The Theater of the Absurd plays shared a point of view that life is absurd, pointless, meaningless — that words can’t help us, and the afterlife won’t help either, so live now and find something funny because it’s a waste of time trying to figure anything out since we’re all going to die anyway.

At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable.

What — in other words — would modern boredom be without terror? One of the most boring documents of all time is the thick volume of Hitler’s Table Talk. He too had people watching movies, eating pastries, and drinking coffee with Schlag while he bored them, while he discoursed theorized expounded. Everyone was perishing of staleness and fear, afraid to go to the toilet. This combination of power and boredom has never been properly examined. Boredom is an instrument of social control. Power is the power to impose boredom, to command stasis, to combine this stasis with anguish. The real tedium, deep tedium, is seasoned with terror and with death.

There were even profounder questions. For instance, the history of the universe would be very boring if one tried to think of it in the ordinary way of human experience. All that time without events! Gases over and over again, and heat and particles of matter, the sun tides and winds, again this creeping development, bits added to bits, chemical accidents — whole ages in which almost nothing happens, lifeless seas, only a few crystals, a few protein compounds developing. The tardiness of evolution is so irritating to contemplate. The clumsy mistakes you see in museum fossils. How could such bones crawl, walk, run? It is agony to think of the groping of the species — all this fumbling, swamp-creeping, munching, preying, and reproduction, the boring slowness with which tissues, organs, and members developed. And then the boredom also of the emergence of the higher types and finally of mankind, the dull life of paleolithic forests, the long long incubation of intelligence, the slowness of invention, the idiocy of peasant ages. These are interesting only in review, in thought. No one could bear to experience this. The present demand is for a quick forward movement, for a summary, for life at the speed of intensest thought. As we approach, through technology, the phase of instantaneous realiza-tion, of the realization of eternal

To work and create "for nothing," to sculpture in clay, to know one's creation has no future, to see one's work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries — this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on the one hand and magnifying on the other, it the way open to the absurd creator. He must give the void its colors.

There are no arguments. Can anyone who has reached the limit bother with arguments, causes, effects, moral considerations, and so forth? Of course not. For such a person there are only unmotivated motives for living. On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos. When all the current reasons — moral, esthetic, religious, social, and so on — no longer guide one's life, how can one sustain life without succumbing to nothingness? Only by a connection with the absurd, by love of absolute uselessness, loving something which does not have substance but which simulates an illusion of life. I live because the mountains do not laugh and the worms do not sing.