Posts Tagged Edgar Allen Poe

Mad Travellers

(adapted from a paper given at ‘There & Back Again’, a postgraduate conference at the University of Nottingham, organised by the Landscape, Space, Place Research Group.  The title is taken from Iain Hacking’s fascinating study of the fugueur phenomenon)

The idea of wandering, of travelling without constraints, without a humdrum practical purpose, is perennially appealing to most of us, even if, for most of us, the drawbacks come to mind pretty speedily if we start to entertain the notion. Some do it anyway – seize the moment when the obstacles are not insuperable – but generally it’s something to enjoy vicariously, or to indulge in short bursts, taking time out of a holiday schedule to just have a stroll around foreign streets.

Throughout myth and literature there are many wanderers who cross seas, continents and centuries. For some it’s a pastime, a means of avoiding commitments or encumbrance:

I’m the type of guy that likes to roam around
I’m never in one place, I roam from town to town
And when I find myself fallin’ for some girl
I hop right into that car of mine and ride around the world (Dion, The Wanderer, 1961)

or Jimi Hendrix’s Stone Free:
Everyday in the week I’m in a different city
If I stay too long people try to pull me down

Hendrix suggests that the prejudices of the cities in which he finds himself push him to leave, as well as, like Dion, that if he does sometimes feel his heart ‘kinda gettin’ hot’ for some woman, he moves on before he gets caught. For some, wandering is a subversive practice (not using the city streets in the prescribed way), for others it’s a compulsion, even a curse.

The flâneur is one of those archetypal wanderers. This classic definition is by Baudelaire, writing in 1863 in his ‘Le Peintre de la vie moderne’.

The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world—impartial natures which the tongue can but clumsily define. The spectator is a prince who everywhere rejoices in his incognito. The lover of life makes the whole world his family, just like the lover of the fair sex who builds up his family from all the beautiful women that he has ever found, or that are or are not—to be found; or the lover of pictures who lives in a magical society of dreams painted on canvas. Thus the lover of universal life enters into the crowd as though it were an immense reservoir of electrical energy. Or we might liken him to a mirror as vast as the crowd itself; or to a kaleidoscope gifted with consciousness, responding to each one of its movements and reproducing the multiplicity of life and the flickering grace of all the elements of life.

Rosler-LeFlaneurHe – and I use the masculine pronoun entirely deliberately – is ‘observateur, flâneur, philosophe, appelez-le comme vous voudrez’.

He is a perfect stroller, a passionate spectator, an erudite wanderer. He walks the streets, probably alone, with no map or itinerary, with the confidence that comes from being male, well-educated and wealthy. His milieu is the city, and quintessentially Paris. One might think that the boulevards and arcades of Haussmann’s Paris lent themselves to strolling so much better than the labyrinthine streets of the old city, but it was that old city that defined the flâneur, allowing (in Edmund White’s words) ‘a passive surrender to the aleatory flux of the innumerable and surprising streets’.

The flâneur is a prototype detective, his apparent indolence masking intense watchfulness. This recalls Edgar Allen Poe’s story, ‘The Man of the Crowd’ (which was translated by Baudelaire), in which a man recovering from illness sits in a London coffee shop, watching the passers-by, and engaging in Holmesian deductions about their occupation and character. His attention is drawn by an old man who he is unable to read, and he feels compelled by insatiable curiosity to follow him, for a night and a day, as the man moves unceasingly through the city: he is the man of the crowd – not only hiding within it, but unable to exist outside it.

Walter Benjamin in his 1935 study of Baudelaire suggests that Baudelaire identifies the old man as a flâneur. This must be a misreading on Benjamin’s part, since the old man is as manic as the flâneur is composed. The flâneur may ‘set up house’ in the heart of the crowd, becoming part of ‘the ebb and flow of movement’, but he remains separate, above the mass. He is, like Baudelaire and Benjamin, at the same time engaged with and alienated by the city.

TMOTC

Poe’s story does give us a flâneur, however, in the person of the narrator, who can and does choose to abandon his pursuit, stepping aside to resume his life, and a different kind of wanderer, in the person of the man of the crowd. Steven Fink argues persuasively that the man of the crowd is the mythological figure of the Wandering Jew, condemned to wander endlessly as punishment for a terrible crime.  (He has a number of counterparts, including, amongst others, Cain, the Flying Dutchman, and the Ancient Mariner.)  Certainly this description by Benjamin’s contemporary, Siegfried Krakauer, is remarkably close to Poe’s description of the old man:

‘there arose confusedly and paradoxically within my mind, the ideas of vast mental power, of caution, of penuriousness, of avarice, of coolness, of malice, of bloodthirstiness, of triumph, of merriment, of excessive terror, of intense – of supreme despair … How wild a history … is written within that bosom!’. (Edgar Allen Poe, ‘The Man of the Crowd’)

Imagine [his face] to be many faces, each reflecting one of the periods which he traversed and all of them combining into ever new patterns as he restlessly and vainly tries on his wanderings to reconstruct out of the times that shaped him the one time he is doomed to incarnate. It is a terrible face, ‘assembled from the many faces of the dead’. (Siegfried Krakauer – History, the Last Things Before the Last (OUP, 1969))

If the man of the crowd is no flâneur, he does bear a stronger resemblance to the fugueur, a lesser-known (and shorter-lived) phenomenon which emerged in the 1880s. Bordeaux medical student Philippe Tissié and neurologist Jean-Martin Charcot at the Salpêtrière hospital in Paris documented a number of cases of men undertaking strange and unexpected trips, in states of obscured consciousness. dadasThey were subject to hallucinations, and often dominated by ideas of persecution. Their conduct during the episode appeared normal, but they were unconscious of what they were doing, and had no memory of it afterwards – in a state of dissociative fugue.  A fugue state is defined as involving selective memory loss, the inability to recall specific – perhaps traumatic – events. This may be accompanied by wandering and travelling, in an attempt to recover memory/identity, or perhaps in a flight from it – the etymological paradox of flight/pursuit.

The fugueur is quite distinct from the flâneur whose journeying is deliberately aimless and random, an end in itself. His itinerary may defy linear logic but nonetheless is purposeful, even if that purpose can be discovered only retrospectively.  The flâneur, in his fine clothes, walked the streets as if he owned them because, wealthy and well-educated, he could. The fugueur, in his state of obscured consciousness, was likely to be mistaken, instead, for a vagrant. Albert Dadas, ‘patient zero’ in the mini-epidemic of ‘mad travelling’, was repeatedly arrested for vagabondage. The fugueurs were generally of more modest means than the flâneurs – tradesmen, craftsmen or clerks – and their travels took them much further afield. dadas' longest journeyIf someone spoke of a city or a country Albert was seized by the need to go there, and did so, often then finding himself in difficulties due to lack of funds.

One of Charcot’s patients was a young Hungarian Jew named Klein, who was ‘constantly driven by an irresistible need to change his surroundings, to travel, without being able to settle down anywhere’. This particular patient prompted a link with the then prevailing view that Jews were more prone than other races to various forms of neurasthenia and that this particular manifestation was ‘in the character of their race’. Thus the Wandering Jew was, according to Henri Meige’s thesis, ‘only a sort of prototype of neurotic Israelites journeying throughout the world’.  Even at the time it was pointed out, fairly acerbically, that if the Jews had a tendency to move from place to place, this was in generally externally rather than internally driven, as persecution and prejudice made it necessary to leave one home in search of another.meige thesis

Charcot’s diagnosis, and his use of the term ‘hystero-epilepsy’ in particular, fell out of favour, largely due to the failure to identify a common cause that would account for a collection of rather disparate individual cases. In the twentieth century the two types of wanderer seem often to merge, as trauma and exile create a more melancholy and more driven wanderer. One can trace a line from Baudelaire’s flâneur to the Surrealists, via Walter Benjamin’s description of flânerie as a dream state in which ‘The city as a mnemonic for the lonely walker [: it] conjures up more than his childhood and youth, more than its own history’, to Guy Debord’s dérive as subversive practice, and on to today’s psychogeographers. Rather than being a disaffected and detached observer, the flâneur in the late 20th and 21st century may be in flight from memory, from identity, at home nowhere, an exile who feels no connection, or only a highly problematic one, to homeland or origins.

Michel Butor’s 1956 novel, L’Emploi du temps is set in a northern English industrial city, called Bleston but clearly inspired by Manchester, where Butor had worked a few years earlier. It takes the form of a diary kept by his protagonist, Jacques Revel, in the city for a one-year placement. We know nothing of Revel’s life before his arrival in Bleston, or of what he will do after he leaves. He speaks of his year there as a prison sentence – he is unable to leave the city during that period, and compelled to leave it on a specific date. He is certainly not at home in Bleston, but he seems entirely rootless, without any connection elsewhere. In his restless wanderings through the streets, he seems to be searching – mostly fruitlessly – for lodgings, for someone whose name he does not know who he met on an earlier walk, for the elusive countryside. But ultimately his quest is to master the city by walking its streets, grasping the reality which seems to be changing around him as he walks – it is a phantasmagorical city, whose heavily polluted atmosphere creates a narcotic dream-like state, distorting his perceptions and leaving him disorientated.

Butor’s novel had a significant influence on W G Sebald, who came to Manchester about 15 years later. Sebald read L’Emploi du temps when he first arrived, and it inspired a poem, ‘Bleston: A Mancunian Cantical’, as well as having a wider impact on his work.

In Sebald’s novels, the narrator (who may or may not be, to some extent, Sebald) invariably begins by describing a journey. He is precise about when, and where, although the layering of timeframes and locations means that we can lose these certainties as the narrative progresses, but frequently the ‘why’ is obscure, not just to the reader but to the narrator himself. The narrator and the various protagonists are rarely, if ever, ‘at home’. They are often in transit or in provisional, interim spaces such as waiting rooms, railway stations, and transport cafes. Their journeys often induce episodes of near paralysis, physical or mental, and they end inconclusively, often with a sense that the quest will continue after the final page.

But if the Sebaldian narrator is a contemporary example of the melancholy flâneur, Jacques Austerlitz connects us directly with the fugueur, and with wandering as a response to trauma and loss. As a child, Austerlitz arrived in England on the Kindertransport, where his foster parents gave him a new life, and a new name, telling him nothing of his past, or the fate of his parents, until, as a sixth former, he learns that he is not Dafydd Elias.

For many years he avoids any topic or image which might shed light on or raise questions about his origins. But, increasingly isolated, and with his life ‘clouded by unrelieved despair’, tormented by insomnia, he undertakes nocturnal wanderings through London, alone, outwards into the suburbs, and then back at dawn with the commuters into the city. These excursions begin to trigger hallucinations, visions from the past, for example, the impression that ‘the noises of the city were dying down around me and the traffic was flowing silently down the street, or as if someone had plucked me by the sleeve. And I would hear people behind my back speaking in a foreign tongue …’. He is irresistibly drawn to Liverpool Street Station, a place full of ghosts, built as it is on the remains of Bedlam hospital, and, in the disused Ladies’ Waiting Room, encounters the ghosts of his foster parents and the small boy he once was.

kindertransport

Thus his obsessive wanderings appear to have had a sub-conscious purpose, taking him back to the point of rupture between one life and another. He embarks upon a new phase of wandering, driven by the need to find his home and his parents. Overhearing a radio documentary about the Kindertransport, and the reference to a ship named The Prague, like Albert Dadas, the original fugueur: ‘the mere mention of the city’s name in the present context was enough to convince me that I would have to go there’.

Austerlitz’s quest remains incomplete at the end of the novel. In the course of his wanderings he has, he believes, discovered his former home in Prague and traced his mother to Teresienstadt and his father to the Gurs concentration camp in France in 1942. Beyond that he knows only that his mother ‘was sent east’ in 1944. He does not know where, when, or even whether they died.

austerlitz list

His quest, and his confrontation with the losses that defined his life, leads to ‘several fainting fits … temporary but complete loss of memory, a condition described in psychiatric textbooks … as hysterical epilepsy’. He is taken, significantly, to the Salpêtrière, where Charcot established this diagnosis almost a century earlier. This diagnosis would only be included in psychiatric textbooks as a historical footnote – an example of Sebald’s dense or layered time – we know precisely where we are, but the ‘when’ is not so straightforward.

Thus we’ve come full circle. And I want to make another tentative, perhaps fanciful connection.  Sebald invites us to make all sorts of links with the name Austerlitz – the battle, the Parisian railway station, even Fred Astaire. And there’s always the echo of another name, the likely final destination of both of his parents, unspoken here except in a reference to the Auschowitz Springs near Marienbad. One more then – Ahasuerus, the name often given to the mythological Wandering Jew.

Baudelaire’s description of the flâneur – ‘être hors de chez soi, et pourtant se sentir partout chez soi (away from home and yet at home everywhere)’ has echoed through the twentieth century and into our own, accumulating more and more melancholy baggage. That this phrase has darker undertones than Baudelaire will have intended is brought home by a speech made by Hitler in 1933, in which he described the Jewish people, the ‘small, rootless international clique’, as ‘the people who are at home both nowhere and everywhere’.

In our time then, rather than someone at ease wherever he finds himself, we are likely to think of the refugee and the exile, adapting without putting down roots, unable to return but unable fully to belong, always sub-consciously ready to move on or even keeping a bag permanently packed, just in case. For the original flâneur this characteristic was an affectation, a chosen detachment and rootlessness. For the fugueur, driven by trauma or crisis of identity, it is a curse, to have to wander, and never to find answers, or find home.

luggage

Anderson, George K, The Legend of the Wandering Jew (Hanover/London: Brown UP, 1991)

Benjamin, Walter, ed. Michael W Jennings, The Writer of Modern Life: Essays on Charles Baudelaire (Cambridge, MA/London: Belknap Press of Harvard UP, 2006)

Brunel, Pierre (ed), translated by Wendy Allatson et al, Companion to Literary Myths, Heroes and Archetypes (NY/London: Routledge, 1996)

Coverley, Merlin, Psychogeography (Harpenden: Pocket Essentials, 2006)

Fink, Steven, ‘Who is Poe’s Man of the Crowd?’, Poe Studies, 44, 2011 (17-38)

Gilloch, Graeme, Myth and Metropolis: Walter Benjamin and the City (Cam.: Polity, 1996)

Goldstein, Jan, ‘The Wandering Jew and the Problem of Psychiatric Anti-Semitism in Fin-de-Siècle France’, Journal of Contemporary History, 20, 4(October 1985), 521-52

Hacking, Ian, ‘Automatisme Ambulatoire: Fugue, Hysteria and Gender at the Turn of the Century’, Modernism/Modernity, 32 (1996), 31-43

__, ‘Les Alienés voyageurs: How Fugue Became a Medical Entity, History of Psychiatry, 7, 3 (September 1996), 425-49

__, Mad Travellers: Reflections on the Reality of Transient Mental Illnesses (Free Association Books, 1998)

Kuo, Michelle and Albert Wu, ‘Imperfect Strollers: Teju Cole, Ben Lerner, W G Sebald and the Alienated Cosmopolitan’, Los Angeles Review of Books, 2 February 2013

Lauster, Martina, ‘Walter Benjamin’s Myth of the Flâneur’, Modern Language Review, 102, 1 (January 2007), 139-56

McDonough, Tom, ‘The Crimes of the Flâneur’, October, 102 (2002), 101-22

Micale, Mark S, In the Mind of Modernism: Medicine, Psychology and the Cultural Arts in Europe and American, 1880-1940 (Stanford UP, 2004)

Seal, Bobby, ‘Baudelaire, Benjamin and the Birth of the Flâneur’, Psychogeographic Review, 14 November 2013

White, Edmund, The Flaneur: A Stroll through the Paradoxes of Paris (Bloomsbury, 2008)

www.artslant.com/la/articles/show/42145

http://www.thelemming.com/lemming/dissertation-web/home/flaneur.html

http://www.othervoices.org/1.1/gpeaker/Flaneur.php

http://www.theflaneur.co.uk/

http://imaginarymuseum.org/LPG/debordpsychogeo.jpg

http://www.paris-art.com/agenda-culturel-paris/Le%20Premier%20fugueur/Furaker-Johan/11840.html

http://www.karenstuke.de/?page_id=1192

https://dianajhale.wordpress.com/2013/11/01/tracing-sebald-and-austerlitz-in-londons-east-end/

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Reading the Detectives

What we don’t know is more interesting than what we know, both in the sciences and in the arts.  The classic detective story is a puzzle which must, to satisfy its readers, provide a solution, tie up loose ends, arrange retribution, and restore the natural order of things (typified in many of the TV detective series I recall from the 1970s by the postscript where they all go home and have tea, and a bit of a laugh, no matter how traumatic the preceding events have been). The satisfaction of the tidy ending can simultaneously be a disappointment.  The final ‘reveal’, the scene where someone (the brilliant detective’s slightly dozy sidekick, perhaps) says, ‘But what I still don’t understand is…’, allowing the brilliant detective to resolve that last apparent anomaly, leaves the reader or viewer little to ponder on once the book is closed or the credits have rolled.

To be fair, the best examples of the genre, whilst making use of its conventions and tropes, also stretch and subvert them.  The detective novels that have remained in print for decades are those which have more to satisfy the reader than merely the solving of a riddle.  We might re-read or re-watch a lesser work once, just to spot where the clues were if we’d been bright enough to pick them up, or even in the hope of finding a continuity error or plot hole, but we’re not likely to revisit them repeatedly.  In my many re-readings of, for example, Dorothy L Sayers’ Lord Peter Wimsey novels, in contrast, it’s not the plot, but the characters, the quality of the writing that give repeated pleasure.

If the classic mystery, the ‘roman enigme’, is a puzzle to be solved, and, like a completed crossword, of limited interest thereafter, the ‘roman noir’, is a more complex and nuanced narrative.  Tellingly, it flourished in the ’40s and ’50s in France, often taking the Occupation as subject and setting (Atack, 2010), providing a medium in which the ambiguities of the era could be explored, but has also been used more recently by such writers as Didier Daeninckx, to stage ‘complex crimes that to be solved involve precisely a return to the past, to the hidden history of State and/or establishment criminality’ (Gorrara, 79) (see Daeninckx’s Meurtres pour Memoires, which uncovers two dark and hidden areas of France’s past, the massacre of Algerian demonstrators in Paris in 1961, and the wartime deportation of Jews, events linked by one man, Maurice Papon).

The roman noir takes the reader well off the tourist map, into a city of shadows and secrets, into the realm of the uncanny.  In this labyrinth, the detective wanders the streets, as shadowy and ambiguous a figure as those he tracks – indeed, as Butor said, the flaneur-detective and the criminal ‘are at bottom identical.  The second places his steps in the footprints of the first who remains unaware of him, although the former is without knowing it the initiator, the guide of the second’ (Histoire extraordinaire, p. 33).  Walter Benjamin drew on Baudelaire‘s fascination with Poe’s ur-detective story, ‘The Man of the Crowd’,  to link the flaneur and the detective when he wrote that ‘No matter what trail the flaneur may follow, every one of them will lead him to a crime’. This is highly ambiguous – is the flaneur a detective, tracking down transgressions and transgressors, or a criminal, whose wanderings are themselves transgressive and/or may lead him into crime/to commit crime?  (McDonough, 101).

Michel Butor’s Passing Time isn’t a detective novel, though one critic described it as of the fusion of this genre and the experimental novel.  But his Bleston is the perfect setting for a ‘roman noir’, a place of shadows and labyrinthine streets, a place where fear and suspicion are in the air.  Butor was ‘devouring’ detective novels at this time, and right at the heart of Passing Time, he places an exposition on the principles upon which they are constructed.  Crime novelist George Burton (alias J K Hamilton) argues that every detective novel is based around two murders, the crime itself, and the (symbolic or actual) destruction of the criminal by the detective when they are exposed, killed by ‘the explosion of truth (143-4).  The detective’s role is to ‘disturb and probe, to expose and alter things’, to tear off veils and masks, abolish errors, ignorance and lies, to cleanse ‘this small fraction of the world’ from its offence and the defilement that the murder brings with it.  According to Burton, he is:

‘the true son of the murderer Oedipus, not only because he solves a riddle, but also because he kills the man to whom he owes his title, without whom he would not exist in that capacity (without crimes, without mysterious crimes, what would he be?) because this murder was foretold for him from the day of his birth or, if you prefer, because it is inherent in his nature, through it alone he fulfils himself and attains the highest power’ (145)

The detective novel superimposes two temporal sequences, that which begins with the discovery of the crime and concludes with the discovery of its perpetrator, and that which leads up to the crime, which is reconstructed by the detective (not necessarily emerging in a linear form, but usually presented to us as such at the climax of the novel).   Similarly, Passing Time has a linear time frame beginning in May when Revel starts writing his journal, and ending in September with his departure from Bleston, but his journal narrative begins in October with his arrival, initially linear but gradually becoming ‘a desperate attempt to account for several months simultaneously, ending as the narrator leaves the town with the awareness that no year can ever be completely recovered, as the lack of time to describe the events of February 29 so symbolizes’ (Lloyd, 2005, pp 143-4).

Just as there are (at least) two time frames, there are (at least) two texts, that which gives the true version of events, which the guilty party has erased, or tried to erase, and the alternative version of events which has been superimposed upon it.  The detective’s goal is to uncover the true story from the traces left behind, to decipher and restore the palimpsest.

The detective novel itself, a green Penguin crime title, with a blank space where the author photograph normally appears, is the trigger for most of the events in the narrative. (I should say, the books themselves, since Revel buys two copies, and Ann a third.)  Revel is attracted by the ambiguity of the title – Le Meurtre de Bleston could refer at the same time to a murder committed in Bleston, and to the murder of Bleston, thus allowing him ‘to enjoy a small private revenge against this town’ (54).  But it becomes ‘an auxiliary so precious that I can almost say that a new phase of my adventure began at the instant when … I read for the first time those opening words which I now know by heart’ (55).  The precision with which the author describes the city and its monuments suggests to him that the story might be based on real events, leading him to attempt his own detective work when the book’s author is injured in an ‘accident’.  More than that, Revel feels that he’s being led along:

‘through a newspaper poster I had discovered J C Hamilton’s detective story, The Bleston Murder; through reading this I had discovered the Murderer’s Window, which in its turn had given rise to this conversation with its closing words of advice to visit the New Cathedral.  It was as though a trail had been laid for me, at each stage of which I was allowed to see the end of the next stage, a trail which was to lead me hopelessly astray’ (80).

The book(s) wander(s) through Bleston just as their owner does.  Linking all of Revel’s contacts in Bleston (his landlady, the two sisters with whom he consecutively falls in love, his colleague Jenkins, his compatriot Lucien) with the single exception of Horace Buck, the African worker who befriends him, and linking via the sisters to their friends and thus to the suspected real life counterpart of the book’s perpetrator, it is passed on, lost, replaced (in a second-hand version with an indecipherable signature), and reappears in a bewildering sequence.

The re-reading of detective novels is expounded upon here too.  Revel justifies his re-reading of The Bleston Murder on the basis that it is ‘a precious guide for a newcomer among the perplexities and misunderstandings of that city’ , but for Jenkins, an aficionado of the genre, ‘they take on a kind of transparency.  As you trace out the illusions of the beginning, you glimpse the truth that you remember more or less clearly’ (88).

Revel becomes a detective, to unravel his own past and reconstruct it.   But his quest is doomed to failure, there is no final revelation. For the writers of noir, and the nouveau romanciers, the Borgesian imminent revelation often remains imminent, unrealised, or reveals a new mystery.  If the narrator/hero finds a path through the labyrinth, ‘it is only to discover that the exit is really an entrance, that the labyrinth solved is no more than a labyrinth within a greater labyrinth’ (Porter, 256). And so nothing here is finally resolved.  Revel’s feud with the city ends with an uneasy truce (‘We are quits’ (249)), the ‘accident’ that fuels his guilt and his suspicions appears ultimately to be just an accident, the only murderers he encounters are fictional or mythical.   There is no return to the harmony of an established order.  But the process of interpreting the palimpsest, reconstructing the past, following the trail and making the links does start something, not contained within the arbitrary parameters of the narrative:

‘Thus each day, evoking other days like harmonics, transforms the appearance of the past, and while certain periods come into the light others, formerly illuminated, tend to grow dim, and to lie silent and unknown until with the passage of time fresh echoes come to awaken them.  Thus the sequence of former days is only restored to us through a whole host of other days, constantly changing, and every event calls up an echo from other, earlier events which caused it or explain it or correspond to it, every monument, every object, every image sending us back to other periods which we must reawaken in order to recover the lost secret of their power for good or evil’ (283)

Margaret Atack, ‘Representing the Occupation in the Novel of the 1950s: Ne jugez pas’, Cincinnati Romance Review, 29 (2010), 76-88

Michel Butor, Passing Time, translated by Jean Stewart (London: John Calder, 1961)

–   Histoire Extraordinaire: Essays on a Dream of Baudelaire’s, translated by R Howard (Jonathan Cape, 1969)

Didier Daeninckx, Meurtres pour Memoires (Paris: Gallimard, 1984)

Claire Gorrara, The Roman Noir in Post-War French Culture: Dark Fictions (Oxford: Oxford University Press, 2003)

Louise Hardwick (ed), New Approaches to Crime in French Literature, Culture and Film (Bern: Peter Lang, 2009)

Rosemary Lloyd, Shimmering in a Transformed Light: Writing the Still Life (Cornell UP, 2005)

Tom McDonough, ‘The Crimes of the Flâneur’, October, 102 (2002), 101-22

Edgar Allan Poe, ‘The Man of the Crowd’, Selected Tales (Oxford: Oxford University Press, 2008)

Dennis Porter, The Pursuit of Crime: Art and Ideology in Detective Fiction (New Haven; London: Yale UP, 1981)

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