Virginia Woolf, “How Should One Read a Book?”, The Second Common Reader
To continue reading without the book before you…
Kate Briggs, This Little Art, 2017
‘Has it never happened, as you were reading a book,’ asks Barthes, in an essay from 1970, which I quote in Howard’s translation, ‘that you kept stopping as you read, not because you weren’t interested, but because you were: because of a flow of ideas, stimuli, associations? In a word, haven’t you ever happened to read while looking up from your book?’
Kate Briggs, This Little Art
To suspend, or to suspend even further, my disbelief. This can’t really have been what he said (Barthes spoke in French; he claimed to barely speak English at all); nevertheless, I’ll go with it. In this sense, there’s something from the outset speculative and, I would say, of the novelistic about the translator’s project, whatever the genre of writing she is writing in.
Kate Briggs, “Four Questions for Kate Briggs on Roland Barthes’ Preparation of the Novel by Scott Esposito, Conversational Reading ? May 2013
Barthes suggests that the destiny of all books is to end up as ruins, fragmented, remembered in bits and pieces but never in their entirety. I think the image he uses is a piece of lace: in our recollections of them, we turn the books we read into pieces of lace.
Kate Briggs, “Four Questions for Kate Briggs on Roland Barthes’ Preparation of the Novel” by Scott Esposito, Conversational Reading ? May 2013
Barthes refers to the protagonist of the story he’s telling (the story of someone who has experienced the desire to write and wants to set about writing a novel) as a “hero,” a “hero” who will have to undergo three “tests” or “trials.” So there’s already something mythical about the way this story is presented: writers as heroes who somehow manage to achieve their goals despite the setbacks, the difficulties, the interruptions, the breakdowns. Barthes is interested in the force, the desire-to-write that somehow sustains the writer throughout that process. In terms of the relationship between writing and desire, his point is that it’s a question that has been insufficiently studied in the field of literary theory — and this leads him to ask what for me are some very important, but very difficult questions: How is it that works of literature get written? What are the necessary conditions for writing to happen? Why is it that some readers, in love with certain books, feel compelled to write while others don’t?