Screen shot 13 02 08 at 02 24

Nadar: Savoxgnan* db Brazza. 1882

name; it is Sharp and yet lands in a vaguc zonę of mysclf; it is acute yct muffled, it cries out in silcnce. Odd contra-diaion: a floating flash.

Nothing surprising, thcn, if sometimes, dcspitc its dar-•ty, the punctum should be rcvealed only aftcr the fact, when the photograph is no longer in front of mc and I think back on ir. I may know better a photograph J re-membcr than apKotograph I am looking at, as if dirccc ytsion oriented its languagc wrongly, engaging ic in an effort of description which will always miss its point of effect, the punctum. Reading Van der Zee’s photograph, I thought I had discerned whac movcd me: the strapped pumps of the black woman in her Sunday best; but this photograph has worked within me, and later on I realized that the real punctum was the nccklace she was wearing; for (no doubt) it was this same nccklace (a slcndcr rib-bon of braided gold) which I had scen worn by sornconc in my own family, and which, oncc she died, remained shut up in a family box of old jewelry (this sister of my father never married, lived with her mother as an old ma*.d, and I had always becn saddened whcncver I thought of her dreary lifc). I had just rcalized that how-evcr immediate and incisive it was, the punctum eould accommodatc a ccrtain latency (but never any scrutiny).

Ultimately—or at the limit—in order to sec a photograph well, ic is best to look away or close your eyes. “The necessary condition for an image is sighr,” Janouch told Kafka; and Kafka smiled and replied: “We photograph things in order to drive them out of our minds. My storics arc a way of shutting my eycs.^M The photograph must be

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