Hans Henny Jahnn

Christoph Bauer: Hans Henny Jahnn

life is the transgression of a prescribed order rather than the order itself.  jahnn's eroticism adheres to no known conventional norms; instead it invents new rituals that have less to do with the compulsive violation of taboos than with the discovery of an individualized sensuality which goes beyond arousal, penetrating, fucking, procreating.  jahnn's sexual innuendos are objectionable only insofar as the imaginative power of the reader of either gender forbids certain individual longings, with sexuality serving ultimately as imperative for a harmony that seems unable to satisfy purely spiritual needs.  the uncertainty, the fear, the forlornness of each individual leads a sensual frenzy.  a man wants to be embraced, even by his murderer.  one almost feels jahnn's figures trembling in all their nordic restraint.  their passions are as unexplored as the most distant planets.  jahnn's eroticism is neither the dogmatic agony of a marquis de sade, nor the metaphysical pornography of a george bataille, nor the theological piquancy of a klossowski, but a lengthy exploration of the often scarcely perceptible sources of passion, which in this respect include both hate and love.

[Christoph Bauer, in: Jahnn lesen: Fluß ohne Ufer (Ulrich Bitz, ed. Hanser, 1993) 201-202.]

Viktor Shklovsky: Their Moment III

Allow me to propose the following: the relationship between the subject being filmed and the film shot itself is very nearly constant.  In the literary work this relationship is not consant, and the difference is determined by the creative will of the artist.