Each one has his reasons: for one, art is a flight; for another, a means of conquering. But one can flee into a hermitage, into madness, into death. One can conquer by arms. Why does it have to be writing, why does one have to manage his escapes and conquests by writing? Because, behind the various aims of authors, there is a deeper and more immediate choice which is common to all of us. We shall try to elucidate this choice, and we shall see whether it is not in the name of this very choice of writing that the engagement of writers must be required.
Each of our perceptions is accompanied by the consciousness that human reality is a “revealer,” that is, it is through human reality that “there is” being, or, to put it differently, that man is the means by which things are manifested. It is our presence in the world which multiplies relations. It is we who set 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 dark river are disclosed in the unity of landscape. It is the speed of our auto and our airplane which organizes the great masses of the earth. With each of our acts, the world reveals to us a new face. But, if we know that we are directors of being, we also know that we are not its producers. If we turn away from this landscape, it will sink back into its dark permanence. At least, it will sink back; there is no one mad enough to think that it is going to be annihilated. It is we who shall be annihilated, and the earth will remain in its lethargy until another consciousness comes along to awaken it. Thus, to our inner certainty of being “revealers” is added that of being inessential in relation to the thing revealed.
One of the chief motives of artistic creation is certainly the need of feeling that we are essential in relationship to the world. If I fix on canvas or in writing a certain aspect of the fields or the sea or a look on someone’s face which I have disclosed, I am conscious of having produced them by condensing relationship, by introducing order where there was none, by imposing the unity of mind on the diversity of things. That is, I feel myself essential in relation to my creation. But this time it is the created object which escapes me; I cannot reveal and produce at the same time. The creation becomes inessential in relation to the creative activity. First of all, even if it appears to others as definitive, the created object always seems to us in a state of suspension; we can always change this line, that shade, that word. Thus, it never forces itself. A novice painter asked his teacher, “When should I consider my painting finished?” And the teacher answered, “When you can look at it in amazement and say to yourself ‘I’m the one who did that!’ ”