Blanès - download pdf or read online

By Hedwige Jeanmart

«Et si on allait à Blanès ? C'était mon idée. Je l'avais lancée le samedi 10 mars vers onze heures du matin, après mes deux cafés, consciente de ce que je disais et aussi du fait que je le disais pour lui faire plaisir, sans soupçonner une seconde que cette word innocente serait celle qui me ferait chuter tout au fond du gouffre où je suis. Pourtant des words, j'en ai dit.

J'ai trop dit je t'aime alors que je savais que cela le fatiguait, j'ai dit des choses intelligentes aussi, puis des conneries comme tout le monde. Mais je n'aurai pas survécu à cette phrase-là. Samuel a répondu pourquoi pas ? Ça te dirait ?

J'ai dit oui ça me dirait, on n'est jamais allés à Blanès, ce n'est pas si loin, une heure en voiture depuis Barcelone, à peine plus. On s'est mis d'accord, on irait le lendemain. Le soir, on s'est couchés en chien de fusil dans des draps blancs comme un linceul, j'ai respiré son odeur du soir, un peu âcre, et senti l. a. chaleur de sa cuisse sur laquelle j'avais posé l. a. major. Je me suis endormie heureuse sûrement, sans doute, pourquoi pas ? Je ne savais plus bien à présent, et le matin du dimanche eleven mars, en fin de matinée, nous avons pris chacun un livre et nous sommes partis pour Blanès.»

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The significance of this moment which critics have found so difficult to account for is that symbolic meanings are like explanations of people: inadequate. The relationship between a narrative tone which evokes George Eliot and an almost existentialist consciousness of the individual's isolation is, like the incongruities between Victorian solemnity and permissive irresponsibility, a playful but crucial and central principle of The Bell. Several of the characters and especially Michael and Dora are convincing and moving characters of the kind that B.

Johnsonian impatience: I do not know. This story I am telling is all imagination. These characters I create never existed outside my own mind. Ifl have pretended until now to know my characters' minds and innermost thoughts, it is because I am writing in (just as I have assumed some of the vocabulary and 'voice' of) a convention universally accepted at the time of my story; that the novelist stands next to God. He may not know all, yet he tries to pretend that he does. But I live in the age of Alain Robbe-Grillet and Roland Barthes; if this is a novel, it cannot be a novel in the modern sense of the word.

Joining in, as we are invited, we might say that the authority is harder to abdicate than Fowles thinks; that his whole digression is authoritarian, that writing itself is so, in the sense he means. velists are meant to help, not to confuse the issue. And finally 'Oh, but come on-' and break off, since he has thought of what we are saying himself. There is another serious jolt to the course of the narrative at the end of Chapter 44 and the start of 45· Repeated meetings with the John Fowles: The French Lieutenant's Woman 27 unhappy though formidable Sarah have made a conquest of Charles.

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