Post Exoticism in 10 Lessons, Lesson 11 by Antoine Volodine

Author:Antoine Volodine [Volodine, Antoine]
Language: eng
Format: azw3
Tags: French Literature, Short Stories, Weird Fiction, Fiction
ISBN: 9781940953120
Publisher: Open Letter
Published: 0101-01-01T00:00:00+00:00

absence of swaying and quietly stumbling so as to recreate it. The conversation continued like such, advancing the cause of progressive literature. Irina Kobayashi passed away that same year, from a hemorrhage she suffered when someone slashed her knuckles to the bone. As always when one of our own was murdered, we formed a community bearing her name. Her voice resonated with ours, inside ours. Her memory continued to exist, to mix in thoughts we could claim as our own, and it continued to create images where we moved with happiness, dreams that denied reality and subverted it. Irina Kobayashi’s two final works are admirable: Low Waters, Waters Very Low, a sweeping, symphonic, deeply moving romånce about extermination, and Dangerous Verbiage, a collection of lyrical interjoists, also of breathtaking splendor. Several of us disappeared in those days: Jean Khorassan, Verena Nordstrand, Rita Hoo, William Lethbridge, Vassilissa Lukaszczyk. Like all those who had preceded them on the list of the dead, we paid them homage. In the high-security sector, the survivors have always considered that they could serve as vocal and physical support to the intelligence of those who no longer answered calls. For example, we resuscitated the poetic vein of Verena Nordstrand, spitting on the world of the enemy her imprecations and inimitable slogans; or we imitated Vassilissa Lukaszczyk’s style to breathe fire into recitacts spoken before our cells’ sanitary tiling; or else, we dramatized Jean Khorassan and Rita Hoo in interjoists and romånces. All of us endeavored to prolong their terrestrial presence. Personalities changed, signatures blended together like blood bonds: we sometimes would print the names of the deceased beneath the texts we composed; or, conversely, we laid claim loud and clear to crimes, or books, authored by our disappeared brothers and sisters. We passed the time soliloquizing in this fashion, between life and death, always knowing how to distinguish in the secrets of even the shortest sentences what was born of the heteronymy and what took part in the orthonymy, but hardly concerning ourselves with making a remark on the subject. It was however desirable and useful to explore the question, I mean useful for post-exoticism, for our literature. Around that spring, Irina Kobayashi’s last, Lutz Bassmann tackled this theoretical task. He invented the concepts of mute voice, under-narrator, fictive speech, counter-voice, dead voice, sub-realism, polychrony, narrative apnea, etc. All these notions immediately facilitated analysis of our texts and helped us to appreciate them, and to improve their melodic capacity, and to. And to. And to love them even more. They clung to the true nature of our quixotic poetry and they allowed us to evaluate successes and failures, an exercise that was often a struggle for the tools we sometimes borrowed from the official critics’ junk box. By the end of the millennium, several debates had taken place, enriching Bassmann’s proposed terminology. Their unfolding has been depicted in a handful of romånces, such as Summation Number Zero, A Hen at Bloudy-Mongo’s, or Autopsy of a Korean Woman,

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