Nothing, one day, seemed more imperative to me than the project of composing a book whose fiction would be constructed not as the representation of some preexistent entity, real or imaginary, but rather on the basis of certain specific mechanisms of generation and selection. The principle of selection may be called overdetermination. It requires that every element in the text have at least two justifications. In this perspective, each element is invested with a coefficient of overdetermination. If there is a (...) choice to be made between two overdetermined elements, the one with the highest coefficient of overdetermination will always be chosen. This principle, as we might expect, was not elected at random: it corresponds to any text construed as nonlinear. Take, for example, the simplest element, with a coefficient of two. A double relation connects it with the text: the one due to its place in the written line , and the one linking it with some other element in the text . By operating at a maximum level of multiple determinations, the text is elaborated by means of a maximum number of transversal relations, in a field diametrically opposed to the realm of the linear. Jean Ricardou is equally well known for his fiction, including L'Observatoire de Cannes , La Prise de Constantinople , Les Lieux-dits , and Les Révolutions Minuscules , and his criticism, including Problèmes du Nouveau Roman , Pour une Theorie du Nouveau Roman , and Le Nouveau Roman , LE PARADIGME d' Albert Ayme , and a collection of essays, Nouveaux Problèmes du Roman. His "Composition Discomposed" appeared in the Autumn 1976 issue of Critical Inquiry. Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy and modern literature from the University of Paris and the University of Geneva. (shrink)

On the fictional level, La Route des Flandres deploys a world in the process of complete disintegration. The manifestly privileged situation is the debacle of the French army in 1940 in which a number of the novel's protagonists are involved: George, the narrator; his cousin, Captain de Reixach; Iglésia, previously the Captain's jockey, now his orderly; Blum, Wack, and their horses. The havoc wrought by the military debacle can be subdivided into five categories. With the dissociation and decimation of the (...) army . . . and the disintegration of the discipline which had consolidated it . . . an entire military order is in the course of demolition. The breakdown of the military organization is accompanied by a parallel dissolution of the social order. Scattered along the roads, the civilians have lost their essential function, their trade. And, in an incident which occurs in front of the captain, when a peasant threatens the deputy mayor with his hunting rifle, we detect a direct reversal of the civic order. In the mechanical order, the all but dismembered automobiles . . . and the dismantlement of their motors contribute to the general tide of dilapidation and decay. The spatial order, represented here by the traditional military space, endowed with significance and hierarchically divided into front and rear, becomes depolarized with the disappearance of the battle lines and the inextricable entanglement of the two armies . . . The temporal order, the chronological arrangement of events, is subject to a similar vitiation. Jean Ricardou is equally well known for his fiction, including L'Observatoire de Cannes , La Prise de Constantinople , Les Lieux-dits , and his criticism, including Problèmes du Nouveau Roman , Pour une Theorie du Nouveau Roman , and Le Nouveau Roman ."ARTISTS ON ART: Birth of a Fiction" appeared in the Winter 1977 issue of Critical Inquiry. Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy and modern literature from the University of Paris and the University of Geneva. (shrink)

Deliberately employing rather vague terms, let us postulate a literature of the past and a literature of today.Two very simple ways of bringing them into relation are conceivable. One might adopt a prospective attitude, which would consider today's literature in the light of the past's. Or one might adopt a retrospective attitude, which would consider the literature of the past in the light of today's. The two positions are not equivalent. The prospective attitude is threatened with sterility: it may well (...) find itself mainly seeking in today's literature the trace of that which was active in the literature of the past, that is, the persistence of something which is now perhaps fading away. The retrospective attitude, on the other hand, has a good chance of proving fruitful: what it tends to seek in the literature of the past is a foreshadowing of that which is alive in the modern text, that is, the beginnings of what is now in effect. In short, the former tends to minimize the innovations of today's text; the latter tends to stress the innovations in the text of the past.Clearly, this does not mean that today's text has a metaphysical role—that of containing a truth which would illuminate its inarticulate beginnings in the text of the past. Rather, today's text has an operative role—that of an instrument with which to analyze the text of the past. And this retrospective analysis is threefold: it detects the way the text works; it explains the way the text works; it specifies the way the text works. In the first two operations, detection and explanation, the resemblances between a highly active process in a recent text and a less intense one in an old text are turned to account. In the third operation, specification, the differences between the two are stressed.If we subject Proust's Remembrance of Things Past to a retrospective analysis in the light of the recent literary movement that has been named the New Novel, we immediately perceive, in Proust's work, a highly significant process. We are, in fact, witness to the beginnings of a monumental metamorphosis: a famous linguistic operation, metaphor, undergoes a radical change in function. It used to be mainly expressive or representative; with Proust, it becomes productive. Let's see how.Jean Ricardou is the author of many works of fiction and criticism. His most recent critical works are Nouveau problèmes du roman and the forthcoming Le théâtre des métamorphoses. His previous contributions to Critical Inquiry are "Birth of a Fiction" and "Composition Discomposed" . Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy, and modern literature from the University of Paris and the University of Geneva. (shrink)