Read Jealousy & In the Labyrinth by Alain Robbe-Grillet Free Online
Book Title: Jealousy & In the Labyrinth|
The author of the book: Alain Robbe-Grillet
Edition: Grove Press
Date of issue: January 14th 1994
ISBN 13: 9780802151063
Format files: PDF
The size of the: 777 KB
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Loaded: 1334 times
Reader ratings: 4.3
Read full description of the books:
this is on jealousy, a later later later later... addition: is it possible to read this one book too many times? does it render all other novels or anti-novels or experimental novels less than enjoyable in comparison? as much, that is not at all, as for me a beautiful woman or vista or world does defeat aesthetic appreciation of other times. this is not a best seller. r-g himself claims it is a 'long seller', that it has steady sales for years and years. i would like it to be fast and best and long selling, would like other authors to write like this, but maybe it is emotion and subject and perception that most authors find as too surreal, too empty of humans, impassive and emotionless, objective verging on dull, and just not holding attention of writer, let alone reader... so i will read it again, promote it again in my review, even myself try to write something like this...
this is on jealousy, 4th time:
well i do not know if this is actually only the 4th time: have read this, kept at waimea, every February on vacation read it again, so the question is more how many times have I been here? many times. decided to stop counting the books, but as the town library is still closed for renovations... I brought some long texts from home. this place is kind of home as well. so I have read them and a few books from my mom, on hawai'ian culture, then read this again...
4 times? sounds like I like it. very much, as effusive previous reviews note my enthusiasm. do not know if first read for class. know I loved it first, second, third, etc. times. have read a lot of philosophy since first read, have read a lot of other fiction, read a lot of Robbe-Grillet. so this is now a relatively educated read. and a good read. in some ways, have thought of this as graphics work, or mental movie, telling the story in images. do not know if my friends who like graphics would like it, though, as nothing much seems to happen. it is very much to the how the story is told, rather than what the story is. like the hollow of the narrator's perception, like the way his mind deliberately goes from image to image, perhaps spurred by what he does not want to see, how his view goes towards certainty such as counting the banana trees, watching the worker looking in the water- but in the latter case, wondering what he sees, how it is too muddy, then too swift to see anything. then there is his obsessive watching his wife writing or reading a letter. there is the seating plan set by his wife that seems to isolate him. there is the car arriving, his wife bending into the window, his wife bending near to pour a drink for Franck, there is the book they have read that seems like a literary for the infidelity imagined, there are so many distractions he tries to understand just so he does not think, does not inhabit, his jealousy. there are the wooden slats in the windows, the jalousies, that characterize his blinded uncertainty. there is of course, the centipede on the wall that Franck crushes, the stain this husband tries so hard to efface... as far as the sound goes I have to insist the accompanying intro is mistaken: it is very important, everything from the crackle of her brushing her hair similar to hissing of the lamp, to the sound of a truck on the highway he cannot see, to the noise some bird or other creatures such as the insistent cicadas... the noise increases in meaninglessness even as it increases in meaning for the narrator... I love this book, I can only repeat, almost mechanically, that how the story is told is what the story is told...
this is on in the labyrinth:
so i read this after many years, prepared to be disappointed… and i like it even more. i have read many lit classics, i have read modernists, postmodernists, since this book. i read more as i read more. i am incredibly affected by this style. i am further convinced that sometimes style is content. it is how this story is told that is what the story is told: a mental movie told in precise, overlapping, jump cut, cubist, multi-perspective, repeated, near-repeated, recurring visual motifs. there is a plot, but one others might render as short story or short novella. i am fascinated, i am frustrated- because i wish i could do this, could write this! i up the rating. i try to understand why i so enjoy this but cannot read beckett. i break my rule and add another by the same author as favourite but there is no need for apology.
i try to understand how it is so different from usual literature:
it is the precise, dispassionate, description of images that make up the story. these images are held together as if a montage, rewarding close inspection, in clarity unstained by the usual lit word characterizations of human emotions, metaphors, that nudge the reader to preferred reading, to competent reading, to the author’s obvious intent. there is freedom in reading, building, understanding, this story. or, rather, there is freedom that is not freedom. the story becomes not the plot, the characters, the theme, but the human life as rendered by images. dialog is cryptic, evasive, suggestive. order of the plot, of act, of dream, follows duration of consciousness and not clock and calendar. situation, geography, society, is all inferred by reader and remains unimportant- though this is no allegory, no borrowed fable, nothing but these images of progress through the labyrinth.
labyrinths are thought of as mazes, deferring or thwarting passage or escape, but this is not always the case. labyrinths are also meditative patterns walked in some old european churches. walk the pattern with close attention. it is worth it.
this is on in the labyrinth: 3rd time
so, i am sitting by the pool on a beautiful day, without my watch- and decide to just follow however long it takes me to read this book, again. why now? because it happens to interest me, and more so than books out of the town library. as reading it, i realized one reason why i find it easier to read than beckett: the images, as it is mostly description, are rendered simple, clear, however often repeated. even as it is apparent this man, this perspective, is feverish and/or dying, the language never wavers or becomes complex. it does not ask me to inhabit but only to observe. much easier for me. think maybe i will try his later works again.
this is on jealousy:
i could reread this forever, i am so impressed- not at all disappointed since so many years ago. i have read yes but more importantly lived, and so this document- i cannot call it a novel, which sounds too simple, nor text, which sounds too arid. this is a document from the unnamed eye who describes everything we see, a viewpoint easily shifting through time, repetition, close inspection, abstract stage directions, description, detail, obsession- the mind’s eye, the embodied eye, of a virulently jealous husband on his tropical plantation. it does not matter if his suspicions are true, it is more important that what he cannot count, measure, describe, may be the thoughts of betrayal that infect every sight.
i think there is some error in barthes’ introductory essay- mainly eliding the importance of the soundtrack as his emotions intensifies- and i cannot judge whether this is necessary to appreciate these novels, because i remember them, i have now some idea who heidegger is, who is barthes. but this is judged robbe-grillet’s masterworks for a reason.
i will probably read these again after many more years. again.
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Read information about the authorAlain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Alain Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary equivalent of a cubist painting. Yet his work is ultimately characterised by its ability to mean many things to many different people.
Robbe-Grillet wrote his first novel A Regicide (Un Régicide) in 1949, but it was rejected by Gallimard, a major French publishing house, and only later published with 'minor corrections' by his life-long publisher Les Editions de Minuit in 1978. His fi
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