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Le "Grand Incendie de Londres": Suivi de La Destruction; La Boucle; Mathématique; Impératif catégorique; Poésie; La Bibliothèque de Warburg (1989)

de Jacques Roubaud

Sèrie: Le Grand Incendie de Londres (Livre 1 de la Branche 3)

MembresRessenyesPopularitatValoració mitjanaMencions
1963137,536 (3.98)11
"I've devoted myself to the enterprise of destroying my memory . . . I set fire to it, and with its debris I charcoal-scrawl the paper." Part novel and part autobiography, The Great Fire of London is one of the great literary undertakings of the last fifty years. At various times exasperating, daunting, moving, dazzling, and challenging, it has its origins in Jacques Roubaud's attempt to come to terms with the death of his young wife Alix, whose presence both haunts and gives meaning to every page.Having failed to write his intended novel ("The Great Fire of London"), instead he creates a book that is about that failure, but in the process opens up the world of the creative process, which is at once an attempt to bring order to his ravaged personal life and to construct an intricate literary project that functions according to strict rules, one of them being the palindrome.But rather than a confessional novel about himself and his wife, Roubaud follows in the tradition of the troubadours, where the objects of grief and love are identified obliquely and through literary artifice. At all times, Alix and his anguished loss of her are paramount, but usually couched or disguised by the writer's obsessive need to filter that anguish through reflections of the art of writing.The Great Fire of London consists of a main text ("story") and two sets of digressions ("interpolations" and "bifurcations"). Although best to read the insertions as they appear (indicated in the main text with cross-reference markers), this is an interactive text in which readers can decide for themselves how they wish to proceed. Roubaud's novel stands as a lyrical counterpart of those great postmodern masterpieces by fellow Oulipians Georges Perec (Life: A User's Manual) and Italo Calvino (If on a Winter's Night a Traveler). "Roubaud has finally produced a book that his great and varied talent had always promised...a beautifully controlled examination of the effect on him of his wife's death and of the failure of his literary ambitions" - The Independent"For 20 years, the anguished narrator has wanted to write the non-novel we are now reading - it was once called Project, as Finnegans Wake was once called Work in Progress. He begins by writing the first sentence and then about how the first sentence looks on the page, the fall of light from his desk lamp on the sentence, the breaking darkness outdoors slowly wiping out the yellow lampglow on his desk, and so on, all with the intention of giving us a story that, as it goes along, self-destructs sentence by sentence. Can this be authorial suicide?" - Kirkus Reviews… (més)
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I will forever cherish Roubaud's idea of drab insularity as to English literature, but other than his asides on Boston, the British Museum and what constitutes a proper croissant, I'm not sure what would weigh in my memory.

As a postscript, I do think about this work rather often. I bought Mathematics with optimistic leanings, albeit yet unrealized. The chief issue with both The Loop and Mathemmatics remains, of course, the threads which require enhanced concentration i.e. these aren't books to lug to work. ( )
  jonfaith | Feb 22, 2019 |
  JimElkins | Jan 27, 2014 |
Robaud's effort to preserve his memories as prose; eliminating them as memories. A memoir with digressions, like something Sebald or Marias might write. It started slow. As it went on, the good parts were great, but there was also a substantial slog near the end with no payoff that I could detect. The fifth chapter is a failed attempt to impose the structure of a geometry proof and mathmatics text on the project. (I know this sounds promising to some of you. Me, too. It was disappointing. Swann's Way would not be improved by throwing in a math text three-quarters of the way through. Neither was this.) I strongly recommend skipping chapter five, except for the digressions. You and the book will be better for it. ( )
7 vota slickdpdx | Sep 18, 2013 |
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This morning of 11 June 1985 (it's five o'clock), while writing this on the scant space left free by the papers on my desktop, I hear passing, in the Rue des Francs-Bourgeois, two floors below on my left, a delivery van which has no doubt pulled up in front of the former Nicolas store beside the Arnoult butcher shop.
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"I've devoted myself to the enterprise of destroying my memory . . . I set fire to it, and with its debris I charcoal-scrawl the paper." Part novel and part autobiography, The Great Fire of London is one of the great literary undertakings of the last fifty years. At various times exasperating, daunting, moving, dazzling, and challenging, it has its origins in Jacques Roubaud's attempt to come to terms with the death of his young wife Alix, whose presence both haunts and gives meaning to every page.Having failed to write his intended novel ("The Great Fire of London"), instead he creates a book that is about that failure, but in the process opens up the world of the creative process, which is at once an attempt to bring order to his ravaged personal life and to construct an intricate literary project that functions according to strict rules, one of them being the palindrome.But rather than a confessional novel about himself and his wife, Roubaud follows in the tradition of the troubadours, where the objects of grief and love are identified obliquely and through literary artifice. At all times, Alix and his anguished loss of her are paramount, but usually couched or disguised by the writer's obsessive need to filter that anguish through reflections of the art of writing.The Great Fire of London consists of a main text ("story") and two sets of digressions ("interpolations" and "bifurcations"). Although best to read the insertions as they appear (indicated in the main text with cross-reference markers), this is an interactive text in which readers can decide for themselves how they wish to proceed. Roubaud's novel stands as a lyrical counterpart of those great postmodern masterpieces by fellow Oulipians Georges Perec (Life: A User's Manual) and Italo Calvino (If on a Winter's Night a Traveler). "Roubaud has finally produced a book that his great and varied talent had always promised...a beautifully controlled examination of the effect on him of his wife's death and of the failure of his literary ambitions" - The Independent"For 20 years, the anguished narrator has wanted to write the non-novel we are now reading - it was once called Project, as Finnegans Wake was once called Work in Progress. He begins by writing the first sentence and then about how the first sentence looks on the page, the fall of light from his desk lamp on the sentence, the breaking darkness outdoors slowly wiping out the yellow lampglow on his desk, and so on, all with the intention of giving us a story that, as it goes along, self-destructs sentence by sentence. Can this be authorial suicide?" - Kirkus Reviews

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Mitjana: (3.98)
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