By Jean-Paul Sartre
Jean-Paul Sartre was once essentially the most vital philosophical and political thinkers of the 20th century. His writings had a efficiency that used to be impossible to resist to the highbrow scene that swept post-war Europe, and feature left an important inheritance to modern suggestion. The vital guideline of the Existentialist stream which he helped to stumbled on, wherein God is changed by means of a moral self, proved highly appealing to a iteration that had visible the horrors of Nazism, and provoked a revolution in post-war idea and literature. In What is Literature? Sartre the novelist and Sartre the thinker mix to deal with the phenomenon of literature, exploring why we learn, and why we write.
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Additional resources for What is Literature?
It is our presence in the world which multiit we who up a relationship between this tree and that bit of sky. Thanks to us, that star which has been dead for millennia, that quarter moon, and that plies relations. It is set dark river are disclosed in the unity of a landscape. It is the speed of our auto and our airplane which organizes the great masses of the earth. 38 With each of our acts, the WHY WRITE? world reveals to us a new are directors of being, producers. If we turn sink back into we we know that we know that we are not its face.
The reader, too, is sensitive to this. At once we are no longer on level of concerted communication, but on that of grace and chance; the silences of prose are poetic because they mark its limits, and it is for the purpose of greater clarity that I have been considering the extreme cases of pure prose and pure poetry. However, it need not be concluded that we can pass from poetry to prose by a continuous series of intermediate forms. If the the prose-writer and we is too eager to fondle his words, the eidos of "prose" is shattered highfalutin nonsense.
Even if we hould regard it without touching it any further, we never >ur love, from it that gaiety or love. We put them into it. The results which we have obtained on canvas or paper lever seem to us objective. We are too familiar with the >rocesses of which they are the effects. These processes emain a subjective discovery; they are ourselves, our nspiration, our ruse, and when we seek to perceive our -eceive vork, ions we create it again, which produced it; we repeat mentally the operaeach of its aspects appears as a Thus, in the perception, the object is given as the essential thing and the subject as the inessential.