The audio of Pierre Senges discussing The Major Refutation at Shakespeare and Company is at Soundcloud. The event was in November. A few readers of this blog may be interested in that discussion, with Shakespeare & Co’s astute commentator.
The Major Refutation is a nonpareil book that I came to translate. It was published in late 2016 by Contra Mundum Press. It’s a fake Renaissance treatise arguing that the newly discovered Americas don’t exist. Pierre Senges is brilliant.
Should’ve posted this link a while back; I really wish that I could embed the file to display here tidily, but no dice, it plays havoc with the CSS layout.
It’s an amazing coincidence I guess, but a member of the audience seems to accuse Senges of being complicit in the mythologization of America at the very end of this recording. It’s like he stepped right out of the book, Guevara’s shadow.
So I discovered this glorious book probably through The Major Refutation, which includes a section praising Pope Joan for her imposture. What’s that, you’ve never heard of a female pope, let alone the Pope Joan? Well, have I got a treat for you…
This is a story written by none other than Emmanuel Rhoides (who gets a pretty short entry at Wikipedia), based on an old legend about a woman who assumed the papal throne as an impostor in the ninth or tenth century.
Of course this translation is out of print and hard to obtain. (That’s the way of the world, isn’t it, the law of scarcity increasing the value of the commodity?) Earlier this summer I read all of it, Lawrence Durrell’s “translation and adaptation” of the 1866 original. I found it to be utterly compelling, beautiful, and devilishly funny, too.
Here’s one of the many passages that left me in awe, almost incredulous.
This Thursday, November 2, 7:00 pm, Pierre Senges will be at Shakespeare and Company (the famous Paris English-language bookshop) discussing and reading from The Major Refutation, English version of Refutatio major, attributed to Antonio de Guevara, 1480-1545.
Full details here. I believe the book’s publisher, Rainer Hanshe of Contra Mundum Press, will be attending & in conversation with Senges. Should be interesting. I, the book’s translator, would most certainly be going if not for the wee duck pond separating the New World from the Old.
A description of the book here, taken from the Shakespeare and Company website:
Written in the form of a long letter addressed to Antonio de Guevara on behalf of Charles V, under cover of anonymity, The Major Refutation refutes the existence of a new continent with arguments ranging from the most serious to the most extravagant. In a postface, the narrator raises doubts about the author of The Major Refutation. Is the letter from Amerigo Vespucci, Jeanne la Folle, or others? The text closes with a coda where various theses are evoked: for example, doubts about the sex of Homer, or about the true identity of the author of the plays signed Moliere. Infused with wit and irony, The Major Refutation reminds us of the passion of men for ignorance and the eternal opposition between dupes and non-dupes, or those who believe themselves such.
“With a stirring echo of florid baroque language, The Major Refutation calls in the prominent personages of the day, and implicates the state, merchant bankers, and the Church in the creation and perpetuation of the myth of the new world.” – (roughghosts)
“… a glorious book about dupes & dupers.” – (Joseph McElroy, email correspondence)
“… a book of fictional invention masquerading as historical artifact, further masquerading as scholarly treatise. It never flinches, it has not one single tell that it is anything but what it appears to be: a 16th century work…'” – (Ronald Morton)
“… more ingenious and creative than most books being published these days […] It reads like something William H. Gass or Alexander Theroux may have written […] I enjoyed the outlandish erudition on display.” – (Steven Moore, correspondence + etc)
“I assume that everyone wishes literature were just vituperative rants saturated in scholastic detail, but devoid of characters, plot, and description. Voilà: The Major Refutation… The project itself, the skeptical assault on events we know to have been real, is genuinely discomforting. Readers of texts like this tend to pride ourselves on our skepticism and our doubting; here, the skepticism is gloriously productive of insults and scorn, and the insults and scorn are often well-deserved, but ultimately we, the readers, know that the skepticism was misplaced. Is ours, too, misplaced?” – (Justin Evans)
“… brilliant… very learned…” – (The Modern Novel)
“Don’t miss it; it is one of the Major Novels of ’17 […] seriously folks, any list of Novels of ’17 which don’t feature [Fragments of Lichtenberg or The Major Refutation], you can just tell that List to fuck off. Right here, this is what novels look like.” – (Nathan N.R. Gaddis)
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To buy a copy, I recommend using either Powell’s or The Book Depository. Or ask your local library to acquire it. Did you know most libraries allow patrons to request acquisitions in this way? Also, there is interlibrary loan.
Here is the publisher page (Contra Mundum Press), with a link to a substantial chunk of the text, readable now online.
The first book I translated, The Major Refutation by Pierre Senges (La réfutation majeure, 2004) is at long last available for purchase from the publisher and many fine booksellers.
Cover art by Sergio Aquindo.
The full title is The Major Refutation: English version of Refutatio major, attributed to Antonio de Guevara (1480–1545). The publisher is Contra Mundum Press (on other occasions the publisher of Miklós Szentkuthy and lots of other interesting authors). Here is the publicity page at Contra Mundum’s website, where you will find a link to a free 25-page sample.
The better part of this book is essentially a Renaissance treatise addressed to Charles V. According to its author, the New World would be an illusory, non-existent land, the object of a collective fraud perpetrated by a coalition of cartographers, merchants and government actors, all greedy for gain. Sound familiar? Plus ça change…
It took a long time – many months, much worry over etymologies and syntax, a touch of my sanity; a willing editor/publisher; countless queries to the author, who encouraged me in my efforts. All that and much more. It took a special perversity, too, to refute the continent of my birth, and a special pleasure.
Is that journey over, now that the book is published? I think it stays with me. So many of its passages are seared into my mind. They are already starting to fade from memory. Then perhaps some years from now I will pick up the book, and remember the sentences anew.
The retail price of the book is $16 or $18 USD, depending on who you buy from. Give a copy to that special truther in your life. Ask your local librarian to acquire a copy. Tell your colleagues at work about it to make them suspicious. Read it in the bath. Read it for fun.
Somewhere in the ballpark of Borges, Calvino, Manganelli, and Szentkuthy, Pierre Senges writes texts that are stylistically acrobatic, audacious in their conception, and in constant conversation with countless literary-historical precursors. I was first introduced to some of his books in 2008, and I have since returned to them as a translator, starting in 2014. That blend of erudition and comedy that is so singularly present in his writings deserves a wider audience, I think.
As of yet, only a slim fraction of his work is available or known to anglophone readers. (2017 update: two of Senges’s books are recently available: Fragments de Lichtenberg from Dalkey Archive, trans. Gregory Flanders; and The Major Refutation: English version of Refutatio major, attributed to Antonio de Guevara (1480–1545), in my own translation.)
And it’s a little-known fact, I suppose, that technically speaking Senges’s writing has been available to read in English in book form since 2009. For The Adventures of Percival: A Phylogenetic Tale was published in two separate editions, French and English, with illustrations by Nicolas de Crécy.
As we wait to see more of Senges’s books brought into English, I have been publishing some of his work in various periodicals (with the necessary permissions, of course); excerpts from The Major Refutation and Geometry in the Dust have appeared in Hyperion and The Brooklyn Rail, respectively, and a number of short texts (ranging from 2,500-4,500 words) are up or forthcoming at Gorse Journal, Numéro Cinq Magazine, Hyperion, The Collagist, and 3:AM Magazine (links here). I also wrote an annotated bibliography of Senges’s books for curious English readers like yourself: “A Library of Imposture; or, a Short Annotated Bibliography of Pierre Senges’s Books.”
As for proper book-length publications, we’ll have to wait until next year — rights acquisitions, grants, contracts, all that is slowly falling into place. Otherwise, for now, I’ll leave you with this old miscellany I whipped together from existing sources. I think it presents a strong case for Senges’s work’s originality and why I find it so enjoyable and fascinating. Maybe you will too.
Looking for an adventure? Why not read The Major Refutation? Like no other book on this earth… Recommended for lovers of Robert Burton and Thomas Nashe.
“Ironic and rigorously autodictactic, Pierre Senges blazes a fairy-tale-like trail through the forest of erudition. A great admirer of Borges, he finds in the Great Library the sources for a multiform, savant, and joyous inspiration. He’s prolific, too: thirteen books in as many years, not to mention his numerous plays for radio, broadcast by France Culture and France Inter, in which he plays happily on the possibilities of radio.” (publisher’s bio)
“From 1994 onwards, Senges trades in his musician’s scales for those of the writer, developing paragraphs on paper, perfecting them, inventorying them, numbering them—not publishing for six years: “Technique in literature is not a bad word for me. It allows one to offer to others what would be, without technique, only obsession or madness.” […] He lived in Grenoble for many years. As for formal study, there was little to none. He was registered as a sociology student, but never set foot on campus: one of the most erudite French writers of his generation, one of the most talented in terms of composition and phrasing, is an autodidact. Maybe that’s why his encyclopedism isn’t at all pedantic: each book is an adventure that allows him to conquer all books, like a child, or a doe running through a forest.” (Philippe Lançon for Libération, 2008)
“I admit the word ‘Baroque,’ if by that you intend its broad, most common meaning: that which lets everything in, which prefers a curved line to a straight line, detour to destination, irony to distraught naïveté, and a certain inelegance in the multiplication of digressions.” (Philippe Lançon for Libération, 2008)
On Miklos Szentkuthy and the truly endless possibilities opened up through digression : “If I could imitate anyone, it would be Szentkuthy. He takes up literature in a casual, complex-free way. The writer is a satrap who is allowed to do anything, whom no one can reproach because he is a satrap and because he is doing his job.” (Philippe Lançon for Libération, 2008)
Eric Loret: By questioning fiction, you obviously question the real. Is your intention to address a certain kind of contemporary mental confusion, a schizophrenia of appearances?
Arno Bertina: I don’t think that’s specific to our time. To be contemporary means to be confronted with confusion.
Pierre Senges: Yes, as with Calderón’s Life Is a Dream. It quickly became “life is a film” or “life is a video game,” but ultimately our intelligence for this problem has hardly evolved. It’s one of literature’s fundamental interrogations. And the society of the spectacle wasn’t invented yesterday either. There’s more to be learned from Saint-Simon than from Debord concerning the agony of appearances. An injunction is often set before the writer: “Tell us about the contemporary world.” But supposedly realist novels that speak of ‘our’ time are books that tell more of a ‘here and now’ that’s commonly accepted at a given moment. An execrable consensus, with its basis only in reality’s most ostentatious signs. You could just as well say “the world is 70% water and two billion Chinese people, so write about Chinese sailors.” Art should promulgate realities. (“Figures implosées,” Libération, 2006)
On the occasion of the publication his first book, Veuves au maquillage (2000): “What I set out to do is not description or narration, but rather a commentary on that description or narration; in other words, to approach it from the outset in the second degree.” (Chronic’art)
“I sometimes have the impression that my love of stories leads me into territories that are further and further away from what stories usually look like—and, along with that, the impression that I am telling stories of stories, instead of stories of people.” (2012 Interview with Estelle Mouton-Rovira)
“Literature as commentary might be one of our great, new-found pleasures (what richness!): there’s Szentkuthy’s Marginalia on Casanova to be savored, the monomaniacal commentary of the king-in-exile Kinbote in Pale Fire, the Parallel Book of Manganelli which is parasitical to Pinocchio, and more recently the Glossary of Greek Birds of D’Arcy Thompson, accompanied by the (I quote) amateurish commentaries of Dominque Meens. But parasitism or commensalism are hardly new, and literary experts know that better than anyone.” (2012 Interview with Estelle Mouton-Rovira)
“The interpretation of source texts can become a novelistic genre unto itself.” (2012 Interview with Estelle Mouton-Rovira)
“I especially like the idea of a literature of hypotheses: there are very strong resemblances between scientific hypothesis and comedic scenario: in both cases, one must start with a postulate, then deduce the consequences and sort out those which are viable from those which are not. That Let us suppose forms the initial point of departure for both scientific argument and the work of the librettist—scientific literature has borrowed a great deal from works of poetic and narrative literature, and poetry and the novel have for a long time been nourished by scientific literature, namely because science, through its qualitative vulgarization, necessarily has recourse to metaphor. In a Carrollian way, our modern imagination (there’s modernity again) is inhabited by Einstein twins of different ages, Schrödinger’s cat, simultaneously both dead and alive, and the dactylographic chimpanzee invented by Émile Borel.
Scientists, who create the basis for part of what we know and our criteria for truth, would be well situated to write, fictionally perhaps even, a history of errors, deceptions, and ignorance. Not so much to give rise to a feeling of impotence, because the shortcomings of our knowledge don’t lead us fatally into the absurd, but—without lapsing into a dilettante-ish relativism—so that we might perceive how error and exactitude feed off of each other, how the false enriches the true, how we stand to benefit from received ideas and when it’s better to do away with them.” (2012 Interview with Estelle Mouton-Rovira)
Pierre Senges: The imposture of realism in literature supports the imposture of liberalism, which tells us that the free market is reality and not an opinion about reality. Saying a writer must be a realist isn’t an answer, but a question.
Arno Bertina: But literature gladly comes along to pull the rug out from under these people, by showing that the definition of reality is not closed, that there is movement. The humor that is in our books takes into account, I think, the instability and the play inherent in representation. (“Figures implosées,” Libération, 2006)
“Generally speaking, a book is one of those rare objects that, if it succeeds, respects us. (…) Advertising doesn’t respect us, political speeches don’t respect us; sermons address us as imbeciles, literary manifestos address us as imbeciles, our neighbors might act as if we’re imbeciles. A bad book takes us for imbeciles. But a good book is one of the few places in the world where we find respect, whoever we might be.” (at remue.net)
All posts about Senges or my translations of his work are here.
Two more of my translations of Pierre Senges’s work were published last week, along with an annotated bibliography of his 14 or so books (“A Library of Imposture; or, a Short Annotated Bibliography of Pierre Senges’s Books”). All this can be found in the latest issue of Hyperion, the biannually published journal of Contra Mundum Press. The two translations are
* “The Last Judgment (detail),” a short text on the subject of Daniele da Volterra (1509-1566) and his commission to paint loincloths over numerous of Michelangelo’s nudes in the Sistine Chapel, after the Council of Trent deemed that nudity offensive.
* chapter 6 of La réfutation majeure (2004; The Major Refutation).
This is all quite noteworthy, it involved a lot of work on behalf of myself and the editors, and I’m very proud of these publications.
For the interested, another of my Senges translations is forthcoming in Gorse Journal #4 this September, a short story entitled “Making, Faking” (or rather, “Façons, Contrefaçons”); and there is also the excerpt of Geometry in the Dust that appeared earlier this month at The Brooklyn Rail; not to mention my previous article at this blog, “A Pierre Senges Miscellany.”
Also, Dalkey Archive has announced the publication date for Fragments of Lichtenberg: August 17, 2015. I just received a copy of it the other day in the mail…
All posts at this blog discussing Pierre Senges’s work are archived here.