A Rare and Precious Quality

Typhoon Jelawat out my balcony doors in Onna-son, Okinawa, Japan.

I have never had adventures. Things have happened to me, events, incidents, anything you like. But no adventures. It isn't a question of words; I am beginning to understand. There is something to which I clung more than all the rest – without completely realizing it. It wasn't love. Heaven forbid, not glory, not money. It was. . . I had imagined that at certain times my life could take on a rare and precious quality. There was no need for extraordinary circumstances: all I asked for was a little precision. There is nothing brilliant about my life right now: but from time to time, for example, when they play music in the cafés, I look back and tell myself: in old days, in London, Meknes, Tokyo, I have known great moments, I have had adventures. Now I am deprived of this. I have suddenly learned, without any apparent reason, that I have been lying to myself for ten years. And naturally, everything they tell about in books can happen in real life, but not in the same way. It is to this way of happening that I have clung so tightly.

The beginnings would have had to be real beginnings. Alas! Now I see so clearly what I wanted. Real beginnings are like a fanfare of trumpets, like the first notes of a jazz tune, cutting short tedium, making for continuity: then you say about these evenings within evenings: "I was out for a walk, it was an evening in May." You walk, the moon has just risen, you feel lazy, vacant, a little empty. And then suddenly you think: "Something has happened." No matter what: a slight rustling in the shadow, a thin silhouette crossing the street. But this paltry event is not like the others: suddenly you see that it is the beginning of a great shape whose outlines are lost in mist and you tell yourself, "Something is beginning."

Something is beginning in order to end: adventure does let itself be drawn out; it only makes sense when it is dead. I am drawn, irrevocably, towards this death which is perhaps mine as well. Each instant appears only as part of a sequence. I cling to each instant with all my heart: I know that it is uni, irreplaceable – and yet I would not raise a finger to stop it from being annihilated. This last moment I am spending – in Berlin, in London – in the arms of a woman casually met two days ago – moment I love passionately, woman I may adore – all is going to end, I know it. Soon I shall leave for another country. I shall never rediscover either this woman or this night. I grasp at each second, rediscover either this woman or this night. I grasp at each second, trying to suck it dry: nothing happens which I do not seize, which I do not fix forever in myself, nothing, neither the fugitive tenderness of those lovely eyes, nor the noises of the street, nor the false dawn of early morning: and even so the minute passes and I do not hold it back, I like to see it pass.

All of sudden something breaks off sharply. The adventure is over, time resumes its daily routine. I turn; behind me, this beautiful melodious form sinks entirely into the past. It grows smaller, contracts as it declines, and now the end makes one with the beginning. Following this gold spot, with my eyes I think I would accept – even if I had to risk death, lose a fortune, a friend – to live it all over again, in the same circumstances, from end to end. But an adventure never returns nor is prolonged.

Yes, it's what I wanted – what I still want. I am so happen when the Negress sings: what summits would I not reach if my own life made the subject of the melody.

The idea is still there, unnameable. It waits, peacefully. Now it seems to say:

"Yes? Is that what you wanted? Well, that's exactly what you've never had (remember you fooled yourself with words, you called the glitter of travel, the love of women, quarrels, and trinkets adventure) and this is what you'll never have – and no one other than yourself."

But Why? WHY?

--Jean-Paul Sartre, Nausea.