Reading and Time
Regrettably, I must begin with the quantitative — the least Proustian of all categories. The six-volume Modern Library Edition of D.J. Enright’s revision of Terrance Kilmartin’s reworking of Andreas Mayor’s and C.K. Scott Moncrieff’s translation of Marcel Proust’s À la recherche du temps perdu is 4,347 pages long. At an average speed of two hundred and fifty words, or one page, per minute, it takes approximately seventy-two hours, or three days, to read it. But seventy-two hours represents a theoretical minimum and an unattainable ideal. Thanks to a few features of Proust’s distinctive style, reading In Search of Lost Time inevitably takes at least twice or even three times as long as this.
There is, first of all, the famous Proustian sentence, whose syntactic cascades of independent and subordinate clauses were compared by Walter Benjamin, one of his first translators, to the flowing of the Nile. The longest of those riverine sentences, at nine-hundred and fifty-eight words in the original French, could, if printed out on a single strip of paper, be wrapped around the base of a wine bottle seventeen times. No one, except perhaps the most gifted mnemonist, can retain so much information in their short-term memory. By the time anyone else comes to the end of a sentence of this length, having meanwhile pulled into the port of more than one semicolon for a pause, its subject has been long forgotten. To understand what has been written, the reader is sent back to the point of departure and this, in turn, causes the pages not to move, or to move in the wrong direction.
Then there is the attention that Proust lavishes on seemingly insignificant details and physical spaces, such as the lengthy description of the steeple of Saint-Hilaire in Swann’s Way; his stubborn willingness to stay in a scene, such as the interminable dinner party in Guermantes Way or the scene where the narrator watches Albertine sleeping in The Captive, long after another author would have cut away; and his penchant for discursive digression throughout, in which he inflates each Rochefoucauldian aperçu to the length of an essay by Montaigne. As with the multiclausal sentences, these traits of style have the effect of slowing down the pace. Articulating the frustrations of innumerable future readers, an editor at one of the many publishing houses that turned down Swann’s Way is said to have remarked of the opening scene, “I fail to understand why a man needs thirty pages to describe how he tosses and turns in bed before falling asleep.”
Most importantly, there is Proust’s mania for comparisons: for metaphors, analogies, complex conceits, and extended similes, the signature sentences that begin “just as” or “as when.” In a passage in Time Regained — we will return to it — Proust likens his book to a sort of “optical instrument” that enables the reader to read herself. The instrument works by stimulating a reader’s tendency to draw analogies between the events in the book and the events of their lives, such that, for example, one recognizes in the mediocre Bloch or the vicious Madame Verdurin the features of social climbers one has known; or in Swann’s unhappy affair with Odette, the time when one fell in love with a person not of one’s type; or in the contrarianism which topples the Baron de Charlus from the pinnacle of Parisian society, the dialectic of cant and reaction that characterize our own. Owing to this, a frequent experience while reading In Search of Lost Time is to look up half-way through a sentence and stare into the middle distance in a kind of mnemonic reverie or “epiphanic swoon” (as the scholar and translator Christopher Prendergast puts it in his recent study Living and Dying with Marcel Proust), only to find, catching sight of a clock out of the corner of one’s eye, that whole hours have passed.
Quantitative analysis may be regrettable; unfortunately, it is necessary. For it is the sheer length of In Search of Lost Time, compared to which War and Peace is but a diplomatic incident and The Magic Mountain is little more than a hillock, that turns the phrase “reading Proust” from the designation of an ordinary activity into a cultural superlative, the literary equivalent of climbing Everest, walking the Camino de Santiago, riding the Trans-Siberian Express, or even sailing the Nile. (On behalf of our eyes, we may all be grateful to the editor at Gallimard who talked Proust out of printing the novel in a single volume, with two columns per page and no paragraph breaks.) One may note the delicious irony of treating a book which contains an utterly unsparing critique of snobbery as a “badge of bourgeois soul-distinction,” in Prendergast’s words, and at the same time sympathize with the “mid-cult pride,” in the words of Fredric Jameson, felt by those who finish it, as well as the genuine or downplayed regret expressed by those who do not. (A further irony: Proust is not infrequently cited as the classic author whom contemporary novelists have not read in modified versions of the magazine questionnaire that bears his name.)
It is because of its length, which Proust hoped would rival the numerical-temporal One Thousand and One Nights, that In Search of Lost Time has acquired a reputation as a difficult book. Yet Proustian difficulty is not Joycean, Steinean, or Beckettian difficulty. Unlike Finnegans Wake, The Making of Americans, or The Unnameable, In Search of Lost Time is not a book that challenges our sense of what a novel is, only our sense of what a novel can do. Although it makes not inconsiderable demands on the concentration, memory, patience, and perseverance of its readers, it is roughly continuous with the form that the novel has taken since the days of Austen and Balzac. Its ultra-complicated sentences still follow grammatical rules; and while a certain degree of prior familiarity with French literature and history is helpful, understanding them at least does not require the reader to decode neologisms or catch recondite allusions. Although there is some critical controversy over the precise relationship between the first-person narrator and the book we are reading, it can still be fairly described as a Kunstlerroman, the familiar plot of a writer discovering his vocation. The nature of time and memory are its central concerns, and while one of the things the book asks us to do is to rearrange our conception of temporality, the order of the narrative does not depart radically or unexpectedly from the order of events. One is never at a loss to say precisely what is going on in any given scene, which are set in a series of recognizable and historically specific locations — bedrooms, drawing rooms, kitchens, theaters, churches, brothels, public parks, boulevards, train carriages, the countryside — all of them more vividly realized than anywhere else in the history of the form.
Extreme affective and cognitive states, such as sadomasochism and pathological jealousy, are presented alongside more routine ones, such as wonder and disappointment, and are observed and analyzed according to the codes of a psychological and sociological realism notable only for its surpassing astuteness and wit. Although it is firmly anchored in a class to which none of its contemporary readers belong — the fashionable monde of the Faubourg St. Germain aristocracy — it touches on every sector of society, from the haute-bourgeoisie to which Swann belongs, to the professional middle class of the narrator’s family, the Verdurins, and the “little band” of girls at Balbec and the lower middle-class of the shopkeeper Camus and the tailor Jupien; from the demi-monde of Odette and Rachel to the art worlds of the composer Venteul, the actress Berma, the writer Bergotte, and the painter Elstir; from the memorable appearances made by the working class soldiers in Jupien’s brothel to the peasantry, such as the milkmaid seen from the train to Balbec and the former peasantry, exemplified by the narrator’s remarkable cook and nursemaid Françoise, one of the outstanding characters in twentieth century literature. In any case, as long as snobbery is a cross-class feature of social life, and possessiveness is a feature of romantic life, and the anticipation of our desires proves more pleasurable than their satisfaction, In Search of Lost Time will never lack for relevance.
In fact, the major difficulty of reading In Search of Lost Time today is not placed there by Proust; it is placed there by the economy. If, for the novel’s narrator, “lost time” refers to the past, for its reader, one hundred years after Proust’s death, it refers to the present. Proust’s narrator searches for time lost to the past and finds it in memory and in the creation of a literary work of art; Proust’s twenty-first century reader searches for the time to read this literary work of art which is lost to a culture that is consecrated to speed and an economy at war with human-scale temporality and, more often than not, fails to find it.
“The primordial scarcity eradicated in the arrival of industrial modernity returns [in the twenty-first century] as the specter of time-famine,” writes Mark McGurl in Everything and Less, his incisive study of the political economy of producing and consuming fiction in what he calls the Age of Amazon, perhaps the most extreme form of market society that history has ever known.
Consider the average day of a member of the social fragment that until very recently constituted the demographic core of the novel’s American readership — the educated, salaried professional living in the suburbs of a large or mid-sized city — with its tripartite division of eight hours for sleep, eight hours for work, and eight hours for leisure. From that last eight hours, take away overtime; take away time for getting showered, dressed, and ready for work, and time for commuting to and from the office, and time for preparing food, eating it, and cleaning up afterward, and time for buying groceries, filling prescriptions, and picking up dry cleaning; time for household chores and repairs; time for dentist’s appointments, doctor’s appointments, appointments at the stylist, scheduling future appointments; time for waiting in line and on hold; time for catching up on emails, making phone calls, paying bills, doing taxes, filling out forms and applications — that whole panoply of activities that falls under that rather sinister classification, “life admin.” Of the original eight, perhaps only two or three hours remain, along with the parts of the weekend not devoted to sleep or other tasks such as these, the eleven public federal holidays, and the paltry eleven days of paid vacation that the average American worker receives. If one is responsible for taking care of children or someone who is ill, or if one is ill oneself, the amount of available time diminishes significantly across the board.
It gets worse. Within this finite number of hours, time must be found to perform the hundreds of activities which are regarded by corporations as further opportunities for monetization and value-extraction and by the people who do them as essential to a meaningful and fulfilled life. This includes, but is not limited to, time for socializing with friends, family, and one’s current or potential romantic partner; time for attending weddings, funerals, and reunions; time for the maintenance and improvement of one’s physical and mental health; time for travel and hobbies; time to go to the cinema, theater, concert hall, museum, dance club, or stadium; time for religious worship, political involvement, or participating in the community organizations of which one is a member.
Each of these non-work activities imposes a more-or-less steep opportunity cost on the others, and that is before we get to the locust-swarm of consumption that hoovers up an astonishing eight of the average American’s waking hours, namely, non-print media: social media, digital streaming, video sharing, online news, online retail, gaming, podcasts, radio, television, and so on. Although it can be inferred from this statistic that large amounts of digital media must be consumed by Americans at the office, extra time for leisure is invariably taken from sleep, as activities that cannot be concealed from one’s boss while sitting at one’s desk start to run up against the limitations imposed by biology on the functioning of the human organism.
Needless to say, the psychic conditions produced by such an organization of daily life —exhaustion, burnout, stress, anxiety, fear of missing out — are hardly conducive to fostering the mental state that an appreciation of Proust’s style requires. It is challenging enough, after a day of paid and unpaid labor, to summon the concentration necessary to read passages of prose consisting of sentences several clauses long. Interruptions from other people, whether they are the ones we live with, or whether they come in the form of ring tones, text messages, push notifications, or street noise—not to mention the ambient distraction facilitated by “connectivity,” that is, by the mere knowledge that at all times there is a node for possible information transfer and communication on one’s bedstand or in one’s pocket — are positively fatal to it. As attention diminishes, reading time increases, and along with it the likelihood the book will go unfinished, especially when there are so many less-demanding forms of entertainment immediately to hand.
Compared to “other forms of cultural consumption” such as social media or television, McGurl notes, “reading a novel is a relatively long-term commitment,” which is why, according to a Pew survey in 2022, Americans read an average of fourteen books per year. (The typical, or median, American will read only five; and twenty-five percent of Americans will read none at all.) And no novel requires a more substantial commitment than In Search of Lost Time. Someone who diligently set aside one hour every day to do nothing but read thirty pages of it could dispatch the six volumes in little over three months—not so much time in the grand scheme of things, a mere third of one percent of a modest seventy-five-year lifespan. But because of all the things that are competing for that hour — not forgetting, finally, the desire to read any of the five hundred thousand to one million titles brought out by the American publishing industry every year—the number stretches out to the more representative thirteen months it took the biographer Phyllis Rose, author of The Year of Reading Proust: A Memoir in Real Time, to finish it; or the eighteen months it took Deidre Lynch, Ernest Bernbaum Professor of Literature at Harvard University, to finish it; or the thirty-six months it took Mike Shuttleworth, a bookseller and literary events coordinator in Melbourne, Australia, to finish it. It is little wonder that so many people take a break to do or read something else, and find the prospect of returning to whichever point they left off or starting again from the beginning prohibitively daunting.
(Since few essays on Proust resist the temptation of a personal anecdote, I will add that, having over-ambitiously started the novel on three separate occasions in my teens and early twenties, in which I got no further than the aforementioned dinner party scene, my first full reading of In Search of Lost Time, according to the note I left on the last page of my copy, took place over the course of nine months when I was single, childless, largely unemployed, unable to afford other entertainment, and not on social media. What got me across the finish line was a severe depressive episode. On one particularly low January evening on the Brooklyn Bridge, I asked myself what I would be missing out on if I jumped off. The answer came to me unbidden: I would never find out how In Search of Lost Time ended. I resolved, with a self-seriousness I can only smile at fifteen years later, to finish the book and then kill myself, but just as when Proust read Ruskin, when I read Proust “the universe suddenly regained infinite value in my eyes,” and when I came to the book’s last word, “time,” on September 11, 2009, I no longer wanted to die.)
What, then, would be the ideal conditions for reading Proust? Spending “a month in the country” with In Search of Lost Time has become a fantasy as proverbial as it has become out-of-reach for even the relatively privileged people whose lives I have sketched above, but the pastoral setting, which recalls the bourgeois narrator’s descriptions of his own leisurely reading experiences as a child in Combray, is in any case not dispositive. History furnishes us with a number of counterexamples, starting with the cork-lined bedroom on the second floor of the five-story apartment building at 102 Boulevard Haussmann, in the heart of Paris, where, in a frantic race of the pen against the scythe, the book was written. “The sad thing is,” according to Proust’s brother Robert, “that people have to be very ill or have a broken leg in order to have the opportunity to read In Search of Lost Time.” In a similar vein, a character from Haruki Murakami’s IQ84 quips, “Unless you’ve had…opportunities” in life such as being in jail, “you can’t read the whole of Proust.” The Kolyma gulag, for instance, where Russian journalist and short-story writer Varlam Shalamov, who had been publicly critical of Stalin, read Guermantes Way; or the NKVDs infamous Lubyanka prison in Moscow, where the Polish poet Aleksander Wat read Swann’s Way. Wat’s compatriot, the painter Jósef Czapski, followed Robert Proust’s advice and read the whole of In Search of Lost Time while bedridden during a summer spent recovering from typhus; later, as a member of the Polish officer corps during World War II, he too was captured by the NKVD, and in the forced labor camp in a former monastery in Gryazovets to which he was sent he delivered a series of lectures on the novel to his fellow inmates, now published as Lost Time: Lectures on Proust in a Soviet Prison Camp, reconstructing long passages of it orally from memory like a latter-day Scheherazade. And in a different context, Daniel Genis, surely one of the best-read persons of our time, finished it, along with just over a thousand other books, while serving out a ten-year sentence for armed robbery at the Green Haven Correctional Facility in Stormville, New York.
If such examples of astonishing commitment to high art under involuntary confinement seem extreme, not the sort of experiences one is ever likely to have, I encourage you to Google “reading Proust during lockdown.” Proust, who always feared that he did not live up to the expectations of his father, a well-regarded doctor specializing in infectious diseases and the author of a medical paper entitled “The Defense of Europe from the Plague,” would have relished the opportunity to do so. What is essential in all of these cases is not that they are luxurious, or even minimally comfortable or safe; it is that each amounts to total physical removal from everyday life as organized according to the logic of the market and the dictates of capital accumulation. Needless to say, it does not speak well of our society that the two spaces where free time — which Proust’s distant cousin Karl Marx defined as “idle time” as well as “time for higher activity” — is most readily available are the country house and the prison cell.
Proust has become the unlikely grandfather of a cottage industry of popular English-language non-fiction devoted to or inspired by his life and work. His name appears in the titles of memoirs (Rose’s aforementioned Year of Reading Proust), self-help books (Alain de Botton’s How Proust Can Change Your Life), pop-science (Jonah Lehrer’s Proust Was a Neuroscientist, Marianne Wolf’s Proust and the Squid), cookbooks (Shirley King’s Dining with Marcel Proust), books of art history (Eric Karpeles’ Paintings in Proust) and Jewish history (Benjamin Taylor’s Proust: The Search, Saul Friedländer’s Proustian Uncertainties), along with literary criticism aimed at a general audience (Malcolm Bowie’s Proust Among the Stars, Anka Muhlstein’s Monsieur Proust’s Library, Christopher Prendergast’s aforementioned Living and Dying with Marcel Proust, Jaqueline Rose’s Proust Among the Nations, Michael Wood’s Marcel Proust). The list could be easily expanded if one wanted to add short biographies such as those by Edmund White and Richard Davenport-Hines, guidebooks such as those by Roger Shattuck and Patrick Alexander, and compendia such as André Aciman’s The Proust Project, not to mention the vast academic and scholarly literature on the subject. Whatever differences these books owe to their particular genres and target audiences, each of them is haunted to a more or less explicit degree by the question, Why read Proust? And hidden beneath that question is the blunter, Why read? And hidden, in turn, under that one is the rather more disquieting: Why do anything at all?
The standard answer is for pleasure. Reading, as the literary critic Christian Lorentzen likes to say, is a fundamentally hedonistic pursuit. On the substance, this is not wrong, and few authors make the case more convincingly than Proust himself: if there is a scene in the whole of literature that provides more intense pleasure than the one in the Guermantes library in Time Regained, I have not read it. As a motive for reading, however, pleasure has always struck me as insufficiently persuasive, and even a kind of trap, in the context of a culture that, to this day, sees no more reason to prefer poetry to push-pin than Bentham did. To ask after the utility of works of art is not, as is generally thought, a legitimate form of philosophical skepticism; it is a form of cultural blackmail, and should probably be refused outright. In a healthy culture, the intrinsic value of works of art would be so obvious that it would never occur to anyone to need to justify their existence in terms of their usefulness. Ours, it goes without saying, is not a healthy culture, despite its obsession with physical and mental “wellness.” Yet since the utilitarian devil is already here, it seems discourteous not to ask him to dance.
One may be tempted to invoke Mill’s distinction between higher and lower pleasures here, and declare that it ought to be a matter of perfect indifference to the person who has access to In Search of Lost Time that someone else spends their finite hours on the planet with the minimal but at least immediate gratifications of Colleen Hoover’s eleven New York Times bestsellers, with another installment of the Marvel Cinematic Universe, or doomscrolling Twitter. After all, Proust’s position in the culture seems secure enough to weather the negative externalities that the contractions of American reading habits and the regression of secondary and post-secondary education ruthlessly impose on the production, acquisition, and consumption of equally challenging but less-canonical works of fiction: both the Modern Library edition of In Search of Lost Time and the more recent omnibus translation edited by Prendergast for Penguin remain, for now, in print, and are slowly being supplemented by new volumes, such as James Greive’s and Brian Nelson’s new translations of Swann’s Way as the novel enters the public domain.
Broadening our scope beyond the individual and the particular media that she does or does not consume, however, it is worth noting that pleasure is also the legitimating principle of market society itself, which promises the satisfaction of consumer demand at every price point. This promise is offered in exchange not simply for a refusal to guarantee necessary social goods such as affordable housing, health care, and education, but also for alternate ways of conceiving of value, such as meaningfulness, sacredness, honor, duty, and which are harder to quantify and therefore trickier to price. Increasingly, the promise goes unfulfilled: culture, like other sectors of the economy, is tending toward monopolization and, to use a wonderful term coined by the journalist and science fiction author Cory Doctorow, enshittification; in the absence of competition, there is little incentive for producers to risk the pleasures of novelty and experimentation on audiences that can be counted to pay for recycling and iteration, producing boredom and reactionary gestures of protest, not fundamentally different, as Proust or Benjamin might have observed, from those that were seen in the era of Baudelaire. A society whose greatest good is pleasure, of which ours is merely the most efficient, creates a culture in which pleasure is subject, on a long enough timeline, to diminishing marginal returns. In any case, as McGurl has shown, the negative externality imposed by market society on even the most canonically secure work of literature remains temporal: “The sped-up culture that delivers that novel to your doorstep overnight is the same culture that deprives you of the time to read it.” As such, not even the most discriminating reader will fail to feel its effects.
Why read Proust? The other answer typically given is: self-improvement. In different ways this is the claim Phyllis Rose and Alain de Botton, among others, make on behalf of In Search of Lost Time. (Even Prendergast, a more sophisticated reader, does not avoid it entirely: “Is Proust good for you? Might he even, in controlled doses, have a useful function…?”) For Rose, reading Proust is a matter of demonstrating one’s social status. A pure product of mid-century upward mobility, having progressed from the daughter of a lower-middle class shopkeeper in Long Island via Harvard, the Guggenheim Foundation, and the pre-conglomeration publishing industry to tenured faculty at Wesleyan College and via marriage to the Babar-cartoon fortune, Rose is astonishingly, even embarrassingly forthright about her identity as a consumer (“I want therefore I am. I am therefore I acquire”), her meritocratic metrics of value (“I would not have reached this level of achievement had I not made reading Proust the central business of my life”), and her extra-literary reasons for reading In Search of Lost Time. The final line of her memoir approvingly quotes her mother, who would have preferred her to have written something more commercial, coming to terms with her instead of writing about Proust: “She saw the book’s potential, if not for making money, then for asserting our family’s intellectual and educational superiority to certain of her acquaintances, about whom she confided, ‘She’s not one of our class dear. She doesn’t read Proust.’”
This is not simply snobbery as Benjamin defines it — “the consistent, organized, steely view of life from the chemically pure standpoint of the consumer”; it is also antiquated. Less than three decades after Rose’s Year of Reading Proust — whose frequent appearance as an epithet in her memoir never fails to remind me of the corporate-branded years in Infinite Jest—the class of persons for whom reading once functioned as a mode of social distinction no longer exists in America. That class, now operating under relatively straitened circumstances, may still read the handful of literary fiction books whose marketing campaigns have deep enough pockets to secure them buzz, but is now more likely to be found discussing so-called “prestige” television or the infotainment passed off by cable news networks as genuine civic engagement. Their economic superiors have long realized that far from being a prerequisite to enter the most rarified social circles, cultural literacy is actually an impediment to it. That reading fiction—not to speak of high literature—is simply “what one does” if one wants to consider oneself a “cultured” or “educated” member of the “elite” no longer has the same degree of motivational purchase on the aspirations and the self-fashioning of upper-middle-class Americans as it did in Rose’s generation.
Not that a general-audience book on Proust is necessarily a barrier to commercial success, if Alain de Botton’s number one international bestseller How Proust Can Change Your Life, published the same year as Rose’s memoir, is any indication. De Botton tapped into the market for a notion of self-improvement that has proved more enduring among the upper-middle-class than cultural literacy: therapy. His short manual is divided into nine chapters, each of which begins with a how-to title (“How to Live Life Today,” “How to Be a Good Friend,” “How to Be Happy in Love,” etc.) and concludes with a “moral” or a “lesson” derived from the particular aspect of Proust’s life or work considered in it. That some of these precepts are mildly counter-intuitive — he asks, for example, how we can learn to “suffer successfully” and be “productively unhappy” rather than to avoid suffering altogether and achieve happiness — is a fig leaf placed on the attempt to flatter the reader into believing that they are not doing what they are in fact doing, namely, reading self-help.
Since the Greeks, philosophy and therapy have always occupied the same spectrum, much to the discomfort and consternation of the practitioners of the former. No less than Plato or Epictetus, Proust, as we will see, has therapeutic designs on his reader. De Botton is not wrong about one thing: reading In Search of Lost Time may change your life. (It saved mine, after all.) But a book like De Botton’s is a useful illustration that the gulf between these two concepts of therapy is large enough to amount to a difference of kind. “Even the finest books deserve to be thrown aside,” De Botton writes in the last line of How Proust Can Change Your Life — a compassionate observation, perhaps, but does his book inspire readers to pick up Proust in the first place? Whereas many of the books in the Proust cottage industry are intended as supplements to the reading of In Search of Lost Time — as a map to the vast territory of the masterpiece to be consulted before visiting or as the enjoyable account of another person’s visit to the place one has just returned from — De Botton’s is clearly intended as a substitute for it. John Updike’s blurb on the back of my edition gives the game away: De Botton, he writes, “does us the service of rereading [Proust] on our behalf.” That “re” is the sign of a bad conscience; what he’s really saying is: De Botton has read Proust, so you don’t have to.
In this respect, How Proust Can Change Your Life belongs to the same family of books as Roger Shattuck’s, which recommends the parts of Proust that the reader can skip, or as Pierre Bayard’s amusing How to Talk About Books You Haven’t Read, where In Search of Lost Time is the primary example of a skimmable book. They are all book-length versions of Monty Python’s “All-England Summarize Proust Competition.” Here a self-help book functions as a kind of time-saving appliance or device: by repackaging Proust in a series of pre-digested lessons or morals, De Botton offers the “experience” of In Search of Lost Time in the time required to read 215 pages rather than 4,347. But this is time considered in its purely quantitative aspect, under the sign of market society, which treats efficiency, cost-cutting, and convenience as high virtues. As such, it is counter-productive; indeed, a waste of time. In Search of Lost Time is also, in its own way, a time-saving device, if saving is used in the sense of redemption (“saving one’s soul” rather than “saving money”) and its length is not incidental to how it functions. For Proust’s device to work, you must actually have the experience of reading it, from start to finish.
Proust gives his own answer to the question “why read Proust?” which incorporates the reader’s legitimate desires for both pleasure and self-improvement, without, however, reducing his novel and the time spent reading it to commodities whose potential value is interchangeable with that produced by anything else on the market. In the passage from Time Regained to which I referred in the opening, which few books on Proust neglect to quote, he writes:
In reality, every reader is, while he is reading, the reader of his own self. The writer’s work is merely a kind of optical instrument which he offers the reader to enable him to discern what, without the book, he would have perhaps never experienced in himself. And the recognition by the reader in his own self of what the book says is the proof of its veracity.
The book is both mirror and lamp. Proust’s optical instrument, as we have seen, works by inspiring the reader, through its extensive use of figurative language, to compare events in the novel to past events in her own life, which may have been forgotten; in other words, to stimulate the reader’s capacity for memory. It is crucial to mention that, for Proust, memory is not the experience of the past in the present, it is the experience of the past as the present, an impression of the “identity between the present and the past…so strong that the moment I was reliving actually seemed to be in the present.” He goes on to argue brilliantly that in the case of the mémoire involuntaire which he made famous, one is actually experiencing the putatively initial event for the first time, because it is only through memory that one comes to understand its significance in relation to all other events. “An experienced event is finite,” Benjamin writes, but “a remembered event is infinite, because it is only a key to everything that happened before it and after it.” Whereas finite time is, by definition, quantifiable, infinite time is not — and this is not because it goes on forever, but because no one but the person who experiences it can say how far into the past or the future it extends.
For each reader, the recalled events will of necessity be personal and therefore different; yet at the same time every reader will have at least one set of recollections in common, namely, the ones the narrator describes in In Search of Lost Time: the famous sequence, for example, in which his memories are triggered by the uneven paving stones, the sound of a spoon against a plate, the feeling of a napkin, and the sight of George Sand’s François de Champi As anyone will immediately understand who consults the prologue to Proust’s Contra Sainte-Beuve — a hybrid of fiction and criticism that he wrote as he searched for the form of what would become his masterpiece — whose five pages contain in nuce many of the novel’s most famous episodes, In Search of Lost Time cannot be any shorter than it is, because in order for Proust’s optical instrument to simulate this experience of memory, enough time must have passed for the reader to forget their first encounters with the deceptively incidental details that Proust has seeded sub rosa in the earlier volumes for them finally to bloom into full significance in Time Regained.
The scene in which these recollections unfold — the narrator arrives late to the final party of the Princesse de Guermantes and is made to wait until a pause between the movements of the Vinteuil sonata permits her to enter the drawing room — is the fastest paced episode in the entire novel. It is not for nothing that it largely takes place in a library, since that is what the narrator compares the self to — a collection of forgotten days which memory takes from the shelf and dusts off. Crashing like wave after wave on narrator and reader alike, the series of recollections produces what can only be described as ecstasy. This is ecstasy not only in the sense of intense pleasure, but relatedly, in the original sense of the word, which was used primarily in the context of sacred or religious experience, ek-stasis, or standing outside oneself. Following Benjamin, Jameson notes that this doubly ecstatic experience is fundamentally temporal in nature: the narrator feels and the reader is made to feel along with him the rapture of standing outside time. Proust writes: “one minute freed from the order of time has recreated in us, in order to feel it, the man freed from the order of time.”
The order of time is biological: the always finite number of minutes afforded to each living being. To be freed from it, if only for a minute, allows one an intimation of immortality, the longing for which, Proust says, can only be removed by death itself. But the order of time is also — and at the same time — social: the temporal regime constructed by the particular political economy into which a biological self finds itself thrown. Born in 1871, in the year of the Paris Commune at the outset of the second industrial revolution, Proust belonged to one of the first generations to experience the transportation technologies, such as the railroad and the automobile, and the communications technologies, such as the telephone, about which he writes so memorably, whose abilities to compress time and space have culminated in our own vertiginous market society. From the point of view of market society, there is or ought to be no such thing as being freed from the order of time, that is, time freed from generating value for someone else, whether directly, through one’s work or one’s purchases, or indirectly, through the built environment in which one is involuntarily bombarded by advertisement or through the attentional and behavioral data that can be harvested for a profit whenever one is connected via computer, mobile phone, e-reader, or wearable to the internet.
Just as everything about market society seems designed to get in the way of reading Proust, reading Proust gets in the way of participating in market society. As long as you buy it, Proust’s novel remains a commodity, but as long as you are reading it on paper — and reading yourself in the meantime — you are not generating further material profit. Indeed, while you are reading Proust you and your time are quite literally operating at a loss. In the grand scheme of things, regaining your time from the market may amount to a negligible act of resistance to it, but one could find a worse benchmark for what constitutes a free society. A free society will be one in which everyone, if they so choose, has the time to read In Search of Lost Time.