Archive for August, 2016
Since the announcement of Michel Butor’s death a few days ago, obituaries, hommages, appreciations and recollections have appeared in the quality press across Europe . But not here in the UK. Not a word.
It wasn’t always thus. In 1956, Butor’s second novel, L’Emploi du temps, was published, with an English translation appearing in 1960 (Passing Time). The setting was immediately recognisable to British readers – a northern English city, rain drenched and fog bound, grimy and sooty, where you can’t get a drink until evening, and you can’t get a decent meal anywhere, at any time.
This was Manchester, where Butor, fresh from teaching in Egypt and ‘inundated with sun’, came for a two-year stint as a lecteur at the University. Manchester, masquerading as Bleston, where Revel, a young Frenchman, came for a one year contract translating documents for a shipping company.
It’s not the city’s landmarks that make it so recognisable. Butor keeps some features but plays fast and loose with their relative positions, adds a second Cathedral, and configures the railway stations in a kind of noose around the city centre. He transforms Belle Vue into Plaisance Gardens. His street names mingle the authentically Mancunian (Chorley) and the generic (New Bridge, Birch Street) with odd-sounding names such as Continents, Mountains or Geology.
Anyone trying to use the frontispiece map as a guide to Manchester would very soon get as lost as Revel did – quite apart from the liberties Butor has taken with the real city, the map shows only those streets and landmarks which play a part in the narrative. Manchester’s Strangeways prison does, however, retain its distinctive shape and is a brooding presence at the heart of the novel.
Manchester’s rain and fog, the smoke from its chimneys, the days without daylight, the sprawl of the city in which one could walk for hours and not reach the countryside, the black water of the canal – these are both the reality of 1950s Manchester and its myth.
And the novel draws you in with its opening chapter, which blends poetry
Suddenly there were a lot of lights. … I gradually struggled free of drowsiness, sitting there alone in the corner of the compartment, facing the engine, beside the dark window-pane covered on the outside with raindrops, a myriad tiny mirrors each reflecting a quivering particle of the feeble light that drizzled down from the grimy ceiling
with the mundane miseries of travel
this was not the fast through train which I ought to have taken and on which I was to have been met; I had missed that by a few minutes at Euston, which was why I’d had to wait indefinitely at some junction for this mail-train
and foreshadowing, of the mundane miseries still to come, and of the darker and deeper threat to be faced:
I remember standing up and smoothing out the creases in my raincoat, which was then still sand-coloured. ….For my vision was still like clear water; since then, every day has clouded it further with a sprinkling of ash
It’s reasonably clear at this stage that the narrator is writing in May about the events of the previous October. As the time scheme for the novel becomes more complex, the darker undertones become more prominent, and the reader will either be mesmerised, as caught up in the threads as the narrator himself, or merely mystified and frustrated.
Poet Allen Fisher was in the former category, and that tantalising opening section inspired his own poem, ‘Butor. Passing Time again’:
window-pane covered on the
litdrops, a myriad
restring parcel of
drizzled down from the grimy
sealing a thin blanket of noises
enfold me begin to thin
Philosopher Richard Wollheim’s 1969 novel A Family Romance uses a diary format to chronicle a man’s plans to poison his wife. The protagonist is reading L’Emploi du temps and ruminates on the notion of murder and argues – seemingly with Butor but more accurately with Revel – about the way in which the diary records events, looping backwards and looking ahead – but ultimately coming to a realisation that ‘a man might change his mind’.
the hero, a young Frenchman, … picks up a crime story called ‘The Murder of Bleston’, Le Meurtre de Bleston. … He wants to murder Bleston and wishes someone actually would. (p. 15) … The author of the book I’m reading attributes to an author within the book an interesting theory about the book he’s writing. He – the author within the book – is a writer of detective stories, and his theory is that every detective story is constructed around, we might say is a string stretched between two murders: the murder committed by the assassin upon the victim, and the murder committed by the detective … upon the assassin (p. 55)
As against the author of L’Emploi du temps I invoke a notion of completeness which insists, not that everything is in, nothing out, but rather that any signle thing that is in should bear upon it the marks of every other thing, in or out. … If my criticism of Butor is justified, what he ignores – namely, that addition alters what is added to – is something that is not a necessary feature of all writing but is a feature of, and a defect in, his writing (p. 122)
I have argued … that the later entries [in Revel’s diary] are either disruptive or superfluous. Disruptive, that needs no explanation: superflueous, in that if the later entries do not nollify the earlier ones, then they have been anticipated by them, everythng that they have to say is buried in the earlier ones if only we dig deep enough. Alternatively, if Butor really felt he still had something to say, why did he not rewrite the diary as a totality? (pp. 161-2)
It gave better than any other book I’ve ever read the feeling of how where one is affects who or how one is. … perhaps it’s not so much a matter of what a place does to one as what one does to the place or rather what one can’t do to the place, ‘the intractability of Bleston'(p. 229)
In criticising L’Emploi du temps, what I never appreciated is that a man might change his mind (p. 236)
For artist Steve Hawley the novel seemed to anticipate interative fiction, and it inspired his film, Yarn:
a “recombinant narrative” or generative cinema DVD video installation, using archive footage of Manchester of the 1950s, and a voiceover spoken by a computer programme, which uses the capacity of the DVD medium to present different scenes and spoken text so that the narrative never repeats itself.
The experience is like the 1001 nights, in that the story has no beginning and no end, but rather an immersion in a narrative world where fact and fiction are blended.
I have explored elsewhere the response of W G Sebald, who came to Manchester 15 years after Butor, to L’Emploi du temps. This is evidenced in his long poem, ‘Bleston: a Mancunian Cantical’, published in English translation in 2011. The darkness of Bleston fed into his state of melancholy, his alienation from his birthplace and his preoccupation with the landscape of trauma.
So, different readers will find different ways of reading this complex novel. In doing so they echo Revel’s own efforts to make sense of what is happening to him, of what Bleston is doing to him, or what he can or can’t do to it. As he reads the detective novel Le Meurtre de Bleston he extrapolates from the hints and clues in the text and conversations with friends, coming to believe that the novel is a fictionalised exposé of a real murder and thus that his revelation of the pseudonymous author’s real identity threatens his safety, and ultimately that a road accident which befalls him is an attempted murder. He casts himself as the detective, just as he casts himself as Theseus once he discovers the series of tapestries telling that story. He casts the city as a sorcerer, as a Hydra, as the Minotaur within the labyrinth of its streets, and himself as embattled, attempting to resist its power.
There are so many threads that one can follow through the labyrinth of the text. But given its capacity to draw in British readers in particular through the fascination of seeing ourselves through others’ eyes, and through the dry humour of the portrayal of a 1950s northern city, it is sad that Jean Stewart’s English translation is currently only available at prices that would deter all but the most dedicated readers. Perhaps, when the British press gets around to noticing Butor’s passing and commemorating it appropriately, some enterprising publisher will take a punt on reissuing it, and giving a new generation of readers the chance to explore those rainy streets and lose themselves in Bleston.
Meantime, his Portrait of the Artist as a Young Ape can be found in translation at quite a reasonable price, if you feel inclined to explore its Gothic mysteries…
Allen Fisher, ‘Butor. Passing Time Again’, in Gravity (Salt, 2004)
Steve Hawley, ‘Locative Narrative and an IPhone App: Manchester as a Mythical City’ http://www.stevehawley.info/writing.html
W G Sebald, ‘Bleston: A Mancunian Cantical’, in Across the Land and the Water: Selected Poems, 1964-2001, translated by Iain Galbraith (Hamish Hamilton, 2011)
Richard Wollheim, A Family Romance (Farrar, Strauss & Giroux, 1969)
A writer more written about than read, perhaps. A demanding writer, ‘difficile et crypté’, yes. And impossible to sum up, as obituarists are doubtless realising right now, as the news of his death crosses the globe.
All the tributes will make the obligatory reference to the ‘nouveau roman’, despite Butor’s insistence that he was never really a part of this group, despite the fact that it was never really a group anyway. All the tributes will mention La Modification (though the French Minister of Culture has apparently referred to it today as La Consolidation…), his best known work. But a glance along the shelves of even a modest Butor collection such as mine will show the diversity of his oeuvre.
Four novels, all from the 1950s, including the aforementioned La Modification, as well as the novel which has obsessed me for the last 10+ years, L’Emploi du temps. Mobile, an ‘étude’ on the US, a sort of road movie in poetic form.
Portrait de l’artiste en jeune singe (Portrait of the Artist as a Young Ape), which plays with autobiographical elements and Gothic horror tropes: ‘history, fact, illusion, myth, dreams, legends, black magic and memory become indistinguishable’. The series Genie du lieu (Spirit of Place), meditations on the places he lived, worked in and visited, from Egypt to Australia, and back (again and again) to Paris with whom he had a love-hate relationship throughout his life. Another series of meditations, on dreams, Matière de rêves, as well as Histoire extraordinaire: Essai sur un rêve de Baudelaire. Essays on literature, and Illustrations, texts to accompany imaginary images. Dialogues with Beethoven’s Diabelli Variations and with Stravinsky’s Concerto for Two Pianos. And collaborations – with composers such as Henri Pousseur, and with visual artists with whom he produced ‘artists’ books’, where his text worked with/alongside/as part of the piece. Poems by the hundred, some few collected in the Anthologie Nomade.
Butor was born in a suburb of Lille, third in a family of seven children. His father worked for the railways, but was also an artist. They moved to Paris in 1929, where they remained apart from a spell in Evreux during the ‘phony war’. After studying at Lycée Louis le Grand and the Sorbonne, Michel taught in Egypt, then took up a two-year post as lecteur at Manchester University (‘a difficult change of climate’). He published his four novels with Editions de Minuit, and they gained considerable critical acclaim, winning prestigious literary prizes. He married Marie-Jo, had four daughters, travelled and taught around the world, his last academic post being at the University of Geneva. Retired since 1991, he continued to write, particularly in collaboration with other writers and artists, but the loss of Marie-Jo in 2010 meant that ‘the powerful creative spirit, the enthusiasm for reaching new frontiers of understanding and knowledge, and the appetite for travelling, all were less intense’.
Attempting to sum him up might be a lost cause. His Complete Works (which was acknowledged to be far from complete) ran to 12 hefty volumes. A ‘perpetual innovator’, he was preoccupied with crossing and blurring borders and boundaries, between countries, between people, between creative genres. He was a poet, a philosopher, an academic, a specialist in music, painting and literature, and a great traveller, and he built a body of work that was unclassifiable and complex.
He saw art in its broadest sense as a ‘ gigantic weaving, with a profusion of individual strands and threads’, to which all the arts and all artists contribute. There is no such thing as an individual work, no such thing as a completed work. The boundaries between text and music and painting are not fixed, they are ‘three faces of the same enterprise’, this ‘immense cultural weaving’.
And while readers and critics acknowledge that his works make strenuous demands upon them, what is also acknowledged is that he was a man with ambition but without arrogance or ego. He believed in the importance of his own work as part of this cultural fabric, but not in his personal importance. He was no austere ascetic, but loved wine, and jazz, and detective novels. He was generous and warm, as his many interviewers have invariably noted.
He was also idealistic. He believed that art could change the world, that it was vital. Poets to him were the researchers and the technicians of language, and it was through working on and with language that they could change the world. His adolescence in Paris during the Occupation, when violence and the thread of violence were ever present, when words were dangerous and silence could be resistance or collaboration, when knowledge was rationed and ideas a clandestine currency, haunted his work and fired his beliefs in art and freedom. He didn’t write to sell books, he wrote to find a unity in his life, writing was a ‘spinal column’.
Butor’s writing does not lend itself generally to uplifting quotations. But today one does spring to mind.
Every word written is a victory over death.
Passage de Milan (Paris: Editions de Minuit, 1954)
L’Emploi du temps (Paris: Editions de Minuit, 1956), translated as Passing Time, by Jean Stewart (London: Faber, 1965)
La Modification (Paris: Editions de Minuit, 1957)
Le Génie du lieu (Paris: Grasset, 1958)
Essais sur les modernes (Paris: Gallimard, 1960)
Histoire extraordinaire: Essai sur un rêve de Baudelaire (Paris: NRF Gallimard, 1961)
Mobile: Etude pour une représentation des États-Unis (Paris: Gallimard, 1962)
Description de San Marco (Paris: Gallimard, 1963)
6 810 000 litres d’eau par seconde: Etude stéréophonique (Paris: Gallimard, 1966)
Portrait de l’artiste en jeune singe: Capriccio (Paris: Gallimard, 1967)
Dialogue avec 33 variations de Ludwig van Beethoven sur une valse de Diabelli (Paris: Gallimard, 1971)
Où: Le Génie du lieu II (Paris: Gallimard, 1971)
Matière de rêves (Paris: Gallimard, 1975)
Boomerang: Le Génie du lieu III (Paris: Gallimard, 1978)
Improvisations sur Michel Butor: L’Ecriture en transformation (Paris: La Différence, 1993)
Stravinsky au piano (Paris: Actes Sud, 1995)
L’Utilité poétique (Saulxures: Circé, 1995)
Anthologie nomade, ed. Frederic-Yves Jeannet (Paris: Gallimard, 2004)
A week after the Brexit vote, I attempted to corral my thoughts, rein in my emotions and say something about what had happened, and what it might mean. I talked in particular about what was already being reported as a spike in racist abuse and attacks, just in those first few days, often explicitly linked to Brexit – ‘we won, why are you still here?’ and so on.
At that point, this was something I was reading about in the press. But as I’ve talked to friends and colleagues since then, it’s become apparent that it’s happening right here. Of course, why wouldn’t it? How could we imagine that we would be immune? That’s what prompted this sign, in the window of the Hicks Building, home to the Physics & Astronomy department at the University of Sheffield, a place which celebrates the global nature of science and academic study.
This is just one incident. It happened to someone I know, someone who spoke with passionate articulacy about what it meant, personally and for his colleagues and fellow citizens. It happened yards away from the sign pictured above, it happened whilst I was revelling in music at the start of Tramlines, which seems to me to sum up everything I love about this city, it happened close at hand, in my city, at my University.
Matthew Malek had a near miss with a driver going at an unsafe speed. There were minor remonstrations, as one might expect. But when the driver shouted ‘“Learn how we walk in this country, immigrant bastard!”, the nature of the encounter changed radically. Matthew is a British citizen – irrelevant, apparently, because he has a New York accent, and his features show his Egyptian (Coptic) heritage. What struck Matthew most was the use of the word ‘immigrant’ as an unequivocal term of abuse. ‘He spat the word in precisely the same tone that I have heard others use the slurs “nigger”, “faggot” and, on occasion, “Jew”. It is a tone adopted for the express purpose of degrading and demeaning.’
The driver seemed ready to translate verbal abuse into a physical attack. Had this happened in a less public place, at a less busy time, with fewer CCTV cameras to record the encounter, he might well have done so.
Matthew has lived in the UK for over a decade and this is the first time anything of the sort has happened to him. He shared his account because he felt it was important that people know that ‘the rising tide of racism’ is on our doorstep:
We have all seen the news reports of a rise in racial violence over the past month… but it is not just happening somewhere “out there”. It is happening right here, in Sheffield, in a Northern city that celebrates its friendliness and its strong ties to community. It is happening right here, on our university campus.
We celebrate our internationalism, we draw students and staff from all over the world. And having welcomed them here we want them to be safe, we want them not to feel afraid, not to feel alone. We can and must be witnesses, we can and must speak out, we can and must stand with each other. We have far more in common than that which divides us.
Stop Hate UK helpline – 0800 138 1625
Tell MAMA supports victims of anti-Muslim hate and is a public service which also measures and monitors anti-Muslim incidents. Call us: 0800 456 1226, E-mail: email@example.com, Twitter: @tellmamauk, SMS: 0115 707 0007, WhatsApp: 0734 184 6086