfaction of their desires and instincts, the immediate enjoyment of the boundless riches of the world [ ... ] such people will always be unhappy. It is true [ ... ] that there are people for whom this kind of dilemma does not arise, or hardly arises, either because they are too poor and have no requirements beyond a slightly better diet, slightly better housing, slightly less work, or because they are too rich, from the start, to understand the import or even the meaning of such a distinction. But nowadays and in our part of the world, more and more people are neither rich nor poor: they dream of wealth, and could become wealthy; and that is where their misfortunes begin."
-from "Things: A Story of the Sixties

why count the buses? probably because they're recognizable and regular:they cut up time, they punctuate the background noise; ultimately, they're foreseeable

It is on a day like this one,
a little later a little earlier
that you descover without surprise
that something is wrong
that you don't know how to live
and you will never know

Impatience [ ... ] is a twentieth-century virtue. At twenty, when they saw, or thought they saw, what life could be, the sum of bliss it held, the endless conquests it allowed, they realised they would not have the strength to wait. Like anyone else, they could have made it; but all they wanted was to have it made. That is probably the sense in which they were what are commonly called intellectuals.

I re-read the books I love and I love the books I re-read, and each time it is the same enjoyment, whether I re-read twenty pages, three chapters, or the whole book: an enjoyment of complicity, of collusion, or more especially, and in addition, of having in the end found kin again.

Force yourself to write down what is of no interest, what is most obvious, most common, most colourless ... antique shops, clothes, hi-fi, etc. Don't say, don't write 'etc'. Make an effort to exhaust the subject, even if that seems grotesque, or pointless, or stupid. You still haven't looked at anything, you've merely picked out what you've long ago picked out.

Chess is a fathead and feudal game.

Like the librarians of Babel in Borges's story, who are looking for the book that will provide them with the key to all the others, we oscillate between the illusion of perfection and the vertigo of the unattainable. In the name of completeness, we would like to believe that a unique order exists that would enable us to accede in knowledge all in one go; in the name of the unattainable, we would like to think that order and disorder are in fact the same word, denoting pure chance.
It's possible also that both are decoys, illusions intended to disguise the erosion of both books and systems. It is no bad thing in any case that between the two our bookshelves should serve from time to time as joggers of the memory, as cat-rests and as lumber-rooms.

Above all, they had the cinema. And this was probably the only area where they had learned everything from their own sensibilities.

You will never stop seeing yourself. You can do nothing, you cannot escape yourself, you cannot escape your own gaze, you never will be able to: even if you were to fall into a sleep so deep that no shock, no shout, no burning pain could rouse you, there would still be this eye, your eye, that will never close, that will never sleep.
You see yourself, you see yourself seeing yourself, you watch yourself watching yourself. Even if you were to wake up, your vision would remain the same, immutable. Even if you managed to grow thousands, billions of extra eyelids, there would still be this eye, behind, which would see you. You are not asleep but sleep will never come again. You are not awake and you will never wake up. You are not dead and even death could never set you free."
-from "A Man Asleep