One of my favorite and most admired novels is Jealousie by Alain Robbe-Grillet. I first met Robbe-Grillet on a back-shelf at Papa Bach: the cover of the Grove paperback of Le Voyeur showing a beautiful naked woman surreptitiously through a bedroom window. I read Le Voyeur and La Maison de Rendez-vous at that time as if they were some new kind of literary magic that I didn’t understand but which I was certain contained hidden treasure.
It wasn’t until I read Jealousie that I began to understand what I eventually learned was the nouveau roman. Jealousie was the key to the magic.
Continue reading “Jealousie and Le Mis-en-Scène”
As I was reading Nathalie Sarraute’s Martereau I began to see a connection—a pattern—between her novel and a couple of other writers. Since Sarraute is one of the central practitioners of the nouveau roman, I immediately considered my favorite author, Alain Robbe-Grillet. But Sarraute’s novel was different (while still being the same) and all the attention to detail and to cerebral analysis brought Joseph McElroy to mind, especially his challenging novel, Actress In the House, or even more so his novel Women and Men that has challenged me for years and I have yet to conquer.
What is it about Martereau that makes it seem dense and demanding?
Continue reading “Tap, Tap, Tapping On the Same Nail”
I sat down to consider what I might say in a post focusing on my favorite author, Alain Robbe-Grillet. Specifically I was running through the events and the structure of what is possibly R-Gs most well-known novel, Le Voyeur. But despite having read this novel at least five times, I began to get confused.
It goes something like this:
Continue reading “Le Voyeur and Le Nouveau Roman”