This is the first in a series of posts where I do a write-up of a French book that is not yet translated into English. – JS
What drew me to read Anne Garréta’s Ciels liquides (Grasset, 1990) was its interesting premise: it is (according to the Oulipo Compendium) “the paradoxical view of a narrator’s loss of language.”
It’s also beautifully unsettling and hallucinatory. The hallucinations start in the barn of the narrator’s ancestral farm.
I was sinking down.
My shadow was still floating up at the surface, breathing, looking around, uttering sounds in reaction to the thousand stimuli around it. Down below, I was slowly sinking, pulled down by the whirlpool, the slow spiral, always lower. The barn had come to rest on the bottom, swallowed up under many miles of intensely churning fluid, the rumor of the word, endlessly stirred. (p. 20, my translation)
After an accident in the barn and a stay in the hospital, the narrator lives for a while in a dark closet, having lost all capability for speech or writing. Later, he takes up residence in a cemetery, living inside a crypt, and goes to work at night in a morgue. In one scene, he dissects a corpse that appears to be his twin or döppelganger. There are countless beautiful descriptions of experiences that are beyond words, dissociative states.
I was without language. There was no language to account for the state I was in. The strangest thing seems now to me not to have been the amnesia that made it impossible for me to recognize and use words, whether spoken or written, but to have lived constantly suspended at the edge of another translation of a meaning which I felt screaming inside me, fugitive, whose force remained incommunicable, beneath the orbit of words. (p. 120, my translation)
It would be great to see this wonderfully weird book translated and published in English. I’m also looking forward to reading Garréta’s Pas Un Jour (2002).
Next spring (2015), Deep Vellum will publish Garréta’s first book, Sphinx (Grasset, 1986) in a translation by Emma Ramadan. Over at Deep Vellum’s website, there are some English excerpts of Garréta’s work with some good links.
In the posthumous work Penser/Classer (which title one might translate as To Think/To Classify), Georges Perec outlined what he saw as the only possible criteria for arranging one’s books:
- by continent or country
- by colour
- by date of acquisition
- by date of publication
- by format
- by genre
- by major periods of literary history
- by language
- by priority for future reading
- by binding
- by series
In mid-January of this year, I paid a visit to Stéfan Sinclair, who is Associate Professor of Digital Humanities in McGill’s Department of Languages, Literatures, and Cultures. Since he received his Ph.D. in French literature, Professor Sinclair has worked on numerous projects designing digital humanities text visualization tools, often in collaboration with other scholars. He was most generous and open in responding to my questions as we sat in his windowed office overlooking the intersection of rue Sherbrooke and rue University.
Last week the following text appeared at HTML Giant, a collective blog. 20 Lines a Day by Harry Mathews (1988, Dalkey Archive) was the subject of my post. It is excellent. I’ve mentioned Harry Mathews a few times before and this won’t be the last.
The post is discontinuously atomised into 25 discrete paragraphs, consisting of quotations from, comments on, Mathews’s text and related stuff. Bloggers are summarizing books in this way for HTML Giant’s 25 points series. In fact, you can submit a 25 points post to HTML Giant yourself, by emailing brooks AT htmlgiant.com.
Harry Mathews by Arthur Gerbault, 1988.
In the fifth floor of the library, I picked Mathews’s book up, read what the premise was, and thought resentfully, What a bunch of bullshit, this looks boring, look how anything gets published. I didn’t know who Harry Mathews was yet. Years ago.
‘You never have earned the right to sit at the table and let someone else clear away the dishes. No accumulation of knowledge can guarantee that you aren’t a fool. The roast is over-cooked. You slice bread for the seven-hundredth time and cut off the tip of your left forefinger. You touch her as coarsely as any boor, being now the boor. You meet an old friend, you have forgotten his name, you cannot look him in the face: not looking him in the face, you wound him and you start lying to him and to yourself. Go off and sulk and complain and explain why it happened. It won’t help. Instead, be an actor, or an athlete, on stage, on the field, giving–as you once eagerly proposed to yourself–everything to the perishable act.’ (p. 100)
‘I have nothing to write in particular, I’m writing these lines because of my rule that I must write them.’ (p. 75)
Some writers set quotas, others set routines, some set both, and some (the scriptomanic ones for whom procrastination is not a threat) set neither. A page a day (Paul Theroux); 50,000 words in a month (NaNoWriMo); two hours every morning (W.S. Maugham); 20 minute blocks (Cory Doctorow); at least a sentence a day (W.G. Sebald); pre-dawn (Paul Valéry, Jacques Roubaud); etc.
‘Whatever I write tells my story without my knowing it.’ (p. 66)
‘Let no thought pass incognito, and keep your notebook as strictly as the authorities keep their register of aliens.’ (Walter Benjamin, ‘One Way Street,’ Reflections)
“Sometimes the ultimate message is in fact received. It reads, more or less: ‘Your ligament issues from a spa that is given various narcissisms at various time-tables: lozenge, credulity, goggles. And not only your ligament (and that of others): the prodigy that generates mayday has the same orthography. You and the upkeep are one. Give up sugarbowls.’ At such moments you realize, and you remember, that such messages have neve9r been lacking, and that they are all the same, and that the problem (if that is the word) doesn’t involve receiving but deciphering what is received again and again, day after day, minute after minute.” (p. 88)
There’s an implicit link between 20 Lines a Day and the next novel Mathews would publish, The Journalist (1994). One sees how the method Mathews followed for 20 Lines is adopted as a fictional premise and device for The Journalist.
‘Anxiety about writing feels like: I am poor in words, ideas, and feelings, and when I sit down to write, this poverty will be revealed.’ (p. 45)
‘The table is a beautiful thing. The writing board is supported on a base consisting of two tubular legs shaped like narrow inverted U’s, with a tubular foot running across the mouth of each U, projecting about thirty centimeters beyond it on either side. The legs are connected to the board by an adjustable parallelogram made of bone-shaped pieces of flat metal. The knobs of the bones are pierced with pivotal studs that hold the sides of the parallelogram together. Two strong springs, to hold the angles in place, maintain pressure against two other springs fixed just below the board. A single lever controls this disposition and locks the board in place. Changing the angles of the parallelogram permits one to alter both the height and angle of the board in one movement. Board, parallelogram, legs and feet are white; springs, studs, and lever handle are black.’ (p. 106)
For Mathews his ’20 lines’ can be virtually anything: an Oulipian (N+7) exercise; health concerns, particularly facial neuralgia; descriptions of weather and the immediate environment (tropical St. Bart’s, NYC, Lans in France, Italy); progress reports for the writing of the first draft of Cigarettes (1987); bits of Surrealist ‘automatic writing’; family matters; admissions of mourning for his deceased friend, Oulipian Georges Perec; musings on Werner Erhard’s e s t training; throughout, his relentless self-analysis. The book is very much an edited journal intime, but it has the crystalline quality of Mathews’s other work, that relentlessly exacting attention to syntax, poignancy of inner, private experience that figures in the later novels (The Journalist, Cigarettes). Absent are the Baroque quasi-Gothic elements, the abstruseness, the cerebral impenetrability of Tlooth, The Sinking of the The Odradek Stadium, and The Conversions.
‘Stendhal meant something different from this.’
‘When you go to piss in the bathroom with people within possible earshot (and sometimes with no people around at all), you direct your jet at the edge of the pool of water in the toilet bowl so as to reduce the noise you make.’ (p. 124)
During and after having read Harry Mathews’s 20 Lines a Day (1988; Dalkey Archive Press) I set myself the 20 lines quota, using a long quadrillé pad and a fountain pen to trace my thoughts. My readings of Mathews inevitably influenced my own compositions–I used the daily entries as a means of recapping, and recuperating from, the events of daily life. No one can tell what I would have written without Mathews’s influence on me, prefiguring and directing the subjects, style, and approach of my writing. My discipline flagged, I was inconstant. Mathews too. But I am slowly making advances, inroads. There’s progress. I still write in my notebook.
‘Lines of verse count extra.’ (p. 67)
Technologies of the self include notebooks in which one writes diaristic, journalistic, and textual commonplaces from daily life (Foucault). The keeping of such a journal, commonplace notebook, or diary constitutes a practice of mental hygiene. Coincidentally, Foucault died the day before Mathews’s conclusion of his project.
To write 20 lines a day is not daunting (anyone can do it), especially if one imposes no continuity, consistency of form, or subject matter.
Despite the lack of constraint,–the openness of the subject matter addressed in a diary,–a strong internal consistency of writing arises. This is the continuity of the self day in and day out, the author thinking.
‘… Matthison, Mattei, Matteotti, Mathias, Mateus, Matthieu, Mahieu, Madeu, Mathet, Mathie, Mathiez, Matisse, Matthis, Matteo, Mathelin, Mathiret, Mathiot, Mathon, Matou, Méhu, Mattuaeus …’ (p. 40)
‘Are you going to wait until you are on the point of death to give up this model: your old, old self, tiny, terrified, aware of his power only through the intensity of the anxieties that shrivelled him? A lifetime of refusal ending in a revelation that melts the past in one moment or movement of surrender to the truth makes a fit drama for literature’ (p. 128)
Early in life Stendhal (Henri Beyle) set himself the injunction: vingt lignes par jour, génie ou pas (twenty lines a day, genius or not).
‘You have a fantasy of discovering that you suffer from cancer, or a brain tumor, or some other affliction of a most grave, probably mortal kind. You keep the knowledge of it entirely to yourself. Not only do you not burden those who love you with the news, you become for them a companion of perfect humor, gaiety, and warmth.’ (p. 108)
This slim book compiles a selection of entries from Mathews’ notebook from March 16, 1983 to June 26, 1984. During the interval I and many people I know were born. That’s unrelated.
‘Yesterday evening, having after months of to-do listing bought a new handle for my big pickaxe, I fitted it to the pick head and set it to soak in the bathtub.’
‘Having nothing to write about (nothing particular to write about) suggests a question: what this morning do you particularly not want to think about?’