How do you envisage the relationship between your early philosophical writings, above all L’Etre et Le Néant, and your present theoretical work, from the Critique de la Raison Dialectique onwards? In the Critique, the typical concepts of L’Etre et Le Néant have disappeared, and a completely new vocabulary has taken their place. Yet when reading the passages of your forthcoming study of Flaubert published in Les Temps Modernes one is struck by the sudden re-emergence of the characteristic idiom of the early work—thetic consciousness, ego, nihilation, being, nothingness. These notions are now juxtaposed in the text with the distinct set of concepts which derive from the Critique—serialization, totalization, practico-inert, collectives. What is the precise relationship between the two in your current thought?
The basic question here, of course, is my relationship to Marxism. I will try to explain autobiographically certain aspects of my early work, which may help to
Then, little by little, I found that the world was more complicated than this, for during the Resistance there appeared to be a possibility of free decision. For my state of mind during those years, I think that the first plays I wrote are very symptomatic: I called them a ‘theatre of freedom’. The other day, I re-read a prefatory note of mine to a collection of these plays—Les Mouches, Huis Clos and others—and was truly scandalized. I had written: ‘Whatever the circumstances, and wherever the site, a man is always free to choose to be a traitor or not . . .’. When I read this, I said to myself: it’s incredible, I actually believed that!
To understand how I could have done so, you must remember that there was a very simple problem during the Resistance—ultimately, only a question of courage. One had to accept the risks involved in what one was doing, that is, of being imprisoned or deported. But beyond this? A Frenchman was either for the Germans or against them, there was no other option. The real political problems, of being ‘for, but’ or ‘against, but’, were not posed by this experience. The result was that I concluded that in any circumstances, there is always a possible choice. Which is false. Indeed, it is so false that I later wanted precisely to refute myself by creating a character in Le Diable et Le Bon Dieu, Heinrich, who cannot choose. He wants to choose, of course, but he cannot choose either the Church, which has abandoned the poor, or the poor, who have abandoned the Church. He is thus a living contradiction, who will never choose. He is totally conditioned by his situation.
However, I understood all this only much later. What the drama of the war gave me, as it did everyone who participated in it, was the experience of heroism. Not my own, of course—all I did was a few errands. But the militant in the Resistance who was caught and tortured became a myth for us. Such militants existed, of course, but they represented a sort of personal myth as well. Would we be able to hold out against torture too? The problem then was solely that of physical endurance—it was not the ruses of history or the paths of alienation. A man is tortured: what will he do? He either speaks or refuses to speak. This is what I mean by the experience of heroism, which is a false experience.