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And I, who timidly hate life, fear death with fascination. I fear this nothingness that could be something else, and I fear it as nothing and as something else simultaneously, as if gross horror and nonexistence could coincide there, as if my coffin could entrap the eternal breathing of a bodily soul, as if immortality could be tormented by confinement. The idea of hell, which only a satanic soul could have invented, seems to me to have derived from this sort of confusion – a mixture of two different fears that contradict and contaminate each other.

There are metaphors more real than the people who walk in the street. There are images tucked away in books that live more vividly than many men and women. There are phrases from literary works that have a positively human personality. There are passages from my own writings that chill me with fright, so distinctly do I feel them as people, so sharply outlined do they appear against the walls of my room, at night, in the shadows ..... I’ve written sentences whose sound, read out loud or silently (impossible to hide their sound), can only be of something that has acquired absolute exteriority and a full-fledged soul.

The moonlight seems to illuminate icily all the world’s mystery. It seems to reveal everything, and everything is shadows with admixtures of faint light, false and unevenly absurd gaps, inconsistencies of the visible. There’s no breeze, and the mystery seems to loom larger. I feel queasy in my abstract thought. I’ll never write a page that sheds light on me or that sheds light on anything. A wispy cloud hovers hazily over the moon, like a coverture. I’m ignorant, like these rooftops. I’ve failed, like all of nature.

When I was a child, I used to go to this Mass, or perhaps another one, but I think it was this one. I wore my only good suit, out of respect, and enjoyed every minute, even when there was nothing special to enjoy. I lived externally, and the suit was clean and new. What more can one want, when he’s going to die and doesn’t know it, led by a mother’s hand?

I used to enjoy all of this, but only now do I realize how much I enjoyed it. I would enter Mass as into a great mystery, and come out at the end as into a clearing. And that’s how it really was, and how it still really is. It’s only the self who no longer believes and is now an adult, with a soul that remembers and weeps – only this self is fiction and confusion, anguish and the grave.

Most people are afflicted by an inability to say what they see or think. They say there’s nothing more difficult than to define a spiral in words; they claim it’s necessary to use the unliterary hand, twirling it in a steadily upward direction, so that human eyes will perceive the abstract figure immanent in a wire spring and a certain type of staircase. But if we remember that to say is to renew, we will have no trouble defining a spiral: it’s a circle that rises without ever closing. I realize that most people would never dare define it this way, for they suppose that defining is to say what others want us to say rather than what’s required for the definition. I’ll say it more accurately: a spiral is a potential circle that winds round as it rises, without ever completing itself. But no, the definition is still abstract. I’ll resort to the concrete, and all will become clear: a spiral is a snake without a snake, vertically wound around nothing.

Brief dark shadow of a downtown tree, light sound of water falling into the sad pool, green of the trimmed lawn – public garden shortly before twilight: you are in this moment the whole universe for me, for you are the full content of my conscious sensation. All I want from life is to feel it being lost in these unexpected evenings, to the sound of strange children playing in gardens like this one, fenced in by the melancholy of the surrounding streets and topped, beyond the trees’ tallest branches, by the old sky where the stars are again coming out.