By Michel Foucault
James Faubion (Intro), Charles Ruas (tr.), John Ashbery (postscript)
Death and the Labyrinth is exclusive, being Foucault's in simple terms paintings on literature. For Foucault this used to be "by a long way the e-book I wrote most simply and with the best pleasure". right here, Foucault explores idea, feedback and psychology throughout the texts of Raymond Roussel, one of many fathers of experimental writing, whose paintings has been celebrated through the likes of Cocteau, Duchamp, Breton, Robbe Grillet, Gide and Giacometti.
This revised variation contains an advent, chronology and bibliography to Foucault's paintings by way of James Faubion, an interview with Foucault, performed purely 9 months prior to his demise, and concludes with an essay on Roussel through the poet John Ashbery.
From Publishers Weekly
In Roussel's fictional global, a clutter of kittens plays on parallel bars, humans cover themselves as tiny items, a guy wears a bracelet that may be a substantial earthworm. His novels, naive performs and poems, which mesmerized the French Surrealists, are populated by means of human machines, fans taken without notice, magical components, prisons and tortuous indicators. Roussel's be aware innovations encouraged Giacometti, and Gide respected him as a genius, but this recluse who it sounds as if dedicated suicide in 1933 is this present day thought of a minor author. Foucault (Madness and Civilization initially released this in-depth literary research in 1963. concerning Roussel's ties to the Surrealists as incidental, Foucault exhibits how Roussel used childlike units, notice puzzles, double entendre and unfastened organization to create smooth myths and release the subconscious. Roussel's topics are imprisonment and liberation; Foucault, famous for his experiences of insanity, prisons and sexuality, has a usual affinity for this compelling, occasionally vague author whose international of inhuman attractiveness turns out constantly on the brink of divulging its secrets and techniques. February 21
From Library Journal
This e-book was once written approximately twenty years in the past, simply after Foucault had chanced on the works of Roussel, a latest of Proust whose works, whereas no longer as a rule renowned, have encouraged a few glossy writers together with Robbe-Grillet. Foucault explores the relation of phrases and issues and paradoxes of language, time, and house in Roussel's paintings. this can be the one paintings of Foucault that bargains with literature as such and it truly is an enticing and illuminating functionality. The booklet features a helpful advent by way of John Ashbery and an interview with Foucault, yet American readers who're no longer acquainted with contemporary French feedback, Foucault, or Roussel will locate it tricky and of marginal curiosity. Richard Kuczkowski, Dir., carrying on with schooling, Dominican Coll., Blauvelt, N.Y.
"One of the real issues concerning the Roussel booklet, even though, is that it indicates that method of literature in complete flight. And examining it's a excitement, yet a excitement that isn't unmixed with soreness. Foucault's personal entertainment, not just of the texts of Roussel, yet of the method of manufacturing his analyses of these texts, is contagious. And if that makes us return and browse a few of Roussel's paintings, then the ebook has served a major function... given Foucault's personal fondness for subjugated knowledges and forgotten histories, we might be good justified in uncovering this mystery love of an anguished and obsessive younger philosopher." —Timothy O'Leary, Foucault stories, February 2009 (Timothy O’Leary)
“One of the $64000 issues in regards to the Roussel e-book, even though, is that it exhibits that method of literature in complete flight. And studying it's a excitement, yet a excitement that's not unmixed with ache. Foucault’s personal leisure, not just of the texts of Roussel, yet of the method of manufacturing his analyses of these texts, is contagious. And if that makes us return and skim a few of Roussel’s paintings, then the e-book has served a tremendous function… given Foucault’s personal fondness for subjugated knowledges and forgotten histories, we might be good justified in uncovering this mystery love of an anguished and obsessive younger philosopher.” –Timothy O’Leary, Foucault experiences, February 2009 (Sanford Lakoff)
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Additional resources for Death and the Labyrinth: The World of Raymond Roussel
Nor has it been overlooked that it could be turned into a game and a source of pleasure. Thus by necessity and by choice, words are often turned away from their original meaning to take on a new one which is more or less removed but that still maintains a connection. ' " In the space created by this displacement, all the forms of rhetoric come to life—the twists and turns, as Dumarsais * Cesar Dumarsais, Les Tropes, 2 vols. (Paris, 1818). The first edition is dated 175-. i8 DEATH AND THE L A B Y R I N T H would put it: catachresis, metonymy, metalepsis, synecdoche, antonomasia, litotes, metaphors, hypallage, and many other hieroglyphs drawn by the rotation of words into the voluminous mass of language.
It is not built on the certainty that there is secrecy, only one secret that is wisely kept silent; on the surface it sparkles with a glaring doubt and hides an internal void: it is impossible to know whether there is a secret or none, or several, and what they are. Any affirmation that a secret The Threshold and the Key i3 exists, any definition of its nature, dries up Roussel's work at its source, preventing it from coming to life out of this void which it animates without ever satisfying our troubled ignorance.
Roussel seems to respect chronological order; in explaining his work he follows the thread leading directly from his early stories to the just-published Nouvelles Impressions d'Afrique (New Impressions of Africa). Yet the structure of the discourse seems to be contradicted by its internal logic. In the foreground, writ large, is the process he used to compose his early writings; then, in ever-narrowing degrees, come the mechanisms he used to create the novels Impressions d'Afrique (Impressions of Africa) and Locus Solus * Raymond Roussel, How I Wrote Certain of My Book, translated from the French, with notes, by Trevor Winkfield (New York: SUN, 1975, 1977).