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There is a scenography of waiting: I organize it, manipulate it, cut out a portion of time in which I shall mime the loss of the loved object and provoke all the effects of a minor mourning. This is then acted out as a play.

The setting represents the interior of a cafe’; we have a rendezvous, I am waiting. In the Prologue, the sole actor of the play (and with reason), I discern and indicate the other’s delay; this delay is as yet only a mathematical, computable entity (I look at my watch several times); the Prologue ends with a brainstorm: I decide to “take it badly,” I release the anxiety of waiting. Act I now begins; it is occupied by suppositions: was there a misunderstanding as to the time, the place? I try to recall the moment when the rendezvous was made, the details which were supplied. What is to be done (anxiety of behavior)? Try another cafe’? Telephone? But if the other comes during these absences? Not seeing me, the other might leave, etc. Act II is the act of anger; I address violent reproaches to the absent one: “All the same, he (she) could have . . . ” “He (she) knows perfectly well . . . ” Oh, if she (he) could be here, so that I could reproach her (him) for not being here! In Act III, I attain to (I obtain?) anxiety in the pure state: the anxiety of abandonment; I have just shifted in a second from absence to death; the other is as if dead: explosion of grief: I am internally livid. That is the play; it can be shortened by the other’s arrival; if the other arrives in Act I, the greeting is calm; if the other arrives in Act II, there is a “scene”; if in Act II, there is recognition, the action of grace: I breathe deeply, like Pelleas emerging from the underground chambers and rediscovering life, the odor of roses.

(The anxiety of waiting is not continuously violent; it has its matte moments; I am waiting, and everything around my waiting is stricken with unreality: in this cafe’, I look at the others who come in, chat, joke, read calmly: they are not waiting.)

The being I am waiting for is not real. Like the mother’s breast for the infant, “I create and re-create it over and over, starting from my capacity to love, starting from my need for it”: the other comes here where I am waiting, here where I have already created him/her. And if the other does not come, I hallucinate the other: waiting is a delirium.

The telephone again: each time it rings, I snatch up the receiver, I think it will be the loved being who is calling me (since that being should call me); a little more effort and I “recognize” the other’s voice, I engage in the dialogue, to the point where I lash out furiously against the importunate outsider who wakens me from my delirium. In the cafe’, anyone who comes in, bearing the faintest resemblance, is thereupon, in a first impulse, recognized.

And, long after the amorous relation is allayed, I keep the habit of hallucinating the being I have loved: sometimes I am still in anxiety over a telephone call that is late, and no matter who is on the line, I imagine I recognize the voice I once loved: I am an amputee who still feels pain in his missing leg.

Am I in love? —

Yes, since I am waiting.
The Other never waits.

Sometimes I want to play the part of the one who doesn’t wait;

I try to busy myself elsewhere, to arrive late;

but I always lose at this game: whatever I do, I find myself there,
with nothing to do, punctual, even ahead of time.
The lover’s fatal identity is precisely:

I am the one who waits.


A Mandarin fell in love with a courtesan.

“I shall be yours,” she told him. “When you have spent a hundred nights waiting for me, sitting on a stool, in my garden, beneath my window.”

But on the ninety-ninth night, the Mandarin stood up, put up his stool under his arm, and went away.

{ Roland Barthes }

Because you are kind of the best.

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About Klassy

How Klassy got her groove back.

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