Video link: https://youtu.be/Q8PRcXd_mmE
SCRIPT:
Death. The one thing none of us are going to escape. While the thought of it may marinate in the back of our heads, and we may jokingly long for its sweet release, very rarely do most of us confront it head on until we are forced to do so. However, in “The Wall” by Jean-Paul Sartre, neither the reader nor the characters are given the luxury of thinking about death from a safe distance. The story follows a man, Pablo Ibbieta, over the course of one night during the Spanish Civil War. Pablo has been arrested for association with a known anarchist, and is sentenced to death early on in the story. As he spends the night in a cellar with two other condemned prisoners, Juan and Tom, he must confront his own mortality before the fascists execute him in the morning. Throughout the story, along with the focus on death, one of the most noticeable reoccurrences to the attentive reader is Sartre’s use of vivid descriptions of senses. Through these descriptions, Sartre manages to examine the nature of consciousness and confront the existential dread of mortality in the face of impending death, in addition to forcing readers to confront their own impermanence.
The use of the senses can be seen at the very beginning of “The Wall.” After guards bring Pablo and his companions into the cellar, but before they learn that they are going to die, a good bit of time is spent describing the brightness of the room, along with how frigid it is. Pablo vividly details how violently he has shivered for the past several days of his captivity in the cold, and Tom exercises vigorously in a vain attempt to bring warmth back into his limbs. However, crucially, all of these sensations occur before anyone informs them of their sentence – before their emotional death. After Pablo learns of his impending fate, he becomes completely physically and mentally numb. This numbness is so severe that he does not even realize he is sweating bullets until Tom points it out to him. This immediately informs the reader of how senses will be used throughout the story. They are indicators of life, proof that a being is still vital. There is something unnatural about their absence, so unnatural, in fact, that it is akin to death. This point is emphasized when Tom says that the soldiers will often aim their guns at the faces of the people they execute, specifically at their eyes and mouths. Doing so removes the main sensing agents of a person’s body, not only dehumanizing them, but emphasizing their mortality as final and irreversible.
This point continues later in the story. While talking about a Belgian doctor assigned to watch him and his two companions through the night, Pablo describes how the doctor is alive, while the three of them are already dead. The doctor shivers and still cares about things like food and cigarettes, while the condemned no longer possess such concerns. According to Pablo, “I wanted to feel the pants between my legs but I didn’t dare. I watched the Belgian, balancing on his legs, master of his muscles, someone who could think about tomorrow” (Sartre 7). With this imagery, Sartre seems to be making a very thought-provoking point about what it means to be alive. It seems as though he argues that, on some level, the senses and one’s ability to perceive them are one of the main characteristics that separate the living from the dead. While someone can be unable to feel anything and still be alive on a technical level, sensation is so intimately connected with the human experience that they may as well be dead. In a sense, numbness is a precursor to final death, the first step on the road to nonexistence.
Closely mirroring the previous point about life, possibly Sartre’s most fascinating, but simultaneously terrifying idea communicated through “The Wall” is about death. One of the most hauntingly beautiful passages of the story is when Tom, almost paralyzed with fear, rambles to Pablo about how he is trying to understand death. In contrast with Juan, who obsesses on the pain of death, Pablo and Tom are afraid for much more existential reasons. While they are attempting to explain why exactly they are so afraid, Tom says:
“‘It’s like a nightmare…You want to think something, you always have the impression that it’s all right, that you’re going to understand and then it slips, it escapes you and fades away. I tell myself there will be nothing afterwards. But I don’t understand what it means. Sometimes I almost can…. and then it fades away and I start thinking about the pains again, bullets, explosions. I’m a materialist, I swear it to you; I’m not going crazy. But something’s the matter. I see my corpse; that’s not hard but I’m the one who sees it, with my eyes. I’ve got to think… think that I won’t see anything anymore and the world will go on for the others. We aren’t made to think that, Pablo. Believe me: I’ve already stayed up a whole night waiting for something. But this isn’t the same: this will creep up behind us, Pablo, and we won’t be able to prepare for it.’” (Sartre 6)
A combination of two main experiences forms the human consciousness: sensations and thinking. Sensations come from physical perception through the senses, and thoughts come from the mind. Therefore, from a materialist perspective, or the belief that everything in the world is physical, both of those must end at death (Philips). However, since every moment of conscious human existence is created through either one or both of these things, it is impossible for anyone to imagine a total and complete absence of both. It is like trying to imagine a foreign alien sense, or trying to think of a new color; the senses together with thought entirely build your experience of life, so your imagination is inherently limited to some combination of these factors. As the passage states so elegantly, from a materialist perspective, it is quite literally impossible for anyone to imagine what it will be like to be dead.
You may argue against the previous point, and say it is in fact quite easy for you to imagine yourself dead. In a certain sense, this is true. Tom himself says that he is able to imagine his own corpse – that is something that is quite easy for anyone with a good imagination to do. However, this is quite different from actually being able to think about the experience of being dead. After all, when one imagines their own dead body, they are not actually imagining death, but merely thinking about another living person’s perspective of their death. Imagining death would require trying to picture a complete absence of any thought or sensory input. First, since one has to think to imagine in the first place, they are already not absent of thought, so the challenge is already failed. While some may argue that there are times that people have no thoughts, such as during sleep, the only times that anyone remembers of these experiences is when they are either semiconscious or still thinking, such as during dreams, so there remains no memory of total lack of thought. Secondly, no one, or at least almost no one, has any experience of having absolutely no physical sensations. While people can experience forms of sensory deprivation in situations such as total darkness or extreme silence, this is a world away from actual total lack of sensory input. Darkness is still a type of sensation, as is quiet. All of this together is what makes death so frightening – it is something that not a single person has any true experience with – as Sartre so elegantly describes in this story. This makes one’s mortality almost impossible to truly understand, and instead, one must simply accept the unknown, as Pablo finally does by the end of the night. After many hours of tormented thought, he seems to internalize the idea that death is inevitable for everyone. While he is set to die very soon, those around him will still share in his fate, even if it occurs at a later time. In the end, death is the one thing that no one can escape, so you must either embrace its mystery, or try in vain to escape its inescapable arrival.
Overall, “The Wall” is masterful in its use of sensory imagery to make thoughtful points about life and death. It is likely the use of such imagery that makes it such an acclaimed piece of literature, as this device brings readers deep into the story, and connects with a universal human experience. While the idea of coming to terms with death is frightening, it is something that we all must do at some point in our lives. Given this, “The Wall” proves itself as a story that could be useful for anyone. By forcing its readers to hear about Pablo’s experience of facing his execution, it hopefully makes them think about their own death, thereby starting their firsts steps on the journey to fully embracing mortality. Doing this not only reduces the overwhelming existential dread that many of us experience at the thought of death, but also makes life itself more meaningful, since we are reminded that our time on earth is limited and should be spent wisely.
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