La Disparition

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Perec's first novel Les Choses (published in English as Things: A Story of the Sixties) (1965) was awarded the Prix Renaudot. France nouvelle, n o174, 16-22 avril 1979. Repris dans Entretiens et conférences, Éditions Joseph K., 2003, volume II, p. 63. Born in a working-class district of Paris, Perec was the only son of Icek Judko and Cyrla (Schulewicz) Peretz, Polish Jews who had emigrated to France in the 1920s. He was a distant relative of the Yiddish writer Isaac Leib Peretz. Will the steadfast searchers smoke out the missing symbol needed to conclude their search? Who knows? But to add a pinch of piquancy, such stealth might be hazardous, even life-threatening. Organisation de la narration [ modifier | modifier le code ] Structure [ modifier | modifier le code ]

He’ll just break the grammar and spelling rules: e.g. l’oisir instead of l e loisir (“leisure”) @ p261; m’uicidant instead of m e suicidant (“killing myself”) @p277. The phrase, "half-moribund survivor," is apparently a substitute for "half-dead." The book is replete with examples of complex, Latinate words substituting for simpler, Anglo-Saxon ones. The result is a quirky and often pleasing archaism and formality. par le contenu: «On y trouvera un florilège de poèmes, une théorie de la production littéraire, un roman policier entrecoupé de pas mal de récits d’aventures, quelques chansons, une comptine, une variation sur le Cantique des cantiques, des lipogrammes dans le lipogramme, un palindrome, plusieurs sagas de vengeance, une mine de calembours, une réécriture lipogrammatique d’un exemple pour manuel de dactylographie, quelques enchâssements narratifs, un compendium de citations, du latin, de l’allemand, de l’anglais, du français châtié, banal, argotique, désuet, cuistre, franglais, inouï, impossible [4 ].» Stella Béhar, Georges Perec: La Disparition. Des manipulations pour occulter le réel, Paroles Gelées (UCLA French Studies), Vol. 6, 1988. Entretien avec Bernard Pous, 20 mars 1981. Repris dans Entretiens et conférences, Éditions Joseph K., 2003, volume II, p. 184.John Lee, Brise ma rime, l’ivresse livresque dans La Disparition, Revue Littératures n o7, Printemps 1983, Université de Toulouse-Le Mirail, p.12.

Said law gov rns th compl xly plott d book; that it can b r ad in at l ast two languag s without th common st l tt r d ploy d is a r markabl f at ind d. Asid from th xhibitionistic goal of the nov l, it's a hilarious r ad. Th l ngths P r c go s to avoid (A Void) th l tt r ‘ ‘ is at tim s hilariously absurd. Th fact is allud d to through m taphors, plot points, and asid s throughout the nov l. Le roman a été traduit en allemand sous le titre Das Verschwinden, en espagnol sous le titre La desaparición, en italien sous le titre La scomparsa et en néerlandais sous le titre Het Verdwijnen. And I’m not even trying to omit the ‘e’. I’ll just say that both my parents are very much alive. My grandparents, with the exception of my paternal g-pa, lived to rather rich old ages, given their dirt=farming lives. He uses common acronyms of terms that contain the letter “e” e.g.. PDG (pr ésid ent dir ect eur g en éral e). These three different technical problems create three distinct expressive effects. They will remind a reader of different kinds of writing (Latinate, scholarly, gruff, inept, childish...). These three and many more identifiable and guessable solutions to avoiding the letter "e" combine and multiply relentlessly, producing a situation in which a reader has, I think, two choices: either stop reading in the ways we have all been accustomed to read literary fiction, and think of "A Void" as one enormous conceptual experiment, in the line that lead to Kenny Goldsmith, or continue reading as if this is normative fiction, and be continuously distracted by turns of phrase that seem unaccountably Latinate, strangely scholarly, inappropriately gruff, unaccountably inept, irrelevantly childish, and so on. The difficulty in opting for the general, conceptual reading is that "A Void" isn't structured like Goldsmith's "Day," "Traffic," "Sports," or others: "A Void" has a narrative, and makes use of all the structures of fiction we have learned to name and analyze since New Criticism, or since Barthes. The many readers who seem to experience "A Void" as the product of a single rule end up taking a few exceptional passages to stand for a full reading. I think that is only possible if you skim the book, ignoring its stylistically ragged surface in favor of its single generative rule.Warren F. Motte Jr, Jeux mortels, in Études Littéraires: Georges Perec: écrire/transformer, Université de Laval., Québec, vol 23. n o1-2, été-automne 1990, ( ISSN 0014-214X). Une copie en est publiée par Stella Béhar dans Georges Perec: écrire pour ne pas dire, Currents in Comparative Romance Languages and Literatures, Peter Lang, 1995, p. 91. Claude Burgelin, Le silence de Perec, in Relire Perec, actes du colloque de Cerisy, La Licorne 122, Presses Universitaires de Rennes, 2016, p. 20.