Antigone, in der Kühle meines Bettes…
Im Schlaf sagst du: dies Eis, es birgt nichts. Es birgt nichts als sich selbst.
Die Ufer und die Städte, auch sie bergen nichts als Hartes und hier,
an den splitternden Rändern, zuzusehen den Kräften der sich verschiebenden
Massen, die aufbrechenden durch diese Kräfte. Auch sie bergen nichts.
Verstreute Reste, Fetzen eines Himmels ziehen langsam und Münder öffnen sich
inmitten des staubigen Geruchs von Stahl und Glas und Sand, Tore ins Nichts
oder Schluchten endloser Zonen, die dich aufnehmen, und du:
eine kompakte Faust, die ihr Inneres umschliesst, in die Länge gezogen
die Risse und Brüche seismischer Beben – Nur noch Splitter jetzt.
„[Doch] du wirst Donner hören. Und dich an mich erinnern.
Und denken: Sie wollte Sturm. Der Rand des Himmels
wird hartes Purpurrot sein. Und dein Herz, so wie einst,
wird brennen. […]“
(Anna Andrejewna Achmatowa)
„[…] To love Antigone means to love this lie of love for which her name stands in the history of literature and theory. This love is itself literary. It produces its own singular law which is not binding for society in general. To love the lie of love is an act of self-literarization. The entire effort aims at setting up and maintaining a fictitious state which is binding only for itself. This form of production of meaning has been opposed as ideological and insincere. One speaks of the imaginary. One suggests an authenticity with the means of psychoanalysis and equally with the instruments of Critical Theory. But Antigone could represent a problem which is far more questionable. It has to be understood that Antigone is naked. Her nakedness is decisive for the question concerning a new understanding of politics and ethics and their relationship to violence. The intensity of Antigone’s love can be taken as a result of her desertedness in view of a freedom which, as absolute freedom, is more a curse than a happy dispensation. The frenzy of the lie seizes the girl at the brink of this abyss, which is the abyss of her freedom and complete nakedness. Thrown back onto the herself, Antigone decides in favour of a lie which consists in the love of decisiveness as such. What does Antigone decide in favour of? She decides in favour of decisiveness. What does Antigone love? Love. It is similar to the child playing the great game of the world, about which Heidegger speaks in his critical engagement with Heraclitus‘ 52nd. fragment. Why does the child playing at the brink of the abyss? „It plays because it plays.“ It has no ground, no reason.“
(Antigone’s Nakedness, Marcus Steinweg, 2001)