Dini

ai???How many cities have revealed themselves to me!ai??i??1 :
The Surreal Spaces of Benjaminai??i??s Metamemory

I wish to write of this afternoon because it made so apparent what kind of regiment cities keep over imagination, and why the city [ai??i??] indemnifies itself in memory, and why the veil it has covertly woven out of our lives shows images of people less often than those of the sites of our encounters with others or ourselves.2

We wish to [ai??i??] recognise within the human soul the permanence of a nucleus of [ai??i??] ever living childhood, outside history, hidden from the others, disguised in history when it is recounted, which has real being only in its instants of illumination which is the same as saying in the moments of its poetic existence.3

In a letter to Gerhard Scholem dated 4 May 1928, Walter Benjamin (1892-1940) describes his most recent writing project, his (never completed) socio-historic-philosophical study of the Paris Arcades, as a homeless vagrant in search of shelter. ai???The workai??i??, he admits, ai???howls into my nights like a small beast [but] though I may already be constantly staring into the housing in which it does what comes naturally, I let hardly anyone else have a look inside.ai??i??4 A year later, the metaphor shifts, and the Arcades Project has become an edifice under construction: writing to Hugo Hofmannsthal, Benjamin describes a work that has ai???grownai??i?? both ai???in terms of material and its foundationai??i?? (CWB, 353). The emphasis on place and space in these depictions is telling, and one manifest throughout Benjaminai??i??s oeuvre. The home, the city, and the interstices between them ai??i?? the loggia, the courtyard, the alleyway and the passageway ai??i?? are conceptual spaces Walter Benjamin returns to throughout his writing career. In his texts, ai???locusai??i?? has numerous, often overlapping, connotations. The selfai??i??s place in time, the space of memory, the space of the imagination and the space of the text are often interwoven, while the tension between recollected experiences of place and those imagined remains a constant, recurring and explicit preoccupation, one profoundly influenced by the writerai??i??s engagement with the Surrealist project.

Work on Walter Benjamin as a writer in exile, a displaced Jew and a philosopher of history abounds, as do the studies on his understanding of urban modernity. His autobiographical writings, however, and the interplay, in these, between oneiric space and memory have been largely ignored.5 In this paper, I argue that Benjamin veritably anticipates what French phenomenologist Gaston Bachelard (1884-1962) would later term ai???metamemoryai??i?? ai??i?? the oneiric space in which ai???imagination and memory are most closely interwovenai??i?? (PR, 106-7), in which ai???transcendence is added to immanence,ai??i?? and in which the quotidian (both past and present) is re-imbued with mystery.6 Without fully articulating these questions, Walter Benjaminai??i??s autobiographical writings implicitly ask: where else can the exiled writer stray? Can recollection serve to ai???gatherai??i?? these places? Can memory serve as sanctuary? Examining Benjaminai??i??s representation of lived and imagined memory, and the particular syntactical and grammatical nuances therein, I argue, can shed new light on his work, and, in broader terms, on the early twentieth centuryai??i??s understanding of the selfai??i??s spatiality ai??i?? and of (lived, imagined, re-visited) space, itself, as anything but static. In particular, I use Bachelardai??i??s writings to examine the manifestation of ai???metamemoryai??i?? in Benjaminai??i??s unfinished memoir Berlin Childhood Around 1900, which he wrote while in exile in Ibiza and Poveromo between 1932 and 1934, and the pieces out of which the work emerged: the surrealist montage of aphorisms and reflections One-Way Street (1928), and the unfinished Berlin Chronicle, begun in 1932. I also examine how the disturbing landscapes depicted in Benjaminai??i??s personal correspondence verge on metamemories, and how both these and the Berlin texts constitute an ai???imaginaryai??i?? as Bachelard understands it; that is, as a surplus of dream images, a space that is ai???always more than the sum of its images, always beyond themai??i?? and which, in its insubstantiality and potentially endless expansiveness, remains ai???essentially open and elusive.ai??i?? (AD, 2). Reflecting the quintessentially modern notion of representation as something that is never truly complete, these oneiric spaces, like their dreamer, are ever in the process of becoming.7

  1. Walter Benjamin, ai???Unpacking by Libraryai??i?? in One-Way Street and Other Writings, trans. J. A. Underwood (London: Penguin, 2008), pp. 59-68 (p. 63). Henceforth, UML []
  2. Walter Benjamin, ‘A Berlin Chronicle’ in Selected Writing, Vol. II: 1927-1934, trans. Rodney Livingstone, ed. Howard Eiland and Gary Smith (Cambridge, MA: Belknap Press, 1999), pp. 603-615 ( p. 614). Henceforth, BCHR. []
  3. Gaston Bachelard, ai???The permanence of childhoodai??i?? in The Poetics of Reverie, p.100. Henceforth, PR []
  4. The Correspondence of Walter Benjamin, 1910- 1940, ed. by Gershom Scholem and Theodor W Adorno; trans. Manfred R Jacobson and Evelyn M Jacobson (Chicago and London: Chicago University Press, 1994), p. 335. Henceforth, CWB. []
  5. My use of the word ai???oneiricai??i?? relates specifically to its meaning, as articulated by Websterai??i??s New Collegiate Dictionary, of that which is ai???of or relating to dreamsai??i??, from the Greek oneiros, for dream (Websterai??i??s New Collegiate Dictionary (Springfield, MA, USA: Merriam Webster, 1965). []
  6. Bachelard, Air and Dreams: An Essay on the Imagination of Movement, trans. Edith R. Farrell and C. Frederick Farrell (Dallas Institute of Humanities and Culture, 1988), p. 3. Henceforth, AD. []
  7. Graeme Gilloch notes that ai???like the ever-expanding Passagenarbeit, the Berlin texts remain as works-in-progress, eschewing completeness while rewarding endless interpolationsai??i?? (Gilloch, 58). For a reading of the fragment and the aesthetic of incompletion in Modernism, see Jane Goldman, Modernism, 1910 ai??i?? 1945: Image to Apocalypse (London: Palgrave Macmillan, 2004). []

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