Book contents
- Frontmatter
- Dedication
- Table of Contents
- Acknowledgements
- List of Abbreviations
- Introduction
- 1 Youthful Writings
- 2 Photographic Writing
- 3 Towards the Novel
- 4 Image and Text
- 5 The ‘Novel’
- 6 ‘Autobiography’
- 7 Towards the Roman Faux
- 8 The Roman Faux
- 9 Thanatographical Writing
- 10 The Fictitious, the Fake or the Delirious
- Conclusion
- Notes
- Notes to Chapter One
- Notes to Chapter Two
- Notes to Chapter Three
- Notes to Chapter Four
- Notes to Chapter Five
- Notes to Chapter Six
- Notes to Chapter Seven
- Notes to Chapter Eight
- Notes to Chapter Nine
- Notes to Chapter Ten
- Notes to Conclusion
- Bibliography
- Index of Names
- Index of Notes
2 - Photographic Writing
- Frontmatter
- Dedication
- Table of Contents
- Acknowledgements
- List of Abbreviations
- Introduction
- 1 Youthful Writings
- 2 Photographic Writing
- 3 Towards the Novel
- 4 Image and Text
- 5 The ‘Novel’
- 6 ‘Autobiography’
- 7 Towards the Roman Faux
- 8 The Roman Faux
- 9 Thanatographical Writing
- 10 The Fictitious, the Fake or the Delirious
- Conclusion
- Notes
- Notes to Chapter One
- Notes to Chapter Two
- Notes to Chapter Three
- Notes to Chapter Four
- Notes to Chapter Five
- Notes to Chapter Six
- Notes to Chapter Seven
- Notes to Chapter Eight
- Notes to Chapter Nine
- Notes to Chapter Ten
- Notes to Conclusion
- Bibliography
- Index of Names
- Index of Notes
Summary
In the texts studied in this chapter we shall see the story beginning to be engendered by photographs set alongside the text, first of all without any attempt at integration (Vice), then becoming integrated into the narrative (Suzanne et Louise). The writer then proceeds to another stage in the relationship between image and text in L'Image fantô me in which photography feeds the text while remaining absent from it. As for themes, they will be similar to those of La Mort propagande but worked out in a more polished way.
LA PIQÛ RE D'AMOUR ET AUTRES TEXTES SUIVI DE LA CHAIR FRAÎCHE [TEXTS DATING TO 1980]
The stories (eight in number, called ‘nouvelles’ [‘short stories’] on the back cover, though the text is not signed Hervé Guibert) that I shall be discussing were written between 1977 and 1980: ‘La Piqûre d'amour’; ‘Le Lanceur de couteaux’; ‘Copyright, cinéma’; ‘La mâchoire de l'Harski’; ‘Une petite bonne femme sans histoire’; ‘L'ami allemand’; ‘Le critique photo’; ‘Le trio mystérieux’ (‘The Love Injection’; ‘The Knife Thrower’; ‘Copyright, Cinema’; ‘The Harski's Jaw’; ‘A little Woman who did not make a fuss’; ‘The German Friend’; ‘The Photographic Critic’; ‘The Mysterious Trio’). As such, it would take too long to summarise them all. Most of them were first published in the review Minuit (see Bibliography). The narrator, referring to the one called ‘Une petite bonne femme sans histoire’, talks of a ‘récit’ (‘story’) (PA, p. 35). ‘La piqûre d'amour’, which gives its title to the collection, comes first and is the only eponymous text; everything points to Guibert having insisted on this order since the back cover indicates that all the stories were gathered ‘dans un dossier intitulé La piqûre d'amour’ (‘in a dossier called La piqûre d'amour’). Some stories are heterodiegetic (such as ‘La piqûre d'amour’) while others are autodiegetic (such as ‘Le lanceur de couteaux’); there are no homodiegetic stories, strictly speaking. In the autodiegetic stories the narrator sometimes says ‘je’ (‘I’) (as in ‘Le Lanceur de couteaux’) but also ‘il’ (‘he’) (as in ‘L'ami allemand’). Elements of a markedly autobiographical nature recur as in ‘Une petite bonne femme sans histoire’, where the little brother is described as ‘un garçon efféminé’ (p. 32) (‘an effeminate boy’) and the sister's story is told.
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- Information
- Hervé GuibertVoices of the Self, pp. 41 - 70Publisher: Liverpool University PressPrint publication year: 1999