Walter Benjamin Quotes

History is written by the victors.

The only way of knowing a person is to love them without hope.

There is no document of civilization that is not at the same time a document of barbarism.

Writers are really people who write books not because they are poor, but because they are dissatisfied with the books which they could buy but do not like.

To be happy is to be able to become aware of oneself without fright.

How many cities have revealed themselves to me in the marches I undertook in the pursuit of books!

Work on a good piece of writing proceeds on three levels: a musical one, where it is composed; an architectural one, where it is constructed; and finally, a textile one, where it is woven.

The work of memory collapses time.

You could tell a lot about a man by the books he keeps - his tastes, his interest, his habits.

It is the task of the translator to release in his own language that pure language that is under the spell of another, to liberate the language imprisoned in a work in his re-creation of that work.

All efforts to make politics aesthetic culminate in one thing, war.

Every passion borders on the chaotic, but the collector's passion borders on the chaos of memories.

No poem is intended for the reader, no picture for the beholder, no symphony for the listener.

In the end, we get older, we kill everyone who loves us through the worries we give them, through the troubled tenderness we inspire in them, and the fears we ceaselessly cause.

There is no document of civilization that is not also a document of barbarism.

Memory is not an instrument for surveying the past but its theater. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.

I came into the world under the sign of Saturn -- the star of the slowest revolution, the planet of detours and delays.

Ideas are to objects as constellations are to stars [translated from Trauerspiel, 1928].

Boredom is the dream bird that hatches the egg of experience. A rustling in the leaves drives him away.

Humanity’s self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order.

Peoples do not judge in the same way as courts of law; they do not hand down sentences, they throw thunderbolts; they do not condemn kings, they drop them back into the void; and this justice is worth just as much as that of the courts.

All the decisive blows are struck left-handed.

It is only for those without hope that hope is given.

A Klee painting named 'Angelus Novus' shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.

Our image of happiness is indissolubly bound up with the image of redemption.

Let no thought pass incognito, and keep your notebook as strictly as the authorities keep their register of aliens.

Death is the sanction of everything the story-teller can tell. He has borrowed his authority from death.

Behind every fascism there is a failed revolution.

A sensibility that wails almost exclusively over the enemies of liberty seems suspect to me. Stop shaking the tyrant's bloody robe in my face, or I will believe that you wish to put Rome in chains.

All human knowledge takes the form of interpretation.

As long as there is still one beggar around, there will still be myth.

The only historian capable of fanning the spark of hope in the past is the one who is firmly convinced that even the dead will not be safe from the enemy if he is victorious.

Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.

What has been forgotten.... is never something purely individual.

Solitude appeared to me as the only fit state of man.

In the deep night of metaphysics, all cats look black.

The destructive character knows only one watchword: make room; only one activity: clearing away ... The destructive character is young and cheerful. For destroying rejuvenates in clearing away traces of our own age ...

Every morning brings us news of the globe, and yet we are poor in noteworthy stories. This is because no event comes to us without being already shot through with explanation. In other words, by now almost nothing that happens benefits storytelling; almost everything benefits information. Actually, it is half the art of storytelling to keep a story free from explanation as one reproduces it. . . . The most extraordinary things, marvelous things, are related with the greatest accuracy, but the psychological connection of the event is not forced on the reader. It is left up to him to interpret things the way he understands them, and thus the narrative achieves an amplitude that information lacks.

Any order is a balancing act of extreme precariousness.

Hanya demi untuk orang-orang yang tak punya harap maka kita diberi harapan. Itu kalimat Walter Benjamin.

The fairy tale, which to this day is the first tutor of children because it was once the first tutor of mankind, secretly lives on in the story. The first true storyteller is, and will continue to be, the teller of fairy tales. Whenever good counsel was at a premium, the fairy tale had it, and where the need was greatest, its aid was nearest. This need was created by myth. The fairy tale tells us of the earliest arrangements that mankind made to shake off the nightmare which myth had placed upon its chest.

Not to find one's way around a city does not mean much. But to lose one's way in a city, as one loses one's way in a forest, requires some schooling. Street names must speak to the urban wanderer like the snapping of dry twigs, and little streets in the heart of the city must reflect the times of day, for him, as clearly as a mountain valley. This art I acquired rather late in life; it fulfilled a dream, of which the first traces were labyrinths on the blotting papers in my school notebooks.

What, in the end, makes advertisements superior to criticism? Not what the moving red neon says—but the fiery pool reflecting it in the asphalt.

When another asserted something that I thought an error, I denied myself the pleasure of contradicting him.

History is an angel being blown backwards into the future

Of all the ways of acquiring books, writing them oneself is regarded as the most praiseworthy method. — Walter Benjamin, "Unpacking My Library

Knowledge, he realized, “was obtained rather by the use of the ear than of the tongue.

The crowd is the veil through which the familiar city beckons to the flâneur as phantasmagoria-now a landscape, now a room.

Cities have often been compared to language: you can read a city, it’s said, as you read a book. But the metaphor can be inverted. The journeys we make during the reading of a book trace out, in some way, the private spaces we inhabit. There are texts that will always be our dead-end streets; fragments that will be bridges; words that will be like the scaffolding that protects fragile constructions. T.S. Eliot: a plant growing in the debris of a ruined building; Salvador Novo: a tree-lined street transformed into an expressway; Tomas Segovia: a boulevard, a breath of air; Roberto Bolano: a rooftop terrace; Isabel Allende: a (magically real) shopping mall; Gilles Deleuze: a summit; and Jacques Derrida: a pothole. Robert Walser: a chink in the wall, for looking through to the other side; Charles Baudelaire: a waiting room; Hannah Arendt: a tower, an Archimedean point; Martin Heidegger: a cul-de-sac; Walter Benjamin: a one-way street walked down against the flow.

Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.

The film is the first art form capable of demonstrating how matter plays tricks on man.

The concept of progress must be grounded in the idea of catastrophe. That things are "status quo" is the catastrophe. It is not an ever-present possibility but what in each case is given. Thus hell is not something that awaits us, but this life here and now.

The tradition of the oppressed teaches us that the ‘state of emergency’ in which we live is not the exception but the rule. We must attain to a conception of history that is in keeping with this insight.

Languages are not strangers to on another.

Memory is not an instrument for exploring the past but its theatre. It is the medium of past experience, as the ground is the medium in which dead cities lie interred.

Time does not give one much leeway: it thrusts us forward from behind, blows us through the narrow tunnel of the present into the future. But space is broad, teeming with possibilities, positions, intersections, passages, detours, U-turns, dead-ends, one-way streets. Too many possibilities, indeed.

A generation that had gone to school on a horse-drawn streetcar now stood under the open sky in a countryside in which nothing remained unchanged but the clouds, and beneath these clouds, in a field of force of destructive torrents and explosions, was the tiny, fragile human body.

Great readers (are) those who know early that there is never going to be time to read all there is to read, but do their darnedest anyway.

The distracted person, too, can form habits.

We do not always proclaim loudly the most important thing we have to say. Nor do we always privately share it with those closest to us, our intimate friends, those who have been most devotedly ready to receive our confession.

As Hegel put it, only when it is dark does the owl of Minerva begin its flight. Only in extinction is the collector comprehend.

to great writers, finished works weigh lighter than those fragments on which they labor their entire lives.

Books, too, begin like the week – with a day of rest in memory of their creation. The preface is their Sunday.

Something different is disclosed in the drunkenness of passion: the landscape of the body... These landscapes are traversed by paths which lead sexuality into the world of the inorganic. Fashion itself is only another medium enticing it still more deeply into the universe of matter.

Reading Proust nearly silenced Virginia Woolf. She loved his novel, but loved it rather too much. There wasn’t enough wrong with it—a crushing recognition when one considers Walter Benjamin’s assessment of why people become writers: because they are unable to find a book already written that they are completely happy with. And

The difference between a person who appreciates books, even loves them, and a collector is not only degrees of affection, I realized. For the former, the bookshelf is a kind of memoir; there are my childhood books, my college books, my favorite novels, my inexplicable choices. Many matchmaking and social networking websites offer a place for members to list what they're reading for just this reason: books can reveal a lot about a person. This is particularly true of the collector, for whom the bookshelf is a reflection not just of what he has read but profoundly of who he is: 'Ownership is the most intimate relationship that one can have to objects. Not that they can come alive in him; it is he who comes alive in them,' wrote cultural critic Walter Benjamin.

Not to find one’s way in a city may well be uninteresting and banal. It requires ignorance—nothing more," says the twentieth-century philosopher-essayist Walter Benjamin. “But to lose oneself in a city—as one loses oneself in a forest—that calls for quite a different schooling.” To lose yourself: a voluptuous surrender, lost in your arms, lost to the world, utterly immersed in what is present so that its surroundings fade away. In Benjamin’s terms, to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender, a psychic state achievable through geography.

Socrates’ method of building an argument through gentle queries, he “dropped my abrupt contradiction” style of argument and “put on the humbler enquirer” of the Socratic method. By asking what seemed to be innocent questions, Franklin would draw people into making concessions that would gradually prove whatever point he was trying to assert.

This process of assimilation, which takes place in depth, requires a state of relaxation that is becoming rarer and rarer. If sleep is the apogee of physical relaxation, boredom is the apogee of mental relaxation. Boredom is the dream bird that hatches the egg of experience. A rustling in the leaves drives him away. His nesting places - the activities that are intimately associated with boredom - are already extinct in the cities and are declining in the country as well. With this the gift for listening is lost and the community of listeners disappears. For storytelling is always the art of repeated stories, and this art is lost when the stories are no longer retained.

Everything remembered, everything thought, all awareness becomes base, frame, pedestal, lock and key of his ownership. Period, region, craft, previous owners - all, for the true collector, merge in each one of his possessions into a magical encyclopaedia whose quintessence is the fate of his object.

Truth resists being projected into the realm of knowledge.

History is a tale, Franklin came to believe, not of immutable forces but of human endeavors.

He wished to please everybody," Franklin later said of Keith, "and having little to give, he gave expectations.

Every passion borders on chaos, that of the collector on the chaos of memory.

Historical materialism has every reason to distinguish itself sharply from bourgeois habits of thought. Its founding concept is not progress but actualization.

For only that which we knew and practiced at age 15 will one day constitute our attraction. And one thing, therefore, can never be made good: having neglected to run away from home.

Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, is now one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as aesthetic pleasure of the first order.

In other words, the unique value of the 'authentic' work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty.

O bliss of the collector, bliss of the man of leisure! Of no one has less been expected and no one has had a greater sense of well-being than... a collector. Ownership is the most intimate relationship one can have to objects. No t that they come alive in him; it is he who comes alive in them.

The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

he was more comfortable exploring practical thoughts and real-life situations than metaphysical abstractions or deductive proofs. The

Thus there is in the life of a collector a dialectical tensions between the poles of disorder and order.

The important thing for the remembering author is not what he experienced, but the weaving of his memory, the Penelope work of recollection. Or should one call it, rather, the Penelope work of forgetting? ... And is not his work of spontaneous recollection, in which remembrance is the woof and forgetting the warp, a counterpart to Penelope's work rather than its likeness? For here the day unravels what the night has woven. When we awake each morning, we hold in our hands, usually weakly and loosely, but a few fringes of the tapestry of a lived life, as loomed for us by forgetting. However, with our purposeful activity and, even more, our purposive remembering each day unravels the web and the ornaments of forgetting.

I am unpacking my library. Yes I am. The books are not yet on the shelves, not yet touched by the mild boredom of order. I cannot march up and down their ranks to pass them in review before a friendly audience. You need not fear any of that. Instead, I must ask you to join me in the disorder of crates that have been wrenched open, the air saturated with the dust of wood, the floor covered with torn paper, to join me among piles of volumes that are seeing daylight again after two years of darkness, so that you may be ready to share with me a bit of the mood -- it is certainly not an elegiac mood but, rather, one of anticipation -- which these books arouse in a genuine collector.

The most dangerous hypocrite in a Commonwealth is one who leaves the gospel for the sake of the law. A man compounded of law and gospel is able to cheat a whole country with his religion and then destroy them under color of law.”40

What matters for the dialectician is having the wind of world history in his sails. Thinking for him means: to set the sails. It is the way they are set that matters. Words are his sails. The way they are set turns them into concepts.

We do not need to be rational and scientific when it comes to the details of our daily life—only in those that can harm us and threaten our survival. Modern life seems to invite us to do the exact opposite; become extremely realistic and intellectual when it comes to such matters as religion and personal behavior, yet as irrational as possible when it comes to matters ruled by randomness (say, portfolio or real estate investments). I have encountered colleagues, “rational,” no-nonsense people, who do not understand why I cherish the poetry of Baudelaire and Saint-John Perse or obscure (and often impenetrable) writers like Elias Canetti, J. L. Borges, or Walter Benjamin. Yet they get sucked into listening to the “analyses” of a television “guru,” or into buying the stock of a company they know absolutely nothing about, based on tips by neighbors who drive expensive cars.

Fragments of a vessel which are to be glued together must match one another in the smallest details, although they need not be like one another. In the same way a translation, instead of resembling the meaning of the original, must lovingly and in detail incorporate the original's mode of signification, thus making both the original and the translation recognizable as fragments of a greater language, just as fragments are part of a vessel.

Pessimism all along the line. Absolutely. Mistrust in the fate of literature, mistrust in the fate of freedom, mistrust in the fate of European humanity, but three times mistrust in all reconciliation: between classes, between nations, between individuals. And unlimited trust only in IG Farben and the peaceful perfecting of the air force. But what now? What next?

Franklin and his petition were roundly denounced by the defenders of slavery, most notably Congressman James Jackson of Georgia, who declared on the House floor that the Bible had sanctioned slavery and, without it, there would be no one to do the hard and hot work on plantations.

In a love affair, most seek an eternal homeland. Others, but very few, eternal voyaging. These latter are melancholics, for whom contact with mother earth is to be shunned. They seek the person who will keep far from them the homeland’s sadness. To that person, they remain faithful.

In Washington, D. C., there was Loudermilk's, in Philadelphia Leary's, in Seattle Shorey's, in Portland Powell's, in Boston Goodspeed's Milk Street, In Cleveland Kay's, in Cincinnati and Long Beach Old Mr. Smith's two acres of books, and so on. In that time many large book barns in New England were stuffed with books. All the citites around the Great Lakes had large bookshops. Some of these old behmoths contained a million books or more.

The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values.

The other sins on his list were, in order: seeming uninterested, speaking too much about your own life, prying for personal secrets (“an unpardonable rudeness”), telling long and pointless stories (“old folks are most subject to this error, which is one chief reason their company is so often shunned”), contradicting or disputing someone directly, ridiculing or railing against things except in small witty doses (“it’s like salt, a little of which in some cases gives relish, but if thrown on by handfuls spoils all”), and spreading scandal (though he would later write lighthearted defenses of gossip).

proposer of any useful project that might be supposed to raise one’s reputation.” So he put himself “as much as I could out of sight” and gave credit for the idea to his friends. This method worked so well that “I ever after practiced it on such occasions.” People will eventually give you the credit, he noted, if you don’t try to claim it at the time. “The present little sacrifice of your vanity will afterwards be amply repaid.

All efforts to render politics aesthetic culminate in one thing: war. War and war only can set a goal for mass movements on the largest scale while respecting the traditional property system. This is the political formula for the situation. The technological formula may be stated as follows: Only war makes it possible to mobilize all of today’s technical resources while maintaining the property system. It goes without saying that the Fascist apotheosis of war does not employ such arguments.

And the non-reading of books, you will object, should be characteristic of all collectors? This is news to me, you may say. It is not news at all. experts will bear me out when I say that it is the oldest thing in the world. Suffice it to quote the answer which Anatole France gave to a philistine who admired his library and then finished with the standard question, “And you have read all these books, Monsieur France?” “Not one-tenth of them. I don’t suppose you use your Sevres china every day?

The tradition of the oppressed teaches us that the “emergency situation” in which we live is the rule. We must arrive at a concept of history which corresponds to this. Then it will become clear that the task before us is the introduction of a real state of emergency; and our position in the struggle against Fascism will thereby improve. Not the least reason that the latter has a chance is that its opponents, in the name of progress, greet it as a historical norm. – The astonishment that the things we are experiencing in the 20th century are “still” possible is by no means philosophical. It is not the beginning of knowledge, unless it would be the knowledge that the conception of history on which it rests is untenable.

What is aura? A peculiar web of space and time: the unique manifestation of a distance, however near it may be. To follow, while reclining on a summer’s noon, the outline of a mountain range on the horizon or a branch, which casts its shadow on the observer until the moment or  the hour partakes of their presence—this is to breathe in the aura of these mountains, of this branch. Today, people have as passionate an inclination to bring things close to themselves or even more to the masses, as to overcome uniqueness in every situation by reproducing it. Every day the need grows more urgent to possess an object in the closest proximity, through a picture or, better, a reproduction. And the reproduction, as the illustrated newspaper and weekly readily prove, distinguishes itself unmistakably from the picture. Uniqueness and permanence are as closely intertwined in the latter as transitoriness and reproducibility in the former.

Temperance: Eat not to dullness; drink not to elevation. Silence: Speak not but what may benefit others or yourself; avoid trifling conversation. Order: Let all your things have their places; let each part of your business have its time. Resolution: Resolve to perform what you ought; perform without fail what you resolve. Frugality: Make no expense but to do good to others or yourself; (i.e., waste nothing). Industry: Lose no time; be always employed in something useful; cut off all unnecessary actions. Sincerity: Use no hurtful deceit; think innocently and justly, and, if you speak, speak accordingly. Justice: Wrong none by doing injuries, or omitting the benefits that are your duty. Moderation: Avoid extremes; forbear resenting injuries so much as you think they deserve. Cleanliness: Tolerate no uncleanliness in body, clothes, or habitation. Tranquility: Be not disturbed at trifles, or at accidents common or unavoidable. Chastity: Rarely use venery but for health or offspring, never to dullness, weakness, or the injury of your own or another’s peace or reputation.