Чертежи кораблей французского флота - D ENTRECASTEAUX 1896

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Small Worlds Blanchot’s fictional writing is a discourse that emanates consistently, as it were, from the margins. Perhaps more than any other, the marginal quality of his work accounts for Blanchot’s reputation as a writer’s writer. It is certain in any case that the minimalists currently writing in France recognize that quality and embrace it. The chosisme, the attention to things as things that Alain Robbe-Grillet advocates in Pour un nouveau roman (For a New Novel), like the novelistic innovations of Camus and Blanchot, will be taken to heart and appropriated by French minimalists.

His entire oeuvre bears witness to this theoretical position: it offers the most written of contemporary discourses, the most inseparable from the page, from the material book. Orality, moreover, is carefully subverted in Jabès: voice cannot be located Jabès’s Story most of the time; it wanders, it flees. Granted that, why should he allude to orality in the title of this text?  Narration, for him, is a sort of antipoetry.  Jabès deplores the way that novelists have taken over the book: “The novelist’s high-handed appropriation of the book has always been unbearable to me.

In Les Chiens, of course, the gaze takes its place in the erotic economy of a voyeur. That perspective is projected in turn upon the reader since he or she sees these events in effect through the narrator’s eyes. In this fashion, Guibert offers his reader a voyeuristic role in the text, one that is analogous, at the outset, to that of the narrator. It is the first and most obvious of the seduction techniques that he will direct toward his reader. Yet the voyeur’s role is necessarily once again a heavily mediated one.

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