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Alain Robbe-Grillet (1922–2008)

Forfatter af Jealousy

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Om forfatteren

Writer and filmmaker Alain Robbe-Grillet was born in Brest, France in 1922. Robbe-Grillet's first novel, The Erasers (1953) is considered to be one of the first books of the nouveau roman, or new novel, in which external reality is more important than character or plot. His other works included The vis mere Voyeur (1955), Jealousy (1957) and Djinn (1981). He worked in the film industry as a writer, actor and director. He died at the age of 85 on February 18, 2008. (Bowker Author Biography) vis mindre
Image credit: Alain Robbe-Grillet (23 November 1970) / Photo © ÖNB/Wien

Værker af Alain Robbe-Grillet

Jealousy (1957) — Forfatter — 611 eksemplarer
The Erasers (1953) 605 eksemplarer
The Voyeur (1958) 575 eksemplarer
Jealousy / In the Labyrinth (1957) 572 eksemplarer
For a New Novel: Essays on Fiction (1963) 299 eksemplarer
In the Labyrinth (1959) 205 eksemplarer
Huset i Hong Kong (1965) 202 eksemplarer
Last Year at Marienbad (1969) 198 eksemplarer
Repetition (2001) 167 eksemplarer
Djinn (1981) 133 eksemplarer
Snapshots (1962) 127 eksemplarer
Recollections of the Golden Triangle (1978) 125 eksemplarer
Topology of a Phantom City (1975) 118 eksemplarer
Ghosts in the Mirror (1991) 89 eksemplarer
Last Year at Marienbad [1961 film] (1961) — Screenwriter — 88 eksemplarer
La Belle Captive: A Novel (1975) 57 eksemplarer
A Sentimental Novel (2007) 52 eksemplarer
Dreams of a Young Girl (1971) 42 eksemplarer
A Regicide (1978) 32 eksemplarer
Why I Love Barthes (2009) 16 eksemplarer
Angélica o el encantamiento (1987) 13 eksemplarer
The Immortal One (1963) 11 eksemplarer
Trans-Europ-Express (2014) 8 eksemplarer
Les derniers jours de Corinthe (1994) 5 eksemplarer
L'homme qui ment (2014) 4 eksemplarer
C'est Gradiva qui vous appelle (2002) 4 eksemplarer
L'Immortelle 2 eksemplarer
Topologie d'une Cite Fantome (1976) 1 eksemplar
L'éden et après 1 eksemplar
Voyeur Roman (1955) 1 eksemplar
KISKANÇLIK 1 eksemplar
Sastajalište 1 eksemplar
"The Secret Room" 1 eksemplar
Videc 1 eksemplar
A espreita 1 eksemplar
Entre dois tiros 1 eksemplar

Associated Works

Mark Tansey (1993)nogle udgaver48 eksemplarer
The Vintage Book of Classic Crime (1993) — Bidragyder — 33 eksemplarer
The Penguin Book of French Short Stories (1968) — Bidragyder, nogle udgaver18 eksemplarer
Story to Anti-Story (1979) — Bidragyder — 13 eksemplarer
EVERGREEN REVIEW: VOL. 3, NO. 9: SUMMER 1959 (1959) — Bidragyder — 12 eksemplarer
New World Writing 18 (1961) — Bidragyder — 3 eksemplarer

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Un libro-terremoto, una lettura che fa guardare la letteratura in modo diverso. So poco del "nouveau roman" e dello stesso Robbe Grillet (ma ho visto Marienbad di Resnais), ma questo racconto del 1958 stravolge la struttura del romanzo "introspettivo", mostrando che ci può essere tutto anche solo sulla superficie. E poi c'è la struttura temporale, mobile, sfuggente, imprevedibile. È un romanzo cubista e come nota Lucentini (che qui traduce in modo eccellente e cura pre e post-fazione) è un poliziesco nella misura in cui la struttura indiziaria della scrittura conferisce al lettore un ruolo attivo di interpretazione. È infatti un libro che va letto con attenzione e partecipazione, e anche in questo si discosta da tanta letteratura di intrattenimento cui siamo andati abituandoci. Si potrebbe criticare a Robbe Grillet la freddezza del tutto, la mancanza di empatia e la riduzione del libro a un esercizio di stile. Ma chi se ne frega: da un esercizio di stile così, chiunque sia interessato alla scrittura può apprendere tantissimo.

PS: se le recensioni di Goodreads sono un buon barometro, in Italia non sembra leggerlo nessuno... se hai intercettato queste mie righe, corri subito a comprare questo libro, fidati.
… (mere)
d.v. | 11 andre anmeldelser | May 16, 2023 |
For once, I'm not overthinking it, and will just rest snug in my good feeling for this one.
KatrinkaV | 4 andre anmeldelser | Dec 29, 2022 |
though robbe-grillet is a thomas bernhard of greater repute, it is unclear whether the (factitious) technique of writing the visual fact is beneficial, or even necessary

best images: disappearance of the tar spot into the refractive defect of the window. counting the banana trees.

worst image: the (false) centipede
Joe.Olipo | 11 andre anmeldelser | Nov 26, 2022 |
"Things are things, and man is only man."
Writing Against the Pathetic Fallacy

No longer the bête noire of the literary world (or of anything anymore), the contemporary Alain Robbe-Grillet (ARG) is a conscientious professor of creative writing. In his (mono)maniacal aversion to the Pathetic Fallacy (i.e. writing the anthropomorphized landscape/object) he is justified: This is the perennial feature of bad undergraduate writing.

But ARG goes beyond your Freshman (Sophomoric?) English comp elective: Demanding the novel be freed of the Elizabethan conventions of Plot, Character, Metaphor, and that Objects be freed of the heretofore unquestioned relation to the Human i.e. only to be seen as a virtual image, which is the reflection/refraction of a projection of a human desire or relation. A so-called 'objective' object - one not caught up in this relation - would then be free to be as 'real' as reality, and the human would be free to be only what it is - without supplement. Yet ARG's techniques (repetition, contradiction, multiplicity) fail to achieve this stated end (forgivable), and his 'transitional' style bungles the art of the attempt (unforgivable).


If we are seeking to unburden our perception from the tragic/emotional sensibility which can only relate to the world via the medium of a subjective impression of self-relation, and to thereby reach visual/scientific clarity/'objectification', we would be incorrect to apply ARG's approach. The 'Brechtian' undermining of a narrative/description by contradictions/repetitions in the description itself produces a void of 'subjective' meaning, but this is only a 'transition state' (in the unstable chemical sense). An object-relation in explicit contradiction with itself does not free the object, but creates a kind of "metaphysical vacuum" in ARG's terms. When Camus's 'Absurdity' is the source of this vacuum ARG responds with the following limpid analysis:

"Metaphysics loves a vacuum, and rushes into it like smoke up a chimney; for, within immediate signification, we find the absurd, which is theoretically nonsignification, but which as a matter of fact leads immediately, by a well-known metaphysical recuperation, to a new transcendence; and the infinite fragmentation of immediate meaning thus establishes a new totality,"

The elimination of all sense-relations to the object does not free it, for what is "theoretically nonsignification" leads immediately to a new transcendence. ARG's objects collapse under the weight of his technique. Trapped in a field of multiplicities, they are not revealed as objects themselves, but rather show themselves to be (transcendent) metaphor (the centipede in Jealousy), or become mere (transcendent) Words (signs without signified): In Repetition the broken champagne flute, the torn underwear, the firearm with empty cartridges - there is no question whether these objects are real or not: of course they have never existed. ARG appears to be aware of this guilty association (i.e. ARG's object is nothing more than language). ARG discusses this relation in this selfsame collection, but he appears to be engaging in apologetics. As ARG's objects have been revealed not to extend past an empty referent (word), he hypostatizes the word itself as something 'real' and thereby rescues the object.

"Hence beyond language there is probably nothing else. The world "creates itself in us" and "ends in speech," for speech is truth: "Truth when by the act of naming an object it produces the accession of man." To write is "to give our reality to truth, from which we derived it, in order to become once again, within it, light as dreams.""

It takes a certain boldness to find the base of one's 'objective objects' to be a bottomless signifier and to then declare this signifier to be the stable base you had been pursuing the whole time.


ARG's greatest successes occur when he eschews description and enumerates instead. (see the watches in The Voyeur, the rows of trees in Jealousy) The success of complete abstraction in the form of the number/set provides the negative space for objects to be themselves (reference to Alain Badiou/Set theory would be apt here if I were more familiar with his work). ARG should have gone further, to write more like Thomas Bernhard, whose speakers are so alienated from objects that 'objectivity' can flourish in the negative space.

Though more limited, ARG'S detailed description of the observed object are also successful. The warp/defect in the window in Jealousy is emblematic here. This is one of the few instances of successful implementation of ARG's theoretical writing. For lasting success he should have written like DFW, but he is prevented by inadequate technical knowledge and the refusal to acquire it. ARG - the savior of the object - by his own admission does not even care to look at them:

"Like everyone else, I have been the victim, on occasion, of the realistic illusion. At the period when I was writing The Voyeur, for example, while I was trying to describe exactly the flight of sea gulls or the movement of waves, I had occasion to make a brief trip in winter to the coast of Brittany. On the way, I told myself: here is a good opportunity to observe things "from life" and to "refresh my memory." But from the first gull I saw, I understood my error: on the one hand, the gulls I now saw had only very confused relations with those I was describing in my book, and on the other it couldn't have mattered less to me whether they did or not. The only gulls that mattered to me at that moment were those which were inside my head. Probably they came there, one way or another, from the external world, and perhaps from Brittany; but they had been transformed, becoming at the same time somehow more real because they were now imaginary."

This is the perennial mistake of the ambitious writer who thinks he can write anything, though in reality he is incapable of writing anything. Was it Adorno who remarked that these notions of objectivity are often reversed; that while we call 'subjective' the process which engages specific matter and substitutes perception of the object for the consensus of those who do not even care to look at it - that this is, in fact, the 'objective'.
… (mere)
Joe.Olipo | 4 andre anmeldelser | Nov 26, 2022 |



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