/lit/ - Literature

I'm not into all of this but after reading the thread I discovered that many fiction works follow this same narrative. For instance, I was rereading some fragments of The Book of Disquiet yesterday (a book memed to death here but yet brilliant) and I found this:

"We generally colour our ideas of the unknown with our notions of the known. If we call death a sleep, it’s because it seems like sleep on the outside; if we call death a new life, it’s because it seems like something different from life. With slight misconceptions of reality we fabricate our hopes and beliefs, and we live off crusts that we call cakes, like poor children who make believe they’re happy.
But that’s how all life is, or at least that particular system of life generally known as civilization. Civilization consists in giving something a name that doesn’t belong to it and then dreaming over the result. And the false name joined to the true dream does create a new reality. The object does change into something else, because we make it change. We manufacture realities. The raw material remains the same, but our art gives it a form that makes it into something not the same. A pinewood table is still pinewood, but it’s also a table. We sit at the table, not at the pinewood. Although love is a sexual instinct, it’s not with sexual instinct that we love but with the conjecture of some other feeling. And that conjecture is already some other feeling.
I don’t know what subtle effect of light, or vague noise, or memory of a fragrance or melody, intoned by some inscrutable external influence, prompted these divagations when I was walking down the street and which now, seated in a café, I leisurely and distractedly record. I don’t know where I was going with my thoughts, nor where I would wish to go. Today there’s a light, warm and humid fog, sad with no threats, monotonous for no reason. I’m grieved by a feeling that I can’t place; I’m lacking an argument apropos I don’t know what; I have no willpower in my nerves. Beneath my consciousness I’m sad. And I write these carelessly written lines not to say this and not to say anything, but to give my distraction something to do. I slowly cover, with the soft strokes of a dull pencil (I’m not sentimental enough to sharpen it), the white sandwich paper that they gave me in this café, for it suits me just fine, as would any other paper, as long as it was white. And I feel satisfied. I lean back. The afternoon comes to a monotonous and rainless close, in an uncertain and despondent tone of light. And I stop writing because I stop writing."