Projet pour une révolution à New York Epub æ une


  • Kindle Edition
  • 193 pages
  • Projet pour une révolution à New York
  • Alain Robbe-Grillet
  • English
  • 27 September 2015

10 thoughts on “Projet pour une révolution à New York

  1. Vit Babenco Vit Babenco says:

    What will happen if you begin to take at random fragments of the worst pop culture detective stories and make a huge collage out of them? Well then you surely end up with the Project for a Revolution in New York – a cynical misanthropic misogynic pornographic surrealistic abstract postapocalyptic dystopiacluttering up the tables and chairs lying on the floor which has always suggested to me that Laura was reading all these books at once and that in this way she mixed up from room to room according to her own movements the itineraries of the detectives carefully calculated by the author thereby endlessly altering the arrangement of each volume leaping over a hundred times a day from one work to the next not minding her freuent returns to the same passage nonetheless stripped of any apparent interest whereas she utterly abandons on the contrary the essential chapter which contains the climax of an investigation and conseuently gives its whole meaning to the rest of the plot; and all the since many of these mass produced bindings having failed to withstand the occasionally brutal negligence of this way of reading they have lost over the months a corner of a page here and there a whole page or even two or three signatures all at onceConcatenating pulp fiction clichés – sex violence crime murder espionage conspiracy bondage perversion kidnapping sadomasochism and all the rest – into a very tortuous pattern Alain Robbe Grillet creates a surreal panorama of all the modern urban phobiasAnd like any detective story the novel hides a secretI have now noticed in skimming the novel that of the three elements of the secret in the heroine’s keeping one was known by the reader the second by the narrator himself and the third by the book’s author aloneAnd what all those macabre and obscene things have to do with a revolution then?Crime is a part and parcel of a revolution – with the help of those three metaphoric acts rape murder and arson Negroes impoverished proletariat and working intellectuals will be liberated from the chains of slavery and bourgeoisie will be delivered from their sexual complexesReading Project for a Revolution in New York is like roaming through the grotesue and knotty warren – one can’t guess where one will find oneself opening the next door


  2. Ian "Marvin" Graye Ian "Marvin" Graye says:

    A Three Fold RevolutionAt a macro level Project is about the fate of the city the body and the novel All three represent a corpus society order and convention including narrative convention Over the course of the novel all three are subjected to some form of revolution destruction break down fragmentation disarticulation dis integration or deconstructionWe observe a cutting up of the natural order an overthrow of repression perhaps even but not necessarily in relation to the role of women liberationLike a film what is cut up is then re assembled into a new whole in this case the novel Yet somehow the result is alienating Why is it so?If it can be done with film via editing why can't it be done with the novel? Why are our expectations of the novel different from those with respect to a film? Is it the visualisation of the subject matter that makes film easier to digest?What about a novel that mimics a film?Rape Arson and MurderThe political revolution has already occurred by the time the novel commences We see its aftermath The natural order has been overturned only it has been replaced by disorder rather than a new order Like detective novels pulp fiction and B movies the subject matter of the novel the immediate conseuence of its revolution is rape arson and murder a triad of crimes this time Just as the world revolves it is revoltingEach crime is a destructive force Each involves the colour red by way of revolution fire bruising and bloodshedRobbe Grillet as author stages this revolution for us to watch He turns us readers into voyeurs and peeping toms who look or gaze through the keyhole or use a phallic key to open the door and seek entry to the forbidden room where all of the fictive action takes placeIronically the person behind the revolution the person giving the orders that supplant the natural order is Frank on the one hand the name of someone who tells it as it is on the other perhaps a name indicating a Frenchman but then perhaps also the author who might also be a director or a writerdirectorproducerRehearseRepeatRetakeCutThe novel is drenched in the language of film and theatre It's labelled a project as if it's a treatment or a proposal for a film On the other hand the project could merely anticipate what might occur by design or otherwise It's structured as a rehearsal a repetition the French word répéter means both rehearse and repeat There is a seuence of scenes both original shoots and retakes separated by judicious cutting When the revolution does finally come however like good actors and good audience members we will know what to expect and what to be prepared for The spectacle will be better for the rehearsal We implied readers even appear in the novel as interrogators endeavouring to clarify what has happened to explain inconsistencies to recapitulate scenes we didn't uite understand We are seated and present in the theatre of operations not just as audience members or witnesses to the crimes but as contributors to the development and appreciation of the creative work this filmictheatrical novel being constructed apparently in front of our very eyes It would be nothing without our gazeThe CityNew York is the locus of the revolution It has to be because it is or was in 1970 when the novel was written the global symbol of commerce the centre of world trade hence the lure of the World Trade Centre for terrorists Because of its status it is also the centre of advertising the creation of modern faux or fake aspirations dreams fantasies and mythology Madison Avenue tells us as objects how we should look as well as telling us as subjects how we should look at the objects it has created for us It is where the dominant gaze is fabricated well at least alongside Hollywood which after all is just Manhattan's backlotIf you want to uestion or overthrow the dominant gaze then the revolution has to start in New YorkThe BodyThe bodies in the novel are invariably those of women They are subjected to graphic violence rape and torture The language mimics that of crime fiction and pornography Fiction mimics the underbelly of society Womanhood is portrayed as the virginal white skin which is made bloody red just as Mallarmé sees a blank sheet of white paper as something pure and virginal that will be sexualised and invaded by the author enabling it to be readStill sexual violence is present Does that make the novel or the author misogynist? Is the fiction entitled to stand alone apart from its author?The NovelThe revolutionary violence in Project is not just its subject matter but a description of the very process of writing itself The project is not just the fictional project within the text it also defines the process by which the text is createdRobbe Grillet's project was to overthrow narrative convention the natural order of fiction He did so by appropriating the conventions of popular art forms and circumscribing or circumventing themDiscrete passages look like they could have appeared in crime fiction but cut up and reassembled they take on another form The whole is different from the partsWhile we can admire Robbe Grillet's ambition I can't say that it makes for an enjoyable read The writing is word perfect the sentences and paragraphs short and sharp and economical like detective fiction However there are no chapters or other signposts that mark transitions The editting is so subtle it's seamless and freuently it's hard to know when one scene has ended and another has commenced As a result it's uite possible to finish the novel and not have a clue what was going on Nevertheless as a whole it's captivating and draws you back to the first page so that you're tempted to read it again with greater understanding and appreciation Is this making excuses? I don't think so but the novel is clearly not for every one In a way it's like a formally innovative film We watch it the first time trying to get comfortable with the narrative device On our second viewing we relax and enjoy the detail and the significance that we missed the first time The first viewing is just a rehearsal for a repeat visitNot everybody will want to do this but those who can be lead into temptation and who make the effort should be rewarded


  3. Nate D Nate D says:

    Robbe Grillet at his most intense First because he's most rapid and dextrous in seamlessly switching narrative rails frames PoVs etc everything to completely destabilize the narrative This comes after Maison de Rendezvous which has a similar level of narrative play but this adds new structural levels sound is tape narration may be an interrogation or a film breaking apart in editing Later works at least the intertexual works of the rest of the 70s to follow seem to have scaled back slightly in their disorienting aspects in favor of a kind of dreamlike cohesion which I can't complain about exactly But this seems likely to be the high water mark of his formal experiments But it's also the most intense because R G usually somewhat circumspect even ironically so about the suggested brutality and violence underlying his narratives here makes them most explicit Viewed in a continuum of transgressive literature that might seem an asset and there are plenty of conceptual justifications lurid pulp sources being reconfigured the destruction of the body as destruction of the text but to me these don't entirely hold up the fraying rationale of telling the story at all a story whose problematic aspects are repeatedly pointed to as being there for pleasure Of voyeurs of sadists of a troubled pre teen and all too obviously especially in my broader familiarity with Robbe Grillet at this point the author himself At best he maintains a kind of provacative tension across this point but it's a balancing act he's managed much better elsewhereThat said perhaps the intensity makes this all the truer to R G's vision The most essential unsettling uestions and all That too is part of the tension and fascination of reading him Just probably don't start here


  4. Jason Jason says:

    It would stand to reason that the increasing pervasiveness of the habitually triggered makes for somewhat timid times I write this at the end of 2018 smack dab in the middle of an era characterized by contentious argument and sanctimonious hand wringing regarding the politics of representation To my mind it would be dumb and undistinguished to wax apoplectic about such phenomena Since I was a kid I have felt no fealty to the crowd and can hardly be expected to care terribly much how and what it thinks Well up to a point I am sensitive to the reuirements of critical thinking People are generally upset or offended for reasons which are intelligible and seldom completely illegitimate When a work of art or of culture generally produces an effect I am prepared to attempt to look at why that effect was produced and consider the matter with adeuate emotional sobriety Goddamnit I have a graduate degree in the liberal arts do I not? All that given its due consideration I remain a man with a pronounced passion for transgressive art and eually for the transgressive dimension of all true art paradoxically at odds as it always must be with the civilizing apparatus of which it is also invariably a provisional extension Of course then naturally I will always retain a place in my heart for the French In these skittish and sensitive times the French continue to make their piecemeal stand on behalf of obscene andor dangerous art to creativity in some degree married to combat Look no further than the delightful fact of beloved actress Isabelle Huppert's recent public readings of some of the greatest hits of the Maruis de Sade Or look at the fact that the French continue to give out a literary prize called the Prix Sade one recent winner of which was Alain Guiraudie's NOW THE NIGHT BEGINS a novel I read earlier this year and which is distinguished by the brazenness of its sundry sometimes hilarious provocations In the Maruis de Sade as in the Guiraudie much of what is transgressive is related to aberrant sexual behaviour and to sexual violence We of course live in the time of #MeToo a movement under the umbrella of which a new level of public attention has poised itself to reflect the ubiuity of gendered oppression and the predations of rape culture While I largely support this general shift I do not opt to discount or rebuke as an automatic matter of course problematic art or culture still myself wholly primed to engage these things in the wild I am above all interested in what is evil deep within us and deep within myself Exploration of the darker libidinal realms will always be a part of my study and I see my whole life as study Which brings me to Alain Robbe Grillet's PROJECT FOR A REVOLUTION IN NEW YORK a novel I love very very much which is deeply problematic and by which I would absolutely defend anybody's right to be utterly appalled Robbe Grillet was a fantastically kinky dude I have read a few of his novels and watched a great number of the films he wrote and directed His work is almost always on some level fundamentally sadomasochistic novels and films in which schema of dominance and submission operate on a conditional vibrating plane of desire He specializes both as a filmmaker and novelist in creating interlocking tableaux almost painterly across which desiring operations ritualistically expend themselves but never to satiation As in both psychoanalysis and Buddhism and Gilles Deleuze's utterly remarkable MASOCHISM COLDNESS AND CRUELTY desire is perpetually undulating constantly resurgent never consummated only modulated Ritual just as in religious practice serves to invest desire with ideal conditions of form with shape rendering sacred even when demonstrably profane practices grounded in the cosmic and libidinal The sacred profane operates in Robbe Grillet not dissimilarly to how it operates in Georges Bataille and both writers seem in their exultation of debasement to see rot and decay as the ground of material matters Objects and bodies in Robbe Grillet routinely become fetishes the fetish the necessary illusion Having only previously read Robbe Grillet novels of the 50s I cannot help but be powerfully struck by how much further he has gone in PROJECT FOR A REVOLUTION IN NEW YORK than I have seen him go previously as a novelist though I do know that his cinema of the 70s was far advanced and transgressive than were his earlier films EDEN AND AFTER 1970 and SUCCESSIVE SLIDINGS OF PLEASURE 1974 remaining by far my favourite of his cinematic works I am very pleased to have finally read a novel from the same period comprehensively radical and incendiary as it indeed is PROJECT FOR A REVOLUTION is both hazy and extremely vigorous The enunciating voice is in a constant state of metamorphosis appearing to seamlessly occupy multiple characters there is nary a chapter break in a kind of free floating absorption; there is a character known as the narrator but at times he is spoken of as a secondary party by the voice that has occupied the seat of enunciation Twice the voice of a female interlocutor being interrogated under torture fleetly steals the novel away Likewise the urban landscape of the novel is characterized by tremendous plasticity When I use the word hazy one may be inclined to think of smoke or of a kind of opalescence but this is actually a practically textural novel of coarse mutating materiality; I am inclined to compare it rather to one of Dali's melting clocks Its New York is of course a kind of fantasy New York I think of all the European popular culture since at least Karl May that has used the American West as its playground Perhaps we should see Robbe Grillet's New York as an Old West for modernist literature The novel does indeed tie a number of tableaux and nebulous characters together through something like a ritualistic desiring operation Central here is the idea of the libidinal energies sublimated in acts of criminal and or political violence organs of both law and of lawlessness complementing one another serving the same fundamental ends Reading Joseph Conrad's THE SECRET AGENT I was struck by the elegance of the manner in which Conrad seems to trace revolutionary violence back to emotional wounds Robbe Grillet on the other hand traces is simply to desire The crux of what the novel is getting at is ultimately summed up by the psychoanalyst possibly artificial inseminator and torture specialist Doctor Morgan “Rape murder arson are the three metaphoric acts which will free the blacks the impoverished proletariat and the intellectual workers from their slavery and at the same time the bourgeoisie from its sexual complexes” He then goes on a little later to advocate for a general catharsis of the unacknowledged desires of contemporary society” The point is that rape and torture are not intended here to pacify the victim but rather the human social animal in aggregate Interrogations and tortures are recorded within the novel and distributed through shady channels We are meant to understand the grotesueries on display as heavily blocked out rituals meant to be consumed by spectators and periodic interjections of Cut and Retake officially code such rituals as fundamentally cinematographic Robbe Grillet's sick entertainment is as much about our own culpability as are many of Alfred Hitchcock's movies about pathological criminals amid a camouflaging sea of men The characters are often likened to dolls a mere addition to the profusion of objects which may of course cause one to think of the tenets of the Nouveau Roman but may also suggest the depersonalizing mandate of the homicidal psychopath Again this is a sadomasochistic sensibility heavy on the sadism but it is also one that addresses itself to the whole of social enterprise in so doing offering viciously damning testimony A brutal societal novel of the libidinal One of remarkable literary characteristics and some actual honest to God refinement curious as it may seem It is one of very few books which I feel obligated to compare to NAKED LUNCH also a brutal societal novel of the libidinal which just so happens to be the one that when I read it in my early teens sent me off benevolently down this road to ruin upon which I continue having been singed awfully by the fires of Inferno to merrily traipse


  5. Ishq Ishq says:

    I have only read his collection of short narratives Snapshots before this is the first time I read his book length novel and in a chinese translation I suppose there are better ones by him out there? The formal experiment is interesting in which narrative and epistemological positions are destabilized with charactersplacetime being shuffled spliced as in a collage or mixing tapes If you have seen Last Years in Marienbad this is experimentation of similar kind taken further in a literary work Most efforts to trace what really happened in the story will be frustrated but you gathered that it's something like a dystopian New York in which a subterranean network of people conduct terrorist acts against the status uo with a lot of double crossing among them and revolutionary violence is glorified as in a cult New York's underground system and other locales are transformed into a nightmarish maze of crime scenes It reads like deconstruction of detective pulp fiction but you can't help feeling it's still pulp fiction I can't get across all the sexual violence and misogyny in the book though Robbe Grillet's films have that too but it is very explicit here I can't decide if it's to problematicize or to pose critiue of revolutionary violence if this is the case i think it is obliue and ineffectual We've never learnt of the actual agendas or demands of the revolution except to terrorize the rich elites by torturing their women and children And you have the feeling that while the formal experimentation is supposed to frustrate pleasureeasy consumption the sextorture scenes that are nevertheless recurrent and meticulously depicted are pornographic in nature These pornographic vignettes are kept rather intact throughout the book despite the disorganization of the plot So the book reads to me like a very intellectual way to deconstruct a pulp fiction with an exaggeration of pornography and violence in it In a way the formal experimentation fails to deconstruct but reinforce the dominant mode of expression


  6. JOSEPH D JOSEPH D says:

    Ah yes Alain Robbe Grillet's checks back cover classic tale of otherworldly depravity For the most part R G's kinky stream of consciousness yarn is a real pleasure although the descriptions of torture near the end are uite intense and not for the feint of heart It has everything you would want in a pulpy noir andor sleazy stag picture only stitched together with intellectual gymnastics which some readers will enjoy others not His New York seems to be exactly like one thought up by a European including some great imagery but overall missing the big picture It is like that Friday the 13th seuel Jason Takes Manhattan in which the killer really only takes a loading dock in Manhattan PfaRiNY is still a great read tho the sort of thing that shows what transgressive European intellectuals were imagining what a revolution might be just a couple years after the unrest of 1968 It also made me wonder if challenging narrative filmmakers like David Lynch were influenced by this writer's structure seeing as how the identities of characters meld into each other like in Lost Highway perhaps This may just be a universal approach to fictionalizing dream logic


  7. J.I. J.I. says:

    If you have read Robbe Grillet's Jealousy then just go back and reread it What he does here is largely the same project his stripped down de humanized descriptions that still build up humanizing metaphors despite his stated claim to try and remove them especially so for the city of New York which becomes a glowering menace here his repetition of the same acts or scenes the complicated uestion of who is watching and what are they watching only with a whole lot rape Robbe Grillet has always had a misogynistic streak running through his work but this amplifies the violence and powerlessness of the women It attempts to destabilize this image of rape but through sheer repetition reifies it his seeming tearing down of institutions becomes a recreation of them There are interesting ways in which this novel plays with its integration of of the language of movies and the way that is terrible in the written form is played with and a series of trompe l'oiel like effects that turn out to be simply lies carefully put and his ability to constantly de stabilize the scene and disorient the reader each time it comes up is truly wonderful But then again he has already done this in a similar way in a better book that doesn't glorify violence even if it thinks its deconstructing it


  8. Fulani Fulani Fulani Fulani says:

    Don't expect plot fully formed characters or any of the 'conventional' things you get in most novels This is an experimental piece that investigates how we make sense by violating many of the frameworks we use to understand the world and be understood Thus a description of a room becomes re framed as a memory of a dream as evidence and a clue to something that might or might not have happened so so on Is there any attempt to create a revolution in New York? If so it's a revolution that's directed at destabilising language and narrativeIn many respects it's almost 'academic' in its approach and doesn't have the zest you get from other works that perform similar explorations of language such as the Illuminatus Trilogy a series of three novels by Robert Shea and Robert Anton Wilson and published in 1975 It also deals repeatedly with uite shocking scenes of torture perhaps mirroring the torture being done to languageIt does have a formal structure though it's not very obvious And in comparison with other 'experimental' works published both before and since it's maybe not the most accessible novel I have a weak spot for it though Don't know why It's just one of those inexplicable things


  9. Brent Legault Brent Legault says:

    Read this novel if you must read this novel and you must read this novel or rather you should read this novel if you like language and what makes it in a white heat Don't do as I did and let it languish a month or in your mind with nowhere to rest and nothing to do but ruminate and replicate The book is difficult enough without getting tangled up in rereading pages or twos to find out just what in fuck is going on and where in Hell you last left off By the way white heat or no you will never know just what in fuck is going on in this novel unless you have the power to resurrect Robbe Grillet and have him explain it to you by means of the slithering of his tongueless lungless voice and even then I'd cock a wary eye at this postmortum confession Or perhaps I speak only for myself


  10. McGrouchpants, McGrouchpants. McGrouchpants, McGrouchpants. says:

    Great if you like Burroughs Pynchon CBGB's scene etc and have a fucking clue Not so great if you don't or are RepublicanNixon's still dead But so is Bela LugosiA word to the wise


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Projet pour une révolution à New York[PDF / Epub] ☂ Projet pour une révolution à New York ✐ Alain Robbe-Grillet – Natus-physiotherapy.co.uk Part prophecy and part erotic fantasy this classic tale of otherworldly depravityfeatures New York itself—or a foreigner’s nightmare of New York—as its trueprotagonist Set in the towers and tunn Part prophecy and part une révolution PDF/EPUB Ã erotic fantasy this classic tale of otherworldly depravityfeatures New York itself—or a foreigner’s nightmare of New York—as its trueprotagonist Set in the towers and tunnels of the uintessential American cityAlain Robbe Grillet’s novel turns this urban space into a maze where politicsbleeds into perversion Projet pour PDF/EPUB ² revolution into sadism activist into criminal vice intoart—and back again.


About the Author: Alain Robbe-Grillet

Catherine Robbe Grillet née une révolution PDF/EPUB Ã Rstakian Alain Robbe Grillet was born in Brest Finistère France into a family of engineers and scientists He was trained as an agricultural engineer In the years Robbe Grillet participated in service du travail obligatoire in Nuremberg where he worked as a Projet pour PDF/EPUB ² machinist The initial few months were seen by Robbe Grillet as something of a holiday since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera In Robbe Grillet completed his diploma at pour une révolution eBook ✓ the National Institute of Agronomy Later his work as an agronomist took him to Martiniue French GuineaGuadeloupe and MoroccoHis first novel The Erasers Les Gommes was published in after which he dedicated himself full time to his new occupation His early work was praised by eminent critics such pour une révolution à New PDF/EPUB or as Roland Barthes and Maurice Blanchot Around the time pour une révolution à New PDF/EPUB or of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from until After publishing four novels in he worked with Alain Renais writing the script for Last Year at Marienbad L'Année Dernière à Marienbad and subseuently wrote and directed his own films In Robbe Grillet published For a New Novel Pour un Nouveau Roman a collection of previous published theoretical writings concerning the novel From to he was a member of the High Committee for the Defense and Expansion of French Haut comité pour la défense et l´expansion de la langue française In addition Robbe Grillet also led the Centre for Sociology of Literature Centre de sociologie de la littérature at the university of Bruxelles from to From to Robbe Grillet was a professor at New York University lecturing on his own novelsIn Robbe Grillet was elected to the Académie française but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures Robbe Grillet both refused to prepare and submit a welcome speech in advance preferring to improvise his speech as well as refusing to purchase and wear the Académie's famous green tails habit vert and sabre which he considered as out datedHe died in Caen after succumbing to heart problemsStyleHis writing style has been described as realist or phenomenological in the Heideggerian sense or a theory of pure surface Methodical geometric and often repetitive descriptions of objects replace the psychology and interiority of the character Instead one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions the attention to odd details and the breaks in repetitions Ironically this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations Timelines and plots are fractured and the resulting novel resembles the literary euivalent of a cubist painting Yet his work is ultimately characterised by its ability to mean many things to many different peopleNovelsRobbe Grillet wrote his first novel A Regicide Un Régicide in but it was rejected by Gallimard a major French publishing house and only later published with 'minor corrections' by his life long publisher Les Editions de Minuit in His fi.