Handbook of Layered Materials Book

Read as part of my 2015 Modernists project.

"But Time, unfortunately, though it makes animals and vegetables bloom and fade with amazing punctuality, has no such simple effect upon the mind of man. The mind of man, moreover, works with equal strangeness upon the body of time. An hour, once it lodges in the queer element of the human spirit, may be stretched to fifty or a hundred times its clock length; on the other hand, an hour may be accurately represented on the timepiece of the mind by one second. This extraordinary discrepancy between time on the clock and time in the mind is less known than it should be and deserves fuller investigation." - Virginia Woolf - Orlando


I could have chosen countless other quotes to illustrate a point made by countless others: Bergson's philosopy was a vital influence upon, and is a vital tool for understanding, Modernist literature.

Memory and Time. Perception and Duration. The Body.

He says things like:


"we extend to the series of memories, in time, that obligation of containing and being contained which applies only to the collection of bodies instantaneously perceived in space. The fundamental illusion consists in transferring to duration itself, in its continuous flow, the form of the instantaneous sections which we make in it."

and

" In reality there is no one rhythm of duration ; it is possible to imagine many different rhythms which, slower or faster, measure the degree of tension or relaxation of different kinds of consciousness, and thereby fix their respective places in the scale of being. To conceive of durations of different tensions is perhaps both difficult and strange to our mind, because we have acquired the useful habit of substituting for the true duration, lived by consciousness, an homogeneous and independent Time ; but, in the first place, it is easy, as we have shown, to detect the illusion which renders such a thought foreign to us, and, secondly, this idea has in its favour, at bottom, the tacit agreement of our consciousness. Do we not sometimes perceive in ourselves, in sleep, two contemporaneous and distinct persons of whom one sleeps a few minutes, while the other's dream fills days and weeks ? And would not the whole of history be contained in a very short time for a consciousness at a higher degree of tension than our own, which should watch the development of humanity while contracting it, so to speak, into the great phases of its evolution ? In short, then, to perceive consists in condensing enormous periods of an infinitely diluted existence into a few more differentiated moments of an intenser life, and in thus summing up a very long history. To perceive means to immobilize.
To say this is to say that we seize, in the act of perception, something which outruns perception itself, although the material universe is not essentially different or distinct from the representation which we have of it. In one sense, my perception is indeed truly within me, since it contracts into a single moment of my duration that which, taken in itself, spreads over an incalculable number of moments. But, if you abolish my consciousness, the material universe subsists exactly as it was; only, since you have removed that particular rhythm of duration which was the condition of my action upon things, these things draw back into themselves, mark as many moments in their own existence as science distinguishes in it ; and sensible qualities, without vanishing, are spread and diluted in an incomparably more divided duration. Matter thus resolves itself into numberless vibrations, all linked together in uninterrupted continuity, all bound up with each other, and travelling in every direction like shivers through an immense body. In short, try first to connect together the discontinuous objects of daily experience ; then resolve the motionless continuity of their qualities into vibrations on the spot ; finally fix your attention on these movements, by abstracting from the divisible space which underlies them and considering only their mobility that undivided act which our consciousness becomes aware of in our own movements): you will thus obtain a vision of matter, fatiguing perhaps for your imagination, but pure, and freed from all that the exigencies of life compel you to add to it in external perception.-Now bring back consciousness, and with it the exigencies of life: at long, very long, intervals, and by as many leaps over enormous periods of the inner history of things, quasi-instantaneous views will be taken, views which this time are bound to be pictorial, and of which the more vivid colours will condense an infinity of elementary repetitions and changes. In just the same way the multitudinous successive positions of a runner are contracted into a single symbolic attitude, which our eyes perceive, which art reproduces, and which becomes for us all the image of a man running. The glance which falls at any moment on the things about us only takes in the effects of a multiplicity of inner repetitions and evolutions, effects which are, for that very reason, discontinuous, and into which we bring back continuity by the relative movements that we attribute to 'objects' in space. The change is everywhere, but inward; we localize it here and there, but outwardly; and thus we constitute bodies which are both stable as to their qualities and mobile as to their positions, a mere change of place summing up in itself, to our eyes, the universal transformation."


Now, whether or not I think he is right is sort of beside the point here, what is interesting for me is how clearly all this provides a philosophical underpinning for what Woolf, Richardson, Joyce etc were trying to do.