David Winters, “Like Sugar Dissolving: On The End of the Story by Lydia Davis,” The Quarterly Conversation 35 (March 2014)
… In The End of the Story, and arguably across Davis’ stories more broadly, the composition of a fictional form coincides, at all times, with the preservation of “something not formed.” After all, any closed circle’s circumference still opens up a continuous curve. Closure and openness, answers and questions, fixity and infinity: to these unsettled oppositions we could also add the “written” and its counterpart, the “unwritten.” Thus, the novel that Davis’ narrator writes is itself encircled, like any novel, by a halo of hypothetical, unfinished books. In this way, the written work retains an internal relation to an idealized, unwritten other:
I’m afraid I may realize after the novel is finished that what actually made me want to write it was something different, and that it should have taken a different direction. But by then I will not be able to go back and change it, so the novel will remain what it is and the other novel, the one that should have been written, will never be written.
Late in his life, in a series of lectures inspired by his own unwritten novel, Roland Barthes examined Mallarmé’s distinction between the “Album” and the “Book.” The Book, argued Barthes, aspires to perfection — it aims to provide an accurate “representation of the universe, homologous to the world.” To create such an artwork would be to reflect “the totality of reality and history, from the perspective of transcendence.” The Album, by contrast, remains rooted within reality, rather than striving to stand outside it. The world as rendered by the Album is incomplete and chaotic; “not-one, not-ordered, scattered, a pure interweaving of contingencies, with no transcendence.” Needless to say, neither Barthes nor Mallarmé crudely confuses these two entities with actual literary texts. The binary is not taxonomical but conceptual; the push and pull between these two poles shapes the production of literary works. On the one hand, the Album and all its manifestations: the fragment, the essay, the unfinished effort. On the other, the Book and its corollaries: the summa, the opus, the completed oeuvre.