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By Claude Simon

ISBN-10: 2707325945

ISBN-13: 9782707325945

Parus en 1974 dans les revues finlandaises, Archipel et Nord sont des poèmes en prose issus d'un voyage dans les airs, sur terre et sur mer. Archipel survole le « tissu de prés de bois de champs parallèles ». Les mots, les fragments de words sont éparpillés sur l. a. plage comme les îlots de « fin-land suo-mi : terre des marais ». Comme dans toute son œuvre, ici aussi Claude Simon est peintre. Les couleurs, les jeux de lumière, de nuages, le liquide et le végétal sont rendus avec une précision fluide. Sous le ventre de l"avion, c’est tout un monde de feu, de monstres issus des mythologies nordiques. Nord est une expérience existentielle, éclatée dans le poème, words interrompues par les croquis de villes, de maisons, rythmée de noms de lieux scandés avec jubilation : Sevettjärvi, Tcherksii, Anatyrle Baïkal… Un monde à l. a. Tchekhov qui renvoie pourtant à « comme quelque selected de sudiste », à cette Méditerranée d’où vient l’auteur. Qui avance sans bruit « dans l’enfance dans l. a. vieillesse su monde ».

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Of Donald Barthelme, one of his exemplary postmodernist ironists, Wilde writes: Like the pop artists, Barthelme puts aside the central modernist preoccupation with the epistemology, and it may well be the absence of questions about how we know that has operated most strongly to “defamiliarize” his (and their) work. 1 Obviously, I endorse Wilde’s point about postmodernism’s bracketing of modernist epistemological questions and the defamiliarizing effect of this move. But we part company when he specifies Barthelme’s ontological concerns as acceptance of the world, especially if he means this to be a characterization of postmodernist ontological concerns in general.

The climactic scene of the carnivalesque public execution in Times Square constitutes an ontological knot like the poker-game of Terra nostra, although on a larger scale. g. g. ” Pynchon Christine Brooke-Rose has described Thomas Pynchon’s first novel V. 27 I disagree; by my reading, V. is not a parody but a stylization, and not of classic realism but of modernist fiction—like Molloy, La Jalousie, Lolita, and other texts of stylized modernism. The distinction between parody and stylization upon which Brooke-Rose draws comes from Baxtin.

The evidence is so finely balanced that one hesitates between the epistemological and the ontological lines of explanation, without finally resolving the hesitation; hence the “fantastic” effect. The difference between The Turn of the Screw and Lot 49—and it is a crucial difference—is, of course, that James’s governess is herself unaware of the alternatives, believing in the “ghostly” explanation from the outset; the teetering between alternatives goes on “above her head,” a problem for students of literature but not for her.

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Archipel et Nord by Claude Simon

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