Robbe-Grillet, Alain (Vol. 128)
Alain Robbe-Grillet 1922-
French novelist, screenplay writer, short story writer, essayist, and autobiographer.
The following entry presents an overview of Robbe-Grillet's career through 1996. For further information on his life and works, see CLC, Volumes 1, 2, 4, 6, 8, 10, 14, and 43.
A provocative literary experimenter, theoretician, and filmmaker, Alain Robbe-Grillet is one of the most influential and vigorously disputed French literary figures of the postwar period. As a leading proponent of the nouveau roman, or New Novel, during the 1950s and 1960s, Robbe-Grillet was instrumental in the formulation of avant-garde literary techniques that challenged basic assumptions about the possibility of truth, the function of literature, and the integrity of plot, character, and chronology in the conventional novel. Drawing attention to the indefinite, disconcerting quality of human experience and imagination, Robbe-Grillet's trademark fiction features the use of ambiguous narrators, surreal temporal dislocations and juxtapositions, sadoerotic imagery, and chosisme, a literary style involving meticulous description of external objects and activities. His groundbreaking novels Le Voyeur (1955; The Voyeur), La Jalousie (1957; Jealousy), and Dans le labyrinthe (1959; In the Labyrinth) became important models for subsequent antinovels and foreshadowed the literary theories of postmodernism.
Born in Brest, France, Robbe-Grillet was raised in the coastal region of Brittany by his eccentric mother and father, an engineer and former soldier; both parents were atheists with extreme right-wing sympathies. As a young reader Robbe-Grillet was captivated by Lewis Carroll's Alice stories and the exotic settings of Rudyard Kipling's novels. After receiving a secondary education at lycées in Paris and Brest, he won admittance to the Institut National d'Agronomie in 1942. However, his studies were interrupted by the Second World War, during which, under the terms of the Nazi Occupation of France, he was forced into compulsory labor service in Nuremberg, Germany, where he worked as a lathe operator in a Nazi tank factory from 1943 to 1944. Eventually graduating in 1945, Robbe-Grillet found employment at the National Institute for Statistics in Paris. He visited Bulgaria in 1948 to help rebuild railways as a volunteer member of the International Reconstruction Brigade. From 1948 to 1951 he worked as an agronomist for the Institute des Fruits et Agrumes Coloniaux, a position that included posts in Morocco, Guinea, Guadelope, and Martinique. He completed a first novel, Un Régicide, in 1948, but it was rejected by publishers and remained in manuscript until 1978. In 1951 Robbe-Grillet abandoned his scientific career to devote himself to full-time writing. His first published novel, Les Gommes (1953; The Erasers), received the Fénéon prize in 1954. He also contributed essays on literature to the newspaper L'Express and literary journal Critique. Many of these articles were reprinted in Pour un nouveau roman (1963; For a New Novel) along with his polemical writings on the New Novel. With the 1955 publication of The Voyeur, Robbe-Grillet received the Prix des Critiques award and became the center of critical controversy. Robbe-Grillet fortified his reputation as the leading representative of the New Novel movement with Jealousy in 1957 and In the Labyrinth in 1959. In 1955 he was employed as literary director at Editions de Minuit, the publisher of his books as well as those of Samuel Beckett and other New Novelists, including Claude Simon, Nathalie Sarraute, and Michel Butor. Robbe-Grillet married Catherine Rstakian in 1957.
During the 1960s, he produced a volume of short fiction, Instantanés (1962; Snapshots), and the novel La Maison de rendez-vous (1965; The House of Assignation). He also turned to filmmaking with screenplays for L'Anneé dernière à Marienbad (1961; Last Year at Marienbad), directed by Alain Resnais, L'Immortelle (1963; The Immortal One), Trans-Europ-Express (1967), and L'Homme qui ment (1968). With the exception of the first, Robbe-Grillet wrote and directed all of his films; several won awards at European film festivals. Over the next two decades Robbe-Grillet continued to alternate between cinema and fiction, producing films such as L'Eden et aprés (1970) and Glissements progressifs du plaisir (1973) and the novels Projet pour une révolution à New York (1970; Project for a Revolution in New York), Topologie d'une cité fantôme (1976; Topology of a Phantom City), and Souvenirs du triangle d'or (1984; Recollections of the Golden Triangle). The novel Djinn (1981) was written as a textbook for intermediate French language students. He also published three volumes of unconventional autobiography—Le Miroir qui revient (1984; Ghosts in the Mirror), Angélique ou L'Enchantement (1988), and Les Derniers Jours de Corinthe (1994). A guest lecturer at conferences throughout the world, Robbe-Grillet has also taught literature and film as a visiting professor at New York University and Washington University in St. Louis.
Robbe-Grillet's fiction is guided by the theoretical principles of the New Novel, a literary mode characterized by the deconstruction of narrative authority, metafictional techniques, and chosisme.In For a New Novel, Robbe-Grillet delineates his project to purify the novel of verisimilitude, tragedy, and the pathetic fallacy, the practice of attributing human emotions to the natural world, through the creation of objective, nonrepresentational texts that depict man's neutral relationship to the universe. Reacting against the philosophical outlooks of nineteenth-century realism and postwar existentialism, Robbe-Grillet asserts, “the world is neither meaningful nor absurd. It quite simply is.” The Erasers introduces many of the narrative devices found in his fiction, particularly the use of flashbacks, time lapses, and the obsessive repetition of events and observations. Drawing upon tropes and stereotypes of the detective thriller, a recurring aspect of Robbe-Grillet's work, the novel revolves around a perplexing murder investigation headed by special agent Wallas. No body is found at the crime scene and, as the reader soon learns, the reported victim, Daniel Dupont, has actually survived his attacker and is in hiding. Clues in the narrative begin to suggest that real Wallas is Dupont's murderer, a paradoxical suspicion that becomes when Wallas fatally shoots a man he assumes to be Dupont's returning assailant, but is Dupont himself. Resembling the structure of a Greek tragedy, the novel includes underlying allusions to the Oedipus myth, as the slain Dupont may also be Wallas's father. The Voyeur similarly involves a violent death and gradual unfolding of clues that reveal the identity of the perpetrator. The story's protagonist is Mathias, an itinerant watch salesman who arrives by ferry to an island community to make his rounds. While unsuccessfully peddling his wares to the local inhabitants, Mathias learns that a young girl, Jacqueline Leduc, has disappeared. When her body washes ashore, it is assumed that she has simply slipped and fallen into the ocean. However, as Mathias compulsively calculates the time expended on his sales route, he is unable to account for a lost hour. This computational anomaly and a panic-stricken sense of guilty lead Mathias to suspect that he has raped, tortured, and murdered Jacqueline himself and pushed her into the sea. The only possible witness, a young man named Julien Marek, does not implicate him and Mathias leaves the island with impunity. The voyeur of the title is ultimately uncertain, as either Mathias or Julien may have killed Jacqueline while the other watched. Along with themes of repressed memory and aberrant sexuality, the novel is permeated by the imagery of figure eights, represented by the double loops of rope, a pair of watching eyes, and Mathias's circuitous route on the island.
Jealousy, set on a banana plantation in the tropics, involves an untrusting husband who spies on his wife, referred to as A, in an effort to confirm his suspicion that she is having an affair with a neighboring man, Franck. The French word “jalousie” means both jealousy and slatted shutters, a double reference that alludes to the blinds through which the husband peers. Though the unnamed narrator's surreptitious observation of A. and her interactions with Franck reveal nothing conclusive, his preoccupation with her imaginary infidelity suggests a voyeuristic indulgence. The husband's detached description of events and objects, including the image of a crushed centipede—a symbol of his jealousy—underscores his emotional alienation and maddening inability to ascertain truth. In the Labyrinth involves a lost soldier who wanders the desolate streets of a wartime city in search of a man to whom he has agreed to deliver the personal effects of a fallen comrade. As the enemy army advances on the city, the soldier is wounded and eventually dies in an apartment occupied by a young woman and her small son. An attempt by Robbe-Grillet to produce a self-generating text based on neutral “signs” or “triggers,” the novel functions primarily around description of key objects in the room, including a bayonet, the undelivered box, and an engraved picture of a military debacle entitled “The Defeat of Reichenfels.”
Robbe-Grillet's subsequent experiments with the novel, which he has distinguished as nouveau, nouveau roman, draw increasingly upon themes of sexual fantasy and sadomasochism, blurring distinctions between art and pornography. The House of Assignation, set in Hong Kong, features sexual obsession and criminal dealings in a Chinese brothel, and Project for a Revolution in New York, only nominally a story of political intrigue, exploits pornographic motifs and the imagery of sexual violence. Likewise, Topology of a Phantom City and Recollections of a Golden Triangle portray apocalyptic future worlds in which sexual transgression and perversity is ubiquitous. His three autobiographical works—Ghosts in the Mirror, Angélique ou L'Enchantement, and Les Derniers Jour de Corinthe—represent an attempt to develop a new form of personal memoir, dubbed “new autobiography,” based on the free interplay of biographical fact, memory, and imagination.
Widely acclaimed as an iconoclastic literary innovator, Robbe-Grillet is considered among the most important French novelists of the 1950s and 1960s. His first four novels—The Erasers, The Voyeur, Jealousy, and In the Labyrinth—established him as one of the most original writers of his generation and remain his best known works. The Voyeur and Jealousy are still considered his most accomplished ventures in the New Novel form that he pioneered. Though many reviewers initially rejected his novels as incomprehensible and esoteric, important early critics such as Roland Barthes praised Robbe-Grillet and legitimized his theoretical principles. Critics often note similarities between Robbe-Grillet's work and that of Franz Kafka, Beckett, Albert Camus, and Jean-Paul Sartre, as well as Robbe-Grillet's intellectual debts to surrealism and phenomenology. While critics continue to appreciate his challenging textual puzzles and compelling treatment of human perception and the relativity of truth and individual experience, some note that his conceptual approach to art embodies its own limitations. In particular, his attempt to strip language and fiction of metaphor, allegory, and psychological associations is considered an ambitious though ultimately impossible and self-defeating task. As evidence, critics cite elements of humanism, existential anxiety, and symbolism in his work, all of which contradict his claims to pure objectivity or dispassionate description of the human condition. Ben Stoltzfus writes: “As a creator of fictions, he is asking his readers to believe in them, yet at the same time he negates the right to believe. He builds the reality of his fiction then he destroys it.” Consequently, many critics regard his novels and films after In the Labyrinth as repetitions of previous inventions rather than fresh developments. In addition, Robbe-Grillet has received unfavorable attention for his preoccupation with pornographic images, especially those including adolescent girls and sexual violence against women, which some consider a dehumanizing aestheticization of sexual desire. Despite such criticism, Robbe-Grillet is highly regarded as a major intellectual force whose radical literary enterprises exerted an indelible influence on contemporary experimental writing.
Les Gommes [The Erasers] (novel) 1953
Le Voyeur [The Voyeur] (novel) 1955
La Jalousie [Jealousy] (novel) 1957
Dans le labyrinthe [In the Labyrinth] (novel) 1959
L'Anneé dernière à Marienbad [Last Year at Marienbad] (screenplay) 1961
Instantanés [Snapshots] (short stories) 1962
L'Immortelle [The Immortal One] (screenplay) 1963
Pour un nouveau roman [For a New Novel: Essays on Fiction] (essays) 1963
La Maison de rendez-vous [The House of Assignation] (novel) 1965
Trans-Europ-Express (screenplay) 1967
L'Homme qui ment (screenplay) 1968
L'Eden et aprés (screenplay) 1970
Projet pour une révolution à New York [Project for a Revolution in New York] (novel) 1970
Rêves de jeunes filles [with photographs by David Hamilton; translated as Dreams of a Young Girl and Dreams of Young Girls] (text and photographs) 1971
Les Demoiselles d'Hamilton [with photographs by David Hamilton; translated as Sisters] (text and photographs) 1972
Glissements progressifs du plaisir (screenplay) 1973...
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SOURCE: “Alain Robbe-Grillet: Scientific Humanist,” in Bucknell Review, Vol. XV, No. 2, 1967, pp. 1-9.
[In the following essay, Wylie discusses the combination of humanist concerns and scientific observation in Robbe-Grillet's fiction. Noting the influence of Surrealism and existential philosophy on his work, Wylie writes, “For Robbe-Grillet the cosmos is neither absurd nor tragic; it simply is.”]
A return to stylistic experimentation sets Robbe-Grillet and the nouveau roman apart from their predecessors, the existentialists. Early criticism preoccupied itself with these technical innovations, with Robbe-Grillet's visual images and his striking use of language and vocabulary. This analysis seemingly considered subject matter of lesser importance or irrelevant. The truth is probably that early critics were unable to find a connecting link between Robbe-Grillet's themes and his literary technique. My description of the novelist as a “scientific humanist” is an attempt to provide this link.
By “humanist” I mean to describe any writer who concerns himself primarily with man and with those basic, unchanging problems which traditionally have been the province of literature, themes such as faith and despair, love, madness and war, freedom and creativity. The term “humanist” seems to have been first applied to various Renaissance scholars and philologists...
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SOURCE: “The Evolution of Narrative Viewpoint in Robbe-Grillet,” in Novel, Vol. 1, No. 1, Fall, 1967, pp. 24-33.
[In the following essay, Morrissette examines the development of narrative perspective in Robbe-Grillet's fiction and films. According to Morrissette, Robbe-Grillet's “ingenious and constantly varying narrative modes cover almost the entire spectrum of current experimentation and practice.”]
1. EMERGENCE OF THEORIES OF “JUSTIFIED” VIEWPOINT
Two decades ago the question of narrative viewpoint seemed quite amenable to critical analysis; yet today it appears one of the most ambiguous and unresolved aspects of fictional structure. The elimination of the omniscient narrator and his replacement by posts of observation within the fictional field are steps in a well-known history: first, in the English tradition of narrative analysis, James and Lubbock argued on esthetic grounds for observers located within the framework of the novel; then, in the French tradition, Sartre offered a systematic philosophical defense of internal viewpoints, holding that Einsteinian relativity and existential views of knowledge justify relative “frames of reference” in fiction and the restriction of content to that present in a “framing” consciousness. But the apparent stability of a fictional geometry based on internally justified viewpoints proved illusory, and the...
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SOURCE: “Internalized Reality: The Subjective Point of View,” in Narrative Consciousness: Structure and Perception in the Fiction of Kafka, Beckett, and Robbe-Grillet, University of Texas Press, 1972, pp. 134-48.
[In the following essay, Szanto examines the presentation of character and narrative perspective in Robbe-Grillet's fiction. According to Szanto, “Robbe-Grillet is not telling stories as much as he is creating characters—not really creating characters, either, as much as creating an atmosphere for a character.”]
There are a number of ways in which the narrator of a tale can present himself to a reader. Robbe-Grillet's first three novels, The Erasers, The Voyeur, and Jealousy are told in the third person, yet the importance of each novel lies in its capacity to produce the immediate presence of a narrator. In each novel the narrator exists at every point only within the character relevant to that particular narrative. There is no gratuitous description, no gratuitous object; everything is linked to the central character. Of The Voyeur, Bruce Morrissette remarks, “… even the most ‘neutral’ and innocent-seeming description of natural objects may contain, imperceptible at first glance but beyond a doubt fully intentional, some formal theme or coincidence of vocabulary that relates the object to the plot, or to the personality of Mathias, or to some...
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SOURCE: “Toward a New Novel: A Theory for Fiction,” in Narrative Consciousness: Structure and Perception in the Fiction of Kafka, Beckett, and Robbe-Grillet, University of Texas Press, 1972, pp. 123-33.
[In the following essay, Szanto discusses Robbe-Grillet's philosophical perspective and concept of the “new novel” as delineated in Towards a New Novel. Szanto notes that Robbe-Grillet's theoretical writings have “contributed to the rampant misunderstanding about his fiction.”]
Alone among the novelists discussed here, Alain Robbe-Grillet has published a volume of purposely theoretical writing. Kafka's diaries and letters, certainly not meant for publication, deal with the events, the day-to-day trivialities of his personal life; any information about his art must be carefully culled from them, and then it usually appears as its own kind of parable. Beckett's essays on Joyce and on Proust and his three dialogues with Georges Duthuit, all written before his presently published novels, these ostensibly deal with subjects other than himself; they explain what Beckett has discovered in the works of Joyce, Proust, and several modern painters but do not allow him to elaborate on what he adds to the innovations of those from whom he learned. On the other hand, although Robbe-Grillet's Towards a New Novel (Pour un nouveau roman) contains essays he has written about other...
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SOURCE: “Alain Robbe-Grillet: The Reflexive Novel as Process and Poetry,” in Symposium: A Quarterly Journal in Modern Foreign Literatures, Vol. XXX, No. 4, Winter, 1976, pp. 343-57.
[In the following essay, Stoltzfus examines the artistic, literary, and theoretical influences behind the creative process in Robbe-Grillet's fiction. “According to Robbe-Grillet,” writes Stoltzfus, “every fiction is the story of a gamesman in a quicksand world who is continuously reinventing himself.”]
The inner need that structures Alain Robbe-Grillet's novels and films seems to stem from the same creative source: his epistemology and the ontological imagination that surrounds it. His art as well as his essays have the precise optics of the scientist mingling with the sensibility of the artist, thus forming a kind of binocular vision: one form of perception seemingly canceling out the other, and the two together giving a view of the world that is existentially absurd.
The realism of Robbe-Grillet's novels and films belies an antirealism that is forever questioning the reality this realism is supposed to elicit. This process gives his art a rhythm that builds and at the same time destroys; it is a systole and a diastole whose expansions and contractions regulate the artistic flow of ideas. This metaphoric breathing implies two simultaneous and seemingly contradictory levels: the objective and...
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SOURCE: “Mirror, Mirror …,” in New Statesman & Society, November 4, 1988, p. 31.
[In the following review, Wood offers tempered assessment of Ghosts in the Mirror. “Fortunately,” writes Wood, “the writing itself is better than the pompous theory.”]
The New Novel in France was a lingering cross-channel stab at modernism, hampered in many ways by the assumptions it thought it was toppling. But it understood very well the interest of reported obsessions, and the way the wildest obsessions can hide in the tidiest, most rational-seeming of discourses.
In this book Alain Robbe-Grillet mentions a painting by Marc Tansey, held in the Museum of Modern Art in New York, which shows the writer in a desert of cultural rubble. It's called Robbe-Grillet cleansing everything in sight. Robbe-Grillet likes the picture, accepts the charge. He does collect details, miniatures, miscellaneous objects, does long for the order which will result from their classification. Yet he also recognises that this is not an antidote to obsession, but is itself obsessive; and he wants us to see the monsters and the ghosts which lurk in the ascetic landscapes of his novels and films.
This work is a “modest autobiography”, Robbe-Grillet says, a “sidelong look” at himself over his (then) 62 years. Those are his terms when he is feeling relaxed about the enterprise. He...
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SOURCE: “A Phenomenologist Bares His Heart,” in The New York Times Book Review, January 27, 1991, p. 24.
[In the following review, West offers favorable evaluation of Ghosts in the Mirror.]
Recently, during a panel discussion on Parisian television, a French novelist plucked out the earpiece of his headset and tossed it across the set at me; of course, being tethered, the earpiece merely rebounded.
Such antics seemed a long way from my no doubt severe notion of a French novelist, at least one of the 20th century. Consider, for example, Alain Robbe-Grillet, deviser and austere high priest of the French “new novel” that emerged in the 1950s, who used such works as The Voyeur (1955) and Jealousy (1957) to reveal the novel as a form in search of itself, emerging in his version as objective and non-psychological, rather like an inventory or timetable of plot-refuting and character-denying images of hard, inscrutable, untragic things.
Mr. Robbe-Grillet, the epitome of rational poise and calibrated steadiness, would never have tried such a stunt; instead, a voluminously described raspberry would have arrived in my mail, inviting me to respond with even more relentless philatelic finality, as if truth were a feat of exhaustion.
Scrupulously impersonal, in his novels at least, Mr. Robbe-Grillet won a reputation for meticulous, patient...
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SOURCE: “Alain Robbe-Grillet and the Fantastic,” in State of the Fantastic: Studies in the Theory and Practice of Fantastic Literature and Film, edited by Nicholas Ruddick, Greenwood Press, 1992, pp. 91-6.
[In the following essay, Chadwick and Harger-Grinling examine elements of fantasy in Robbe-Grillet's fiction. According to the critics, “Robbe-Grillet takes his reader into a fantastic world whose closeness to everyday existence prompts the kind of anxiety that he feels characterizes life in the late twentieth century.”]
The novels and films of Alain Robbe-Grillet were originally decried as too objective by those critics who had not studied this author in depth, or who took at surface value Robbe-Grillet's own pronouncements on his work. The two volumes of what may be his autobiography, Le Miroir qui revient (1984) and Angélique (1987), testify to the irony implicit in all the artist's creations. If these volumes are indeed autobiographical (Robbe-Grillet gives them the generic title “romanesques”;), then they are autobiographies in which it is the mind that is depicted, an inner reality, one that bears little resemblance to anything external. These romanesques are concerned with memory, both individual and collective, and are inspired by a world of the fantastic, associated in Robbe-Grillet's case with the inner world of childhood and the obsessional world of...
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SOURCE: “Absurdist Estrangement and the Subversion of Narrativity in ‘La Plage,’” in Modern Language Review, Vol. 89, No. 1, January, 1994, pp. 50-60.
[In the following essay, Milman provides analysis of Robbe-Grillet's metaphysical concerns and narrative presentation in the short story “La Plage.” Milman notes strong similarities between Robbe-Grillet's “absurd view of man” and the philosophical tenets of Albert Camus and Jean-Paul Sartre.]
In the ‘snapshots’ he wrote at the beginning of his career as a writer Robbe-Grillet established a new subgenre of the short story, a kind of 'story-picture’ in which he radically actualized the poetic approach of ‘Chosisme’. These story-pictures, including ‘La Plage’ which is the subject of this study, are thus not some immature experiment heralding Robbe-Grillet's innovative writing as it has been regularly scrutinized and publicized by critics (basing themselves on his novels). The time perspective allows one to see these apparent ‘études’ as the fullest realization, in both philosophical and aesthetic respects, of the unique writing of one of the major theoreticians of the French ‘Nouveau Roman’. It is therefore surprising that in contrast to his novels, which aroused and continue to arouse much critical response, Robbe-Grillet's short stories have been scarcely studied (not even in the fairly numerous monographs on his work...
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SOURCE: “Corinthian Casual,” in Times Literary Supplement, October 7, 1994, p. 12.
[In the following review, Sheringham offers tempered criticism of Les Derniers Jours de Corinthe. “If not for the pinch of irony which still enlivens Robbe-Grillet's writing, and his authentic merit as a stylist (often self-consciously paraded),” writes Sheringham, “few readers … would be likely to stay the course.”]
Not as quick off the mark in the autobiography stakes as some of his fellow nouveaux romanciers, Alain Robbe-Grillet has compensated for this by a higher rate of productivity. Les Derniers Jours de Corinthe is the third and apparently final instalment of a series called “Romanesques”, a label designed, presumably, to make it clear that straight autobiography is not the name of the game. The eponymous figure of Henri de Corinthe is once again used to make the same point. In Le Miroir qui revient (1985), Corinthe featured in a number of patently fictional passages which, from time to time, interrupted Robbe-Grillet's otherwise fairly conventional account of his background and early life. A composite figure—now a friend of the narrator's father, with traces of Proust's Swann, now a First World War soldier in scenarios deriving partly from the works of Claude Simon, now a legendary figure on a white charger—Corinthe was less an alter ego than an ever-changing...
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SOURCE: “Writing on the Ruins in Les Derniers Jours de Corinthe: From Reassemblage to Reassessment in Robbe-Grillet,” in French Review, Vol. 70, No. 2, December, 1996, pp. 231-44.
[In the following essay, Ramsay examines Robbe-Grillet's pastiche of autobiography, myth, memory, literary text, and history in Les Derniers Jours de Corinthe. According to Ramsay, “The text sets out to consciously stage, deconstruct, indeed to ‘ruin,’ both its own generative mechanisms and the monsters and the sirens lurking in the writer's subconscious.”]
Nous écrivons, désormais, joyeux, sur des ruines
—Alain Robbe-Grillet, Les Derniers Jours de Corinthe, 1994.
In this “new autobiography,” a writing of the self characterized by self-consciousness about the “impossibility” of any such definitive self-reconstitution, according to Robbe-Grillet, the reader is embarked, once again, on a ludic, intertextual journey through the ruins of humanist enlightenment, of tragedy, and of autobiography. Guided/lured by the pure and false Ariadne (alternatively, Mina, Marianic and Marie-Ange) along now familiar passageways strewn with the debris of Western culture and Robbe-Grillet's own earlier texts, the reader stumbles across artefacts inspired by images of cruelty in Lautréamont or Delacroix or “decadent”...
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Bogue, Ronald. “Roland Barthes, Alain Robbe-Grillet, and the Paradise of the Writerly Text.” Criticism: A Quarterly for Literature and the Arts XXII, No. 2 (Spring 1980): 156-71.
Examines the interrelationship between the novelist and critic in the development of Robbe-Grillet's fiction and the formulation of Barthes's literary theories.
Brown, Royal S. “An Interview with Alain Robbe-Grillet.” Literature-Film Quarterly 17, No. 2 (1989): 74-83.
Robbe-Grillet comments on the major themes, creative influences, and production of his films.
———“Serialism in Robbe-Grillet's L'Eden et aprés: The Narrative and Its Double.” Literature-Film Quarterly 18, No. 4 (1990): 210-20.
Provides analysis of the narrative and thematic structure of L'Eden et aprés.
DuVerlie, Claud. “Beyond the Image: An Interview with Alain Robbe-Grillet.” New Literary History XI, No. 3 (Spring 1980): 527-34.
Robbe-Grillet discusses the relationship between text and image in his novels and his artistic concerns in La Belle Captive and Topologie d'une cité fantôme.
Hayman, David. “An Interview with Alain Robbe-Grillet.” Contemporary Literature 16, No. 1 (Winter 1975): 273-85.
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