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mysterious and in its own way a form of initiation. But I’m sure the most aware of Western artists do sense this mystery as we do. And in this regard, permit me to quote a statement by the composer Emmanuel Nunes, whom I had occasion to hear recently in Europe: ‘Sur cette route infinie, qui les unit, furent bâties deux cités: la Musique et la Poésie. La première est née, en partie, de cet élan voyageur qui attire le Son vers le Verbe, de ce désir vital de sortir de soi-même, de la fascination de l’Autre, de l’aventure qui consiste à vouloir prendre possession d’un sens qui n’est pas le sien. La seconde jaillit de cette montée ou descente du Verbevers sa propre origine, de ce besoin non moins vital de revisiter le lieu d’effroi où l’on passe du non-être à l’être.’
    But I would like to turn to the end of your book, the last chapter. During my most recent trip to Europe, after buying your book, I looked up a few newspapers for the simple curiosity of seeing what the literary critics thought about the end. I could not, of course, be exhaustive, but the few reviews I was able to read confirmed what I thought. It was evident that Western criticism could not interpret your book in anything but a Western manner. And that means through the tradition of the ‘double,’ Otto Rank, Conrad’s The Secret Sharer , psychoanalysis, the literary ‘game’ and other such cultural categories characteristic of the West. It could hardly be otherwise. But I suspect that you wanted to say something different; and I also suspect that that evening in Madras when you confessed to knowing nothing about Hindu philosophy, you were – why, I don’t know – lying (telling lies). As it is, I think you are familiar with Oriental gnosticism and with those Western thinkers who have followed the path of gnosticism. You are familiar with the Mandala, I’msure, and have simply transferred it into your culture. In India the preferred symbol of wholeness is usually the Mandala (from the Latin mundus , in Sanskrit ‘globe,’ or ‘ring’), and then the zero sign, and the mirror. The zero, which the West discovered in the fourth century after Christ, served in India as a symbol of Brahma and of Nirvana, matrix of everything and of nothing, light and dark; it was also an equivalent of the ‘as if’ of duality as described in the Upanishads. But let us take what for Westerners is a more comprehensible symbol: the mirror. Let us pick up a mirror and look at it. It gives us an identical reflection of ourselves, but inverting left and right. What is on the right is transposed to the left and vice versa with the result that the person looking at us is ourselves, but not the same self that another sees. In giving us our image inverted on the back-front axis, the mirror produces an effect that may even conceal a sort of sorcery: it looks at us from outside, but it is as if it were prying inside us; the sight of ourselves does not leave us indifferent, it intrigues and disturbs us asthat of no other: the Taoist philosophers call it the gaze returned.
    Allow me a logical leap which you perhaps will understand. We are looking at the gnosis of the Upanishads and the dialogues between Misargatta Maharaj and his disciples. Knowing the Self means discovering in ourselves that which is already ours, and discovering furthermore that there is no real difference between being in me and the universal wholeness. Buddhist gnosis goes a step further, beyond return: it nullifies the Self as well. Behind the last mask, the Self turns out to be absent.
    I am reaching the conclusion of what, I appreciate, is an overly long letter, and probably an impertinence that our relationship hardly justifies. You will forgive me a last intrusion into your privacy, justified in part by the confession you made me that evening in Madras vis-à-vis your likely