Loneliness In Koula And Selma Lagerlof

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Loneliness and the Sun: Woman, “Languageing” and Loneliness in Menis Koumandareas’s Koula and Selma Lagerlof’s “The Eclipse” What are the features of those fictional writings that deal with loneliness? If we believe, as Husserl did, that consciousness is always intentional, then loneliness must be something unbearable for humankind. However, there are a thousand modes of loneliness, and a thousand modes of being in company. A tree may be a truer friend for me than a fellow human being, but that kind of friendship is not interpretable in terms of an anthropocratic analysis of “consciousness”. Again, however close one may be to a tree or to the stars which have no “speech”, one has to come back to the human world, if one wants to do literature.…show more content…
And it is from this structure of feeling, which characterizes our impulse of endless “languageing” as a perennial orientation towards the narratable selves of our necessary others, that the fictional writing on loneliness grows. Fictionalizing loneliness is not easy – no crude sentimentalism of “I am so lonely” would help one produce good fiction on loneliness. The fiction of loneliness which is truly worthy of its name is based on the multiplicity of our necessary others, and the complex network of our desires to communicate with all of them, while we know jolly well that the same kind of “languageing” is not sufficient for communicating with and about each of them. If you have no human friends, you may find solace in the company of nature, but that company will produce an urge for languageing in you which won’t be satisfied until you have returned to the human world. On the other hand, troubled by the loneliness intensified by joyless conversations with a crowd of “friends” in your human circle, you may seek for true/mystic companionship in a tree or in the grass beneath your feet, but your languageing self will not find itself narrated (or reciprocally…show more content…
For Beda, old age is a palpable, real problem, and the necessary other she must seek for will not come through eros. Hence, it is the sun who becomes her necessary other. She says that the sun is her truest and best friend. May we assume that she implies the sun, as a female friend, is even more real than the human females who surround her? If this is so, then, again, we are faced with the aporia I mentioned at the beginning of this essay. If the sun is her necessary other, the natural-supernatural solace in her human loneliness, it ought to put her narratable self in some kind of narrative, placing it in the play of languageing. But is it possible to engage in a collaborative languageing, a loving narration of selfhoods, with the sun? can there be any love/friendship story co-authored with the sun in the way Koula co-authored hers with Dimitri. Here lies the greatest aporia of loneliness. The sun may be Beda’s friend, a genuinely more real friend than the ones who come to visit her on the day of the eclipse, but her languageing impulse cannot be satisfied by the friendship of the sun. Unless you operate within myth or within the domain of mystic union with the Cosmos, the transhumant friend will always remain outside the terrain of languageing, and hence, the loneliness that is alleviated by the sun, the trees or the stars will come back, again and again, in the form of a
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