On the Marble Cliffs (1939), which appeared for the first time in Nazi Germany in 1939 (the new NYRB has just been published) offered a narrative of a thorough civilizational collapse of the West. I will side with many of the commentators that have reminded the readers that this novel doesn’t simply amount to an allegory of the rise of National Socialism or the reemergence of indirect powers of civil war in the European interwar years. By underlining “just”, I also mean to say that it is also very much about its epoch. Jünger was an insider of the German elite, and one of the most astute interpreters of his time as his theses on the dominion of the worker and the force of total mobilization were fully realized. It happens that On the Marble Cliffs introduces the civilizational collapse not through the allegorical reduction of the narrative procedure, but rather through a weaving, never truly resolved (much to Jünger’s own intentions), of temporalities that do not land in historical form. Circumventing the meanderings of a dreamlike stage and that of a thick and sensorial description, the novel diachronous movement resembles the stage of a vigil that retrospectively looks from page one at the advent of the disaster: “Only then do we recognize how fortunate we humans are to live from day to day in our small communities, under peaceful roofs, engaged in please conversation, and with the effective greetings morning and night. Alas, we always recognize too late that these simple things offered us a cornucopia of riches” (Jünger, 3). Granted, the vigil is an incomplete assessment of how (not so much as to why, which speaks to Jünger’s separation between his critico-politico essays and his narrative universe) the luminous community of brothers at Grand Marina entered the stage of destruction. During their peaceful time at Grand Marina, the brothers dedicate themselves to studying plants: a contemplative activity through an herbarium that becomes an exercise in clearing the mind and “draining time”. Botany has always stood as a minor activity to escape the realization of death, even if inevitable the cycle of temporal caducity.
But the ruinous time begins with the dominion of the Head Forester, an old governor of Mauretania region whose territorial ambitions are rooted in the domination of world affairs, and the willful defense of its doctrine Semper Vitrix (Jünger, 23). For those familiar with the worldview of Jünger, it is not surprising to find that domination does not begging at the original act of taking, but rather in the scheme of disposition that prepares the liquidation of the originary depth of the world’s opacity. Hence, imperii vitrix is always cartographical, and thus concerned with the the procedure of legible reduction: “For them [Mauretaninas] the world was reduced to a map like those thare engraved for amateour using little compasses and polished insutrmentions that are pleasing to hold. And so it seemed odd to come upon figures like the Head Forester in these clear, perfectly abstract realms freed of any shadows” (Jünger, 23). To dominate the world, one must first dominate over the ideals and images that unify a world. This is why Jünger, just a few years earlier in The Worker, had ended his treatise pointing at the passage from the classical social contract theories of social cohesion to the efficiency of planning of production in order to weaken any possible resistance . This is another reason why On the Marble Cliffs fails at any allegorical instantiation, since allegory hinges upon the unfulfilled stage of historical consciousness, whereas Jünger levels his narrative with the metaphysical disposition that is accomplished in modernity. One could call this the triumph of nihilism and anarchy; the never-ending triumph of ‘barbarism and religion’ of the West since at least the Roman Empire to put in the terms of historian J.G.A. Pocock. This is the “line” of modernity, but it is also the line that is breached at the collapse of modernity staged On the Marble Cliffs.
Anarchy and nihilism – for Jünger these are for two routes for prompting a relation with the epochal collapse. More than clearcut positions to endorse, these are unbreachable counters of the limitless epoch. Jünger distinguishes them well through the character of Braquemart: “Suffice it to say that there is a profound difference between fully formed nihilism and unchecked anarchy. The outcome of the struggle will determine whether human settlements will become wasteland or virgin forest. With regards to Braquemart, he was marked by all the traits of full-fledged nihilism. His was a cold, rootless intelligence with a penchant for utopias…On seeing him, one inevitably thought of his master’s profound saying: “The desert grows – woe to him who carries the deserts within!” (Jünger, 76-77). The nihilist suffers from a rather coldness of intelligence, and what Jünger qualifies as the ill-fated adventure of the theorist, always unmatched with that of the pragmatist (Jünger, 78). Granted, everything depends on the internal capacities to react against the growing systematic devastation. On the other side, the anarchist cloaks his accomplice condition within the corruption of the law, where nothing is sacred. This is why the anarchist transforms the forest into an enclosed land for hunting and predatory practice where “cadavers left to rot in the fields spread pestilence, wiping out the herds. The downfall of order brings good to none” (Jünger, 62). On the Marble Cliffs is at times too emphatic with the reiteration of the order in opposition to terror: ‘Terror establishes its reign behind a mask of order” (Jünger, 38). And this speaks to National Socialism antipositivist attitudes to the rule of law, which Jünger seemed to have perceived clearly.
However, it is also true that Jünger’s insistence on order is not just about conservation in the abyss, but rather about how the civilizational collapse is expressed in the puncturing of indirect powers that will ultimately unify the anarchy of domination. To insist on nihilism means to de-hegemonize the indirect powers and factional domination against the visceral hatred of the gratitude of language and the mystery of beauty that burns the inside of demonic spirits (Jünger 39). The luminosity of Jünger’s style and symbolic nakedness speaks, in turn, to an attempt at a mythologization of beauty that emerges in a language devoid of parody. In this sense, Jünger displaces Gianni Carchia’s important thesis about the narrativization of the parody of mystery into the form in the bourgeois novel. Jünger’s beauty is mysterious because it exceeds signification and conceptual closure of the novel conflict, as what language does (or seems to do) on the line of nihilism. For Jünger the revocation of anarchy implies taking a distance from the subsumption of prose into narrative order. Thus, Jünger’s order is a primary order, one of retaining the reserves of sacred and the unfathomable character in the face of barbarism and the destruction of the world.
“We take leave more easily when things are in order” (Jünger, 59). This is the primary order of a plain state of the world, which does not presuppose the obsession with organization and management; it is what allows for the flourishing of contemplative life and the possibility of retreating to the density of the forest. But we know that this is, precisely, what comes crashing down in the rise of anarchy and nihilism, both working in tandem in modernity. Attaching oneself to primary order amounts to “concrete dreaming” at best, as the narrator says early in the book. And it is at this point that On the Marble Cliffs solves this conundrum: the idea of order must not be reduced to a nomos of the world, but rather the possibility of an outside from thinking that there is a finite and finished work of the world. This is where Jünger’s genius shines with usual intensity. It is the moment, towards the end, when the narrator admits: “the beauty of this world now enveloped, I saw, in the purple mantle of destruction” (Jünger, 102). The conflagration of the world, however, only undoes a new capacity for seeing that which had remained in the dense fog of consciousness and aesthetics. In other words, the total collapse brings forth the unperishable element between existence and the world. Jünger achieves the highest point of condensation in this elaboration:
“The harvest of many years of labor fell prey to the element and with the house, our work returned to dust. We cannot count on seeing our work completed here below, and happy is the man whose will is not too painfully invested in his efforts. No house is built, no plan created, in which ruin is not the cornerstone, and what lives imperishably in us does not reside in our works. We perceived this truth in the flame, and its glow was not devoid of joy” (Jünger, 108).
This is not joy or appetite for destruction, but more a joy about what remains unperishable in every destructive act that realizes itself just so that everything could be renewed more or less the same. At the narrative level the unperishable of every work is the mystery that cannot be fully captured either by the deployment of historical allegory or by the mimetic translation of the work of narrative. On the Marble Cliffs remains stubbornly an open novel, but in a very precise sense: it gestures to the divergence between life and the world is barely touched parabolically at a distance. This is why the character of On the Marble Cliffs reaches the end by stressing “the sight of it [an old oak grove] made us feel at home…”(Jünger, 113). Whereas sight is an index of landscape, of seeing beyond the abyss. This is a condition for living among the dead once again. Perhaps this is why Jünger felt the need to record in his French war diaries that Pablo Picasso had asked him if the novel was based on a real landscape .
Only a painter that had witness the crisis of modern space (beginning with the “Blue Room” of 1900) could directly engage with the trope of the ‘marble cliff’: it is here that the altar of a sacrificial history and political domination turns into the site of theoria. Now the faculty of seeing grows outside of itself, “to manifest freedom in the face of danger” (Jünger, 117). On the Marble Cliffs is an invitation to this interior unperishable landscape that removes us from idle fictions in the face of anguish if only we do not turn our back to it (in the name of science or technology or new idols). Given that the desert of nihilism can only grow, I wonder how many today could even stand on the cliff. I fear that the effort of raising the head and looking beyond is already too much to ask.
1. Ernst Jünger. The Worker: Dominion and Form (Northwestern University Press, 2017), 173-178.
2. Ernst Jünger. A German Office in Occupied Paris: The War Journal 1941-1945 (Columbia University Press, 2019), 78.