“In the middle of the journey of our life”, writes Dante in the beginning of his Inferno.
Roland Barthes uses this to think about the feeling of being in the middle of our life.
After an event which determines the start of the second part of life, some rest then they go on, repeating what they did before, maybe slowly withdrawing from action. Acedia (Wiki : “a state of listlessness or torpor, of not caring or not being concerned with one’s position or condition in the world”) is not necessarily a bad thing.
Let me fall into a quiet clean living space
Others will feel the coming of the end of life – or at least, that they begin the second part – and choose, like after a tremor, to change something.
Life of course, but also elements of it, things like beliefs, methods, ways of writing are subject to mutations.
In fact, one can feel this need anytime, not “in the middle of life” (which becomes, then, one trigger).
Who never felt “la lassitude de n’être que soi”? The weariness of being only oneself…
Something suddenly has to be done (and we should probably also list the triggers). What’s and how is it discontinuous?
- sinuous – bends
- defectoring – big changes
- lives using turnarounds – doing the contrary for certains things
- metamorphosis – another skin, way of seeing things
- displacements – moving places, moving where we act
- growing by stages – learning, opening
- risks – uncertainties, voluntary skidsideslips, waverings
- seeking freedoms – explorations
- re-inventions – mutations
and having said that, at the same time, staying truthful & faithful (to ourselves).
- Choose solutions
- Invent solutions
Thanks for reading!
Don’t ask me who I am and don’t ask me to stay the same.
See also (Google it) “Becoming Deleuze”. For example :
“Becoming-” is a process of change, flight, or movement within an assemblage. Rather than conceive of the pieces of an assemblage as an organic whole, within which the specific elements are held in place by the organization of a unity, the process of “becoming-” serves to account for relationships between the “discrete” elements of the assemblage. In “becoming-” one piece of the assemblage is drawn into the territory of another piece, changing its value as an element and bringing about a new unity.
Ne jamais se renier ? Rester fidèle à sa routine, à sa marotte, voire à sa bêtise ? Ne pas se raviser ? Ne pas se dédire ? Pourquoi devrait-on toujours s’éprouver et se reconnaître identique à soi ? Quelle est la légitimité de cette assignation au passé ? Nous sommes des êtres changeants et métamorphiques, pas des soldats de plomb. Ce livre, qui prend sa source dans l’expérience personnelle de l’auteur, envisage l’aventure des écrivains qui ont osé réinventer leur vie, et parfois en essayer plusieurs. Ce fut le cas, en particulier, pour Rousseau, Barthes, Duras, Gary, Koestler, Gide, Vailland, Sartre, Nizan, Semprun, Leiris… Le “devenir autre” aura été pour eux un défi, une nécessité tout à la fois éthique, esthétique et existentielle. Le geste qui consiste à briser une allégeance, à s’interrompre soi-même, à entrer dans une vita nova, on l’appellera ici : apostasie. On n’a pas fini d’en décrire la beauté et l’audace.
Google translated :
Never deny yourself? Stay true to routine, fancy, even stupidity? Do not change your mind? Do not go back? Why should one always feel and recognize one’s self? What is the legitimacy of this assignment to the past? We are changeable and metamorphic beings, not lead soldiers. This book envisages the adventure of writers who have dared to reinvent their lives, and sometimes to try several. This was the case, in particular, for Rousseau, Barthes, Duras, Gary, Koestler, Gide, Vailland, Sartre, Nizan, Semprun, Leiris … The “becoming other” have been a challenge for them, a necessity all at the same time. once ethical, aesthetic and existential. The act of breaking an allegiance, of interrupting oneself, of entering a vita nova, will be called here: apostasy. We have not finished describing its beauty and audacity.