The gala is won in the published text by the ten-year-old Marius Boucharessas, owner of a troop of cats who, at a word of command, execute a thrilling game of prisoners’ base. In the successive versions of Impressions d’Afrique Roussel’s writing becomes richer, more surprising, less easy to absorb. Impressions d’ Afrique greatly expands the narrative suggested by the billard/pillard rhyme of ‘Parmi les Noirs’. Contrary to expectations, one learns nothing of the development or deployment of the procédé from the manuscript versions of these two novels. In addition, Roussel makes use of the intervals in the play to offer us the young lovers’ impressions of the performance they’re witnessing. Roussel devotes pages and pages, for example, to charting the progress of a series of soap-bubbles blown by a young boy on the terrace of a café where the couple stop for a drink.
Mark Ford writes about the Raymond Roussel archive
Boudet accordingly makes a number of manuscript copies of the passage about the parchment-burning on different sizes of paper, while his friend Fra … Boudet happens to have purchased R …’s copy of the Vie de Constantin in the binding of which he finds an account of R …’s researches hastily written just before his arrest. Centuries later an intrepid alchemist, R …, retrieves this manuscript from the grave and cracks the code, only to be condemned to death at the stake as a sorcerer. Eusèbe includes this account in his Vie de Constantin, but he has the page-long parchment on which the formula is encrypted buried with him in a casket in his tomb. That evening he fell ill with a fierce fever and his lower lip became both enormous and terribly scarred. The horrified Emperor has the monk put instantly to death, but Eusèbe decides to preserve the dangerous secret through a cleverly encoded cryptogram, for which he employs the bizarre lower lip of a friend of his called Lao …
La Seine (probably composed between 1900 and 1903) is one of the strangest plays ever written. La Seine and Claude et Luce, the two most startling additions to the Roussel canon discovered among his papers, both derive from this period. Nevertheless, this crisis seems not to have fundamentally weakened his faith in his own destiny.
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His fanatically worked manuscripts demonstrate, rather, an intense, almost Flaubertian obsession with the mot juste, a wholly single-minded quest for those ‘sensations of art’ on which he felt his existence depended. Nothing in his recovered papers lends credence to this hypothesis, or points to the existence of some ultimate key to the Rousselian. Sets off for the desert, finds the tree, eats the fruit and develops the vast cicatrised lower lip which enables Boudet eventually to piece together the formula of ‘gaz évolutif’.
He has recently come into possession of Shakespeare’s second left rib, plundered from the bard’s grave by the 18th-century English lord, Albert of Dewsbury. A friend of Boudet (as Canterel is here called), one Isaac Zabulon, has learned from the papers of a Biblical ancestor of a drug which, taken orally, converts a weeper’s tears into wax. This involved discarding the further adventures of characters, such as the sybil Felicity, who nonetheless appear in the final text, as well as a number of wholly new storylines. By the final version he has metamorphosed into a brilliant speaker whose lucid and witty account of the history of the Electors of Brandenburg holds his listeners spellbound.
The whole cycle consists of some 2900 pages of manuscript, not all of it easily legible. There follows an extended, densely written plot outline, and then a final plan detailing further narrative developments. Hundreds of pages of Acts II and III of its final section are only roughly drafted; many consist of a few scattered words per line, and some of not much more than rhyme words jotted down the right-hand side of the page. In all, the play offers over four hundred speaking parts and would take the best part of a day to perform. They are, however, by no means its sole concern; Roussel introduces character after character, and the act unfolds as a seemingly endless series of new people, new conversations, new stories, from grisly murders to mild flirtations, from aesthetic theories to unsettling dreams.
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- Roussel devotes pages and pages, for example, to charting the progress of a series of soap-bubbles blown by a young boy on the terrace of a café where the couple stop for a drink.
- Nevertheless, this crisis seems not to have fundamentally weakened his faith in his own destiny.
- It is not clear why Roussel abandoned this enchanting prose work to begin the composition of a long poem to be called Nouvelles impressions d’Afrique in which he planned to describe a tourist’s souvenir of Egypt, a miniature pair of opera-glasses which, held up to the eye, show photographs of a Cairo bazaar on one side and of the Nile at Luxor on the other.
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- The gala is won in the published text by the ten-year-old Marius Boucharessas, owner of a troop of cats who, at a word of command, execute a thrilling game of prisoners’ base.
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This bone was accordingly removed from the body of every recently deceased person, carefully hollowed out, and affixed to a stake planted in a vast field, each rib facing into the east wind. Dewsbury was obsessed by the need to discover the precise location of the seat of the soul within the body, and spent many years travelling the world comparing the opinions of different peoples and cultures on this matter. The most complicated of these involves an apparatus capable of recording and reproducing the winds, a harp whose strings are made from wax tears shed by the wives of 15 brothers, Shakespeare’s hollowed-our rib, the cracked chime of a London clock and an engraved zinc flower. Her sudden death disrupted performances of his theatrical adaptation of Impressions d’Afrique – a typescript version of which has happily turned up among the rediscovered papers – and Roussel was so grief-stricken he had a glass pane inserted in her coffin so he could gaze on her beloved features up to the very moment of her interment. Nearly all the excised material is as lively and inventive as the episodes Roussel finally chose to retain. As a further embellishment the star of the group, an Angora cat named Tito, leafs through an atlas and puts his paw on any town or region the young impresario – here called Roger Danglés – asks him to find.
- This bone was accordingly removed from the body of every recently deceased person, carefully hollowed out, and affixed to a stake planted in a vast field, each rib facing into the east wind.
- Nothing in his recovered papers lends credence to this hypothesis, or points to the existence of some ultimate key to the Rousselian.
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- It was by extending the principle of such double meanings that Roussel evolved the word-games that generate the narratives of Impressions d’Afrique and Locus solus, both the baleine à ilot type, and the more complex deformations also described in ‘Comment j’ai écrit’ based on a random phrase or line of poetry broken down into discrete phonetic units.
- This mass of material exponentially augments our knowledge of Roussel’s social milieux and activities, his family, his travels and his finances, yet his life and work lose none of their power to intrigue and confound.
- Her sudden death disrupted performances of his theatrical adaptation of Impressions d’Afrique – a typescript version of which has happily turned up among the rediscovered papers – and Roussel was so grief-stricken he had a glass pane inserted in her coffin so he could gaze on her beloved features up to the very moment of her interment.
- In addition, Roussel makes use of the intervals in the play to offer us the young lovers’ impressions of the performance they’re witnessing.
Admirers of Roussel may be relieved to learn that he seems likely to remain as enigmatic and unassimilable as ever, a radiant paradigm of what Cocteau once called ‘genius in its pure state’. This mass of material exponentially augments our knowledge of Roussel’s social milieux and activities, his family, his travels and his finances, yet his life and work lose none of their power to intrigue and confound. In ‘Comment j’ai écrit’ he rather dismisses the superb L’Allée aux lucioles, begun just after Locus solus but interrupted by mobilisation for World War One.
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Though the essay reveals, with a multitude of examples, how Roussel wrote certain of his books, it doesn’t attempt to explain why he developed and adopted such singular procedures. For years a dedicated Rousselian, I finally decided to write a book exploring his life, work and influence on a variety of artists, from Marcel Duchamp to Michel Foucault, John Ashbery to Georges Perec. On occasions Roussel took active steps to preserve his own literary papers, depositing various manuscripts with his financial adviser, Eugène Leiris – father of Michel – not all of which have come to light. Probably one of the most tempting areas of to try out in the casinos on the internet is the type of bonuses and you will campaigns offered. Casinonic is actually purchased bringing advanced support service to enhance the fresh full playing sense. Get in on the aggressive adventure at the CasinoNic today and allow the games start!
(Roussel often left names incomplete) to the Emperor Constantine in the presence of Saint Eusèbe. Another episode cut from Locus solus concerns a formula for a ‘gaz évolutif’ capable of making young aquatic life-forms instantly adult. The recorded simoon blows through the harp and the hollowed-out rib, the clock chimes, the bone produces the vowels e, i or a, according to the wind’s strength, and in turn a scene engraved on the zinc flower is revealed or covered up. She in turn passed the precious bone on for further investigation to Boudet, who, substituting the harp for the violin and continuously reproducing the cracked chime of the church clock by the complex use of electromagnets, eventually also managed to derive from the rib the vowels e, i and a.
To leave these papers lying about would have sent out rays of light as far as China and the desperate crowd would have flung themselves upon my house … Was surrounded by rays of light; I would close the curtains for fear the shining rays that were emanating from my pen would escape through the smallest chink; I wanted to throw back the screen and suddenly light up the world. He hoped to become as popular as Pierre Loti or Jules Verne and was dismayed when his lavishly presented work encountered only ‘an almost totally hostile incomprehension’.