The good-natured image of 'the writer on holiday' is therefore nomore than one of these cunning mystifications which theEstablishment practises the better to enslave its writers. Thesingularity of a 'vocation' is never better displayed than when it iscontradicted - but not denied, far from it - by a prosaic incarnation:this is an old trick of all hagiographies. So that this myth of'literary holidays' is seen to spread very far, much farther thansummer: the techniques of contemporary journalism are devotedmore and more to presenting the writer as a prosaic figure. But onewould be very wrong to take this as an attempt to demystify. Quitethe contrary. True, it may seem touching, and even flattering, thatI, a mere reader, should participate, thanks to such confidences, inthe daily life of a race selected by genius. I would no doubt feelthat a world was blissfully fraternal, in which newspapers told methat a certain great writer wears blue pyjamas, and a certain youngnovelist has a liking for 'pretty girls, reblochon cheese andlavender-honey'. This does not alter the fact that the balance of theoperation is that the writer becomes still more charismatic, leavesthis earth a little more for a celestial habitat where his pyjamas andhis cheeses in no way prevent him from resuming the use of hisnoble demiurgic speech.where the writer's work was so desacralized that it appeared asnatural as his vestimentary or gustatory functions.To endow the writer publicly with a good fleshly body, to revealthat he likes dry white wine and underdone steak, is to make evenmore miraculous for me, and of a more divine essence, theproducts of his art. Far from the details of his daily life bringingnearer to me the nature of his inspiration and making it clearer, it isthe whole mythical singularity of his condition which the writeremphasizes by such confidences. For I cannot but ascribe to somesuperhumanity the existence of beings vast enough to wear bluepyjamas at the very moment when they manifest themselves asuniversal conscience, or else make a profession of liking reblochonwith that same voice with which they announce their forthcomingPhenomenology of the Ego. The spectacular alliance of so muchnobility and so much futility means that one still believes in thecontradiction: since it is totally miraculous, each of its terms ismiraculous too; it would obviously lose all interest in a world2930
The 'Blue Blood' CruiseEver since the Coronation, the French had been pining for freshnews about royal activities, of which they are extremely fond; thesetting out to sea of a hundred or so royals on a Greek yacht, theAgamemnon, entertained them greatly. The Coronation ofElizabeth was a theme which appealed to the emotions andsentimentalities; the 'Blue Blood' Cruise is a humorous episode:kings played at being men, as in a comedy by de Flers andCaillavet; there followed a thousand situations, droll because ofcontradictions of the Marie-Antoinette-playing-the-milkmaid type.Such a feeling of amusement carries a heavy pathological burden:if one is amused by a contradiction, it is because one supposes itsterms to be very far apart. In other words, kings have asuperhuman essence, and when they temporarily borrow certainforms of democratic life, it can only be through an incarnationwhich goes against nature, made possible through condescensionalone. To flaunt the fact that kings are capable of prosaic actions isto recognize that this status is no more natural to them thanangelism to common mortals, it is to acknowledge that the king isstill king by divine right.Thus the neutral gestures of daily life have taken, on theAgamemnon, an exorbitantly bold character, like those creativefantasies in which Nature violates its own kingdoms: kings shavethemselves! This touch was reported by our national press as an actof incredible singularity, as if in doing so kings consented to riskthe whole of their royal status, making thereby, incidentally, aprofession of faith in its indestructible nature. King Paul waswearing an open-neck shirt and short sleeves, Queen Frederika aprint dress, that is to say one no longer unique but whose patterncan also be seen on the bodies of mere mortals. Formerly, kingsdressed up as shepherds; nowadays, to wear for a fortnight clothesfrom a cheap chain-store is for them the sign of dressing up. Yetanother sign of democracy: to get up at six in the morning. All this31gives us, antiphrastically, information on a certain ideal of dailylife: to wear cuffs, to be shaved by a flunkey, to get up late. Byrenouncing these privileges, kings make them recede into theheaven of dream: their (very temporary) sacrifice determines andeternalizes the signs of daily bliss.What is more curious is that this mythical character of our kings isnowadays secularized, though not in the least exorcized, byresorting to scientism of a sort. Kings are defined by the purity oftheir race (Blue Blood) like puppies, and the ship, the privilegedlocus of any 'closure', is a kind of modern Ark where the mainvariations of the monarchic species are preserved. To such anextent that the chances of certain pairings are openly computed.Enclosed in their floating stud-farm, the thoroughbreds aresheltered from all mongrel marriages, all is prepared for them(annually, perhaps?) to be able to reproduce among themselves. Assmall in number as pug-dogs on this earth, the ship immobilizesand gathers them, and constitutes a temporary 'reservation' wherean ethnographic curiosity as well protected as a Sioux territory willbe kept and, with luck, increased.The two century-old themes are merged, that of the God-King andthat of the King-Object. But this mythological heaven is not asharmless as all that to the Earth. The most ethereal mystifications,the 'amusing details' of the 'Blue Blood' Cruise, all this anecdotalblah with which the national press made its readers drunk is notproffered without damage: confident in their restored divinity, theprinces democratically engage in politics. The Comte de Parisleaves the Agamemnon and comes to Paris to 'keep close watch' onthe fortunes of the European Defence Community, and the youngJuan of Spain is sent to the rescue of Spanish Fascism.32