By Patrick Modiano
Quelle constitution familiale avez-vous connue ? J'avais répondu : aucune. Gardez-vous une snapshot strong point de votre père et de votre mère ? J'avais répondu : nébuleuse. Vous jugez-vous comme un bon fils (ou fille) ? Je n'ai jamais été un fils. Dans les études que vous avez entreprises, cherchez-vous à conserver l'estime de vos mom and dad et à vous conformer à votre milieu social ? Pas d'études. Pas de mom and dad. Pas de milieu social. Préférez-vous faire l. a. révolution ou contempler un beau paysage ? Contempler un beau paysage. Que préférez-vous ? l. a. profondeur du tourment ou l. a. légèreté du bonheur ? los angeles légèreté du bonheur. Voulez-vous changer l. a. vie ou bien retrouver une harmonie perdue ? Retrouver une harmonie perdue.
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Extra info for Accident nocturne
And Vallès himself saw no contradiction between subversive textuality and authorial expression of a thesis. On the contrary, he was convinced that the entire value of the book lay in its idea: “Tu as dix anecdotes pour une,” he wrote to his friend and fellow Communard Arthur Arnould, “à jeter à côté de ta critique et de ton jugement sur ma grande thèse—la liberté de l’enfant! ” [You have ten anecdotes for one, to throw in alongside your criticism and your judgment about my great thesis—the liberty of children!
Jacques first learns to counteract the blind authority of parents, school and ultimately of the state by turning the authority of the Book against those who would use it against him. In his frantic attempts to ward off the 40 Chapter One images of the noble Fathers of antiquity, Jacques the schoolboy turns to a different set of books, ones that offer counter-images, of pirates, of leaders of slave revolts, above all of orphaned heroes like Robinson Crusoe, who, freed from their fathers, rebuild the world from scratch.
The latter are resistant, first of all, in the manner approved by modern scholars, to the accepted literary standards of unity, coherence and continuity in style, voice and narrative form that govern classical realist texts as well as typical thesis fiction like Sous-maître. Multiplicity, discontinuity, fragmentation, negation, these are the features that define Vallès’s text on every level. Resistant even more aggressively to the doctrines, institutions and practices approved by his society. It would seem that L’enfant is a model anti-authoritarian text, in which literary resistance combines with and reinforces personal, social and political resistance (Moores 1987, Ch.