Waking the Dead

“Today, nostalgia is almost as unacceptable as racism. Our politicians speak of drawing a line under the past and turning our back on ancient quarrels. In this way, we can leap forward into a scrubbed, blank, amnesiac future. If [Walter] Benjamin rejected this kind of philistinism, it was because he was aware that the past holds vital resources for the renewal of the present. Those who wipe out the past are in danger of abolishing the future as well. Nobody was more intent on eradicating the past than the Nazis, who would, like the Stalinists, simply scrub from historical record whatever they found inconvenient.”
Terry Eagleton, “Waking the Dead,” New Statesman 12 November 2009

Umbrella in the Stand

“Is the true self this which stands on the pavement in January, or that which bends over the balcony in June? Am I here, or am I there? Or is the true self neither this nor that, neither here nor there, but something so varied and wandering that it is only when we give the rein to its wishes and let it take its way unimpeded that we are indeed ourselves? Circumstances compel unity; for convenience’ sake a man must be a whole. The good citizen when he opens his door in the evening must be banker, golfer, husband, father; not a nomad wandering in the desert, a mystic staring at the sky, a debauchee in the slums of San Francisco, a soldier heding a revolution, a pariah howling with scepticism and solitude. When he opens the door, he must run his fingers through his hair and put his umbrella in the stand like the rest.”
Virginia Woolf, “Street Haunting: A London Adventure,” Selected Essays

Albert Camus’ Counterfeit Manuscript

My review of Alice Kaplan‘s Looking for ‘The Outsider’: Albert Camus and the Life of a Literary Classic appears in the November 2016 issue of the Literary Review.

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In July 1944 Albert Camus produced a counterfeit manuscript of his debut novel, The Outsider, published two years earlier. Josette Clotis, André Malraux’s partner, read the text aloud while Camus took it down in longhand, introducing the odd crossed-out variant to lend it the air of an early draft. In Looking for ‘The Outsider’, Alice Kaplan outlines this ingenious scam, born of wartime austerity, but does not say whether it proved successful or not. All the same, it speaks volumes about the book it sought to cash in on. The Outsider had already outgrown its title, acquiring the aura of a canonical work. Camus was now in a position to turn Bouvard and Pécuchet’s lowly profession — that of the copy clerk — into gold. All he had to do was replicate his near-indecipherable microscript, originally developed in response to an acute paper shortage. …

Theorems Estranged Into Pure Poetry

An extract from my review of Agustín Fernández Mallo‘s Nocilla Dream appears on the back cover of Nocilla Experience (Fitzcarraldo Editions, 2016).

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By juxtaposing fiction with non-fiction … the author has created a hybrid genre that mirrors our networked lives, allowing us to inhabit its interstitial spaces. A physician as well as an artist, Mallo can spot a mermaid’s tail in a neutron monitor; estrange theorems into pure poetry.

People Who Can’t Begin

Virginia Woolf, The Voyage Out (1915)

‘There never will be a book, because someone else has written it for him,’ said Mr Pepper with considerable acidity. ‘That comes of putting things off, and collecting fossils, and sticking Norman arches on one’s pigsties.’

‘I confess I sympathize,’ said Ridley with a melancholy sigh. ‘I have a weakness for people who can’t begin.’

The Innocent Novel is Now Impossible

Roland Barthes, “Pre-Novels,” Essays and Interviews Volume 3

Every time someone ventures the idea that there is a crisis of the novel, a critic with the good health of our Literature at heart can be found to reply that the novel has never been in such fine fettle, since an enormous number of them are being published. But this is to conceive the crisis in excessively quantitative terms; it is a phenomenon that in no way precludes proliferation. . . .

. . . This is, perhaps, what is happening today with the novel, if you will concede that most of the creditable and original works currently being published are problematical novels in which the fiction is accompanied by a questioning of the basic categories of novelistic creation, as though, since the ideal novel — the innocent novel — is now impossible, literature had principally to say how it is running from itself and killing itself — in short, how it is rejecting itself.

In France this began with Proust. Throughout his enormous oeuvre, Proust is always about to write. He has the traditional literary act in his sights, but he constantly puts it off and it is at the end of this period of expectation, an expectation he never meets, that the work has been constructed in spite of itself. It was the waiting itself that formed the substance of a work whose suspended nature was enough to set the writer speaking.

The most conscious forms of novel-writing today are all part of this Proustian movement by which the writer sets his novel going before our eyes and then consigns it to silence at a point when, a hundred years earlier, he would have barely begun to speak.

[See Witold Gombrowicz.]