So this is Nausea: this blinding evidence? I have scratched my head over it! I've written about it. Now I know: I existùthe world existsùand I know that the world exists. That's all. It makes no difference to me. It's strange that everything makes so
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little difference to me: it frightens me. Ever since the day I
wanted to play ducks and drakes. I was going to throw that pebble, I looked at it and then it all began: I felt that it existed.. Then after that there were other Nauseas; from time to time objects start existing in your hand. There was the Nausea of the "Railwaymen's Rendezvous" and then another, before that, the night I was looking out the window; then another in the park, one Sunday, then others. But it had never been as strong as today.
". . . Of ancient Rome, Monsieur?"
The Self-Taught Man is asking me a question, I think. I turn towards him and smile. Well? What's the matter with him? Why is he shrinking back into his chair? Do I frighten people now? I shall end up that way. But it makes no difference to me. They aren't completely wrong to be afraid: I feel as though I could do anything. For example, stab this cheese knife into the Self-Taught Man's eye. After that, all these people would trample me and kick my teeth out. But that isn't what stops me: a taste of blood in the mouth instead of this taste of cheese makes no difference to me. Only I should make some move, introduce some superfluous event: the Self-Taught Man's cry would be too muchùand the blood flowing down the cheek and all the people jumping up. There are quite enough things like that which exist already.
Everyone is watching me; the two representatives of youth have interrupted their gentle chat. The woman's mouth looks like a chicken's backside. And yet they ought to see that I am harmless.
I get up, everything spins around me. The Self-Taught Man stares at me with his great eyes which I shall not gouge out.
"Leaving already?" he murmurs.
"I'm a little tired. It was very nice of you to invite me. Good-bye."
As I am about to leave I notice that I have kept the dessert knife in my left hand. I throw it on my plate which begins to clink. I cross the room in the midst of silence. No one is eating: they are watching me, they have lost their appetite. If I were to go up to the young woman and say "Boo!" she'd begin screaming, that's certain. It isn't worth the trouble.
Still, before going out, I turn back and give them a good look at my face so they can engrave it in their memory.
"Good-bye, ladies and gentlemen."
They don't answer. I leave. Now the colour will come back to their cheeks, they'll begin to jabber.I don't know where to go, I stay planted in front of the cardboard chef. I don't need to turn around to know they are watching me through the windows: they are watching my back with surprise and disgust; they thought I was like them, that I was a man, and I deceived them. I suddenly lost the appearance of a man and they saw a crab running backwards out of this human room. Now the unmasked intruder has fled: the show goes on. It annoys me to feel on my back this stirring of eyes and frightened thoughts. I cross the street. The other pavement runs along the beach and the bath houses.
Many people are walking along the shore, turning poetic springtime faces towards the sea; they're having a holiday because of the sun. There are lightly dressed women who have put on last spring's outfit; they pass, long and white as kid gloves; there are also big boys who go to high school and the School of Commerce, old men with medals. They don't know each other but they look at each other with an air of connivance because it's such a fine day and they are men. Strangers embrace each other when war is declared; they smile at each other every spring. A priest advances slowly, reading his breviary. Now and then he raises his head and looks at the sea approvingly: ùthe sea is also a breviary, it speaks of God. Delicate colours, delicate perfumes, souls of spring. "What a lovely day, the sea is green, I like this dry cold better than the damp." Poets! If I grabbed one of them by the back of the coat, if I told him: "Come, help me," he'd think, "What's this crab doing here?" and would run off, leaving his coat in my hands.
I turn back, lean both hands on the balustrade. The true sea is cold and black, full of animals; it crawls under this thin green film made to deceive human beings. The sylphs all round me have let themselves be taken in: they only see the thin film, which proves the existence of God. I see beneath it! The veneer melts, the shining velvety scales, the scales of God's catch explode everywhere at my look, they split and gape. Here is the Saint-Elemir tramway, I turn round and the objects turn with me, pale and green as oysters.
Useless, it was useless to get in since I don't want to go anywhere.
Bluish objects pass the windows. In jerks all stiff and brittle; people, walls; a house offers me its black heart through open windows; and the windows pale, all that is black becomes blue, blue this great yellow brick house advancing uncertainly, trem-
bling, suddenly stopping and taking a nose dive. A man gets on and sits down opposite to me. The yellow house starts up again, it leaps against the windows, it is so close that you can only see part of it, it is obscured. The windows rattle. It rises, crushing, higher than you can see, with hundreds of windows opened on black hearts; it slides along the car brushing past it; night has come between the rattling windows. It slides interminably, yellow as mud, and the windows are sky blue. Suddenly it is no longer there, it has stayed behind, a sharp, grey illumination fills the car and spreads everywhere with inexorable justice: it is the sky; through the windows you can still see layer on layer of sky because we're going up Eliphar Hill and you can see clearly between the two slopes, on the right as far as the sea, on the left as far as the airfield. No smokingùnot even a gitcme.
I lean my hand on the seat but pull it back hurriedly: it exists. This thing I'm sitting on, leaning my hand on, is called a seat. They made it purposely for people to sit on, they took leather, springs and cloth, they went to work with the idea of making a seat and when they finished, that was what they had made. They carried it here, into this car and the car is now rolling and jolting with its rattling windows, carrying this red thing in its bosom. I murmur: "It's a seat," a little like an exorcism. But the word stays on my lips: it refuses to go and put itself on the thing. It stays what it is, with its red plush, thousands of little red paws in the air, all still, little dead paws. This enormous belly turned upward, bleeding, inflatedùbloated with all its dead paws, this belly floating in this car, in this grey sky, is not a seat. It could just as well be a dead donkey tossed about in the water, floating with the current, belly in the air in a great grey river, a river of floods; and I could be sitting on the donkey's beliy, my feet dangling in the clear water. Things are divorced from their names. They are there, grotesque, headstrong, gigantic and it seems ridiculous to call them seats or say anything at all about them: I am in the midst of things, nameless things. Alone, without words, defenceless, they surround me, are beneath me, behind me, above me. They demand nothing, they don't impose themselves: they are there. Under the cushion on the seat there is a thin line of shadow, a thin black line running along the seat, mysteriously and mischievously, almost a smile. I know very well that it isn't a smile and yet it exists, it runs under the whitish windows, under the jangle of glass, obstinately, obstinately behind the blue images which pass in a throng, like the inexact memoryof a smile, like a half forgotten word of which you can only remember the first syllable and the best thing you can do is turn your eyes away and think about something else, about that man half-lying down on the seat opposite me, there. His blue-eyed, terra cotta face. The whole right side of his body has sunk, the right arm is stuck to the body, the right side barely lives, it lives with difficulty, with avarice, as if it were paralysed. But on the whole left side there is a little parasitic existence, which proliferates; a chance: the arm begins to tremble and then is raised up and the hand at the end is stiff. Then the hand begins to tremble too and when it reaches the height of the skull, a finger stretches out and begins scratching the scalp with a nail. A sort of voluptuous grimace comes to inhabit the right side of the mouth and the left side stays dead. The windows rattle, the arm shakes, the nail scratches, scratches, the mouth smiles under the staring eyes and the man tolerates, hardly noticing it, this tiny existence which swells his right side, which has borrowed his right arm and right cheek to bring itself into being. The conductor blocks my path.
"Wait until the car stops."
But I push him aside and jump out of the tramway. I couldn't stand any more. I could no longer stand things being so close. I push open a gate, go in, airy creatures are bounding and leaping and perching on the peaks. Now I recognize myself, I know where I am: I'm in the park. I drop onto a bench between great black tree-trunks, between the black, knotty hands reaching towards the sky. A tree scrapes at the earth under my feet with a black nail. I would so like to let myself go, forget myself, sleep. But I can't, I'm suffocating: existence penetrates me everywhere, through the eyes, the nose, the mouth. . . .
And suddenly, suddenly, the veil is torn away, I have understood, I have seen.
6.00 p.m.
I can't say I feel relieved or satisfied; just the opposite, I am crushed. Only my goal is reached: I know what I wanted to know; I have understood all that has happened to me since January. The Nausea has not left me and I don't believe it will leave me so soon; but I no longer have to bear it, it is no longer an illness or a passing fit: it is I.
So I was in the park just now. The roots of the chestnut tree were sunk in the ground just under my bench. I couldn't
remember it was a root any more. The words had vanished and with them the significance of things, their methods of use, and the feeble points of reference which men have traced on their surface. I was sitting, stooping forward, head bowed, alone in front of this black, knotty mass, entirely beastly, which frightened me. Then I had this vision.
It left me breathless. Never, until these last few days, had I understood the meaning of "existence." I was like the others, like the ones walking along the seashore, all dressed in their spring finery. I said, like them, "The ocean is green; that white speck up there is a seagull," but I didn't feel that it existed or that the seagull was an "existing seagull"; usually existence hides itself. It is there, around us, in us, it is us, you can't say two words without mentioning it, but you can never touch it. When I believed I was thinking about it, I must believe that I was thinking nothing, my head was empty, or there was just one word in my head, the word "to be." Or else I was thinking . . . how can I explain it? I was thinking of belonging, I was telling myself that the sea belonged to the class of green objects, or that the green was a part of the quality of the sea. Even when I looked at things, I was miles from dreaming that they existed: they looked like scenery to me. I picked them up in my hands, they served me as tools, 1 foresaw their resistance. But that all happened on the surface. If anyone had asked me what existence was, I would have answered, in good faith, that it was nothing, simply an empty form which was added to external things without changing anything in their nature. And then all of a sudden, there it was, clear as day: existence had suddenly unveiled itself. It had lost the harmless look of an abstract category: it was the very paste of things, this root was kneaded into existence. Or rather the root, the park gates, the bench, the sparse grass, all that had vanished: the diversity of things, their individuality, were only an appearance, a veneer. This veneer had melted, leaving soft, monstrous masses, all in disorderùnaked, in a frightful, obscene nakedness.
I kept myself from making the slightest movement, but I didn't need to move in order to see, behind the trees, the blue columns and the lamp posts of the bandstand and the Velleda, in the midst of a mountain of laurel. All these objects . . . how can I explain? They inconvenienced me; I would have liked them to exist less strongly, more dryly, in a more abstract way, with more reserve. The chestnut tree pressed itself against my eyes. Green rust covered it half-way up; the bark, black and swollen,looked like boiled leather. The sound of the water in the Mas-queret Fountain sounded in my ears, made a nest there, filled them with signs; my nostrils overflowed with a green, putrid odour. All things, gently, tenderly, were letting themselves drift into existence like those relaxed women who burst out laughing and say: "It's good to laugh," in a wet voice; they were parading, one in front of the other, exchanging abject secrets about their existence. I realized that there was no half-way house between non-existence and this flaunting abundance. If you existed, you had to exist all the way, as far as mouldiness, bloatedness, obscenity were concerned. In another world, circles, bars of music keep their pure and rigid lines. But existence is a deflection. Trees, night-blue pillars, the happy bubbling of a fountain, vital smells, little heat-mists floating in the cold air, a red-haired man digesting on a bench: all this somnolence, all these meals digested together, had its comic side. . . . Comic ... no: it didn't go as far as that, nothing that exists can be comic; it was like a floating analogy, almost entirely elusive, with certain aspects of vaudeville. We were a heap of living creatures, irritated, embarrassed at ourselves, we hadn't the slightest reason to be there, none of us, each one, confused, vaguely alarmed, felt in the way in relation to the others. In the way: it was the only relationship I could establish between these trees, these gates, these stones. In vain I tried to count the chestnut trees, to locate them by their relationship to the Velleda, to compare their height with the height of the plane trees: each of them escaped the relationship in which I tried to enclose it, isolated itself, and overflowed. Of these relations (which I insisted on maintaining in order to delay the crumbling of the human world, measures, quantities, and directions)ùI felt myself to be the arbitrator; they no longer had their teeth into things. In the way, the chestnut tree there, opposite me, a little to the left. In the way, the Velleda. . . .