Screen shot 13 02 08 at 05 52
,r<N.o impulse of power"
R. Avedon: A. Philip RArrooLPH (Tius Family). 1976
dmce is what docs not u ant to be decomposcd). The air is not a schematic, intelleccual damm, the way a silhouette is. Nor is the air a simplc analogy—however extcndcd— as is “likeness.” No, the air is rhat cxorbitant rhing which induces from body to soul—animula, little individual soul, good in one person, bad in another. Hencc I was leafing through the photographs of my morher according to an imtiatic path which Icd me to that ery, the end of all language: “There she is!”: first of all a fcw unworthy pictures which gave me only her crudcst identity, her legał status; then certain morę numerous photographs in which I could read her ''individual cxpression” (analogous photographs, "Iikencsses”); finally the Winter Garden Photo graph, in which 1 do much morę chan rccognke her (clumsy word): in which I discover her: a sudden awak* ening, outside of "likeness." a satnri in which words fail. the rarc, perhaps uniguc evidcncc of the "So, ycs, so much and no more^ł
"The air (I usc this word, lacking anything better, for the cJtpression of truth) is a kind of intractablc supple-ment of identity, what is given as an act of grace, stripped of any “imporrance”: the air exprc$scs the subject, insofar as that subject assigns itsclf no importance. In this vera-cious photograph, the being I love, whom I have loved, is not separated from itself: at last it toincides. And, mys-teriously, this coincidence is a kind of metamorphosis. All the photographs of my mother which I was looking through were a little hke so many masks; at the last, sud-denly the mask vamshed: there rcmained a soul, agclcss but noc timclcss, sińce this air was the person I used to
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