On a Saturday full of engines, reading Michel Serres.

Je ne puis, d’une part, sentir le lisier des porcs, pourtant biodégradable, frémir de nausée à l’orée des papeteries, souffrir d’asthme au voisinage des autoroutes, ouïr aussi, et d’autre part, les bruits d’un avion ou d’une moto sans que mon corps, animalement, comprenne que les émetteurs correspondants prennent, par ces odeurs, ces souillures et ces sons, possession de l’espace qu’ils habitent ou traversent. Des volumes qu’ils envahissent ainsi de leurs issues expansées, dures, matérielles, ou douces comme des abois ou des signes, ils excluent ma présence, mon existence, ma santé, ma respiration, ma tranquillité, bref, mon habitat. Comme tigres et lions, ils menacent ma vie, mes poumons et ma santé… quand ils entrent dans ma niche ou l’espace public; comme coqs ou moustiques, ils sonnent leur victoire sur l’étendue qu’ils occupent. Lesdits émetteurs envahissent; bref, ils s’approprient le monde.

Michel Serres, Le Mal Propre. Polluer pour s’approprier? pp. 42-43

Sudden and Two-Dimensional

Everything makes sense yet is beyond reason. He once remarked to an interviewer:

The dream is pure drama. In a dream, one is always in mid-situation … I think that the dream is a lucid thought, more lucid than any one has when awake, a thought expressed in images, and that at the same time its form is always dramatic.

At his best, Ionesco has been true to his dreams. He almost never creates characters of any depth or substance, the people in his plays are sudden and two-dimensional, like the figures in a dream. And, as in a dream, the complexity is all in their immediate situation. He has put his nightmares on stage, unadulterated and with an uncanny sense of what works in that tight space framed by the proscenium arch. The result is pure nihilism. After all, what can survive when the placid façade of middle-class life splits open and the submerged fantasies come pulsing through?

A. Alvarez, Beckett, p. 14

Said about A.  Brings to mind B.