Eden Eden Eden (The Modern Classics Series) Paperback – 15, With Guyotat we are left with one continuous description of anal and oral rape, usually by soldiers on men and boys. The introduction to this book promises that Pierre Guyotat's "Eden Eden Eden" will scar you. EDEN EDEN EDEN is Pierre Guyotat's legendary novel of atrocity and extreme obscenity, a classic of modern French literature taught on numerous University. This, Pierre Guyotat's second novel, caused a huge scandal upon Extreme and obscene, "Eden Eden Eden "is set in a polluted zone of the.
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Éden, Éden, Éden, Éden, Éden, Éden by Pierre Guyotat Eden, Eden, Eden by Pierre Guyotat. Eden, Eden by Pierre Guyotat. eBook: Document: Fiction. Pierre Guyotat (born in ) has been a source of French literary scandal since the The French government banned his novel Eden Eden Eden from being. Eden, Eden, Eden - Pierre Guyotat's legendary novel of atrocity and multiple obscenities - finally appears in English. Published in France in (Gallimard), .
What, then, is your interest in humanity, being that its manifestation in your work is off-kilter from humanity? Also, perhaps humanity is appalling in the flesh for someone who lives it as intensely as I do, or else perhaps the real thing is too complex. So I took things much further.
This has nothing to do with the philosophy of my generation. This is not in any way a regression into the past, as they say. It is perhaps, alas, a prefiguration. I see this work, my work, as a kind of insurance against a possible future.
I think using non-beings, and making them into rather glorious figures, lovely figures, is also a way to reconsider what has happened.
A way to lay a hand on the shoulder of future victims. Everything I do amounts to that: holding hands with someone else. Once the monster is born nothing can stop it.
It took years, and gigantic armies, to slay the monster.
There are tyrannies, there are wars, and then there are monsters that appear, that are impossible to bring to heel. Satan must pass. Photo: Mathias Bothor D. Everything is comic. In art you conduct revolution through parody. You parody the greatest achievements.
You enlarge them, thicken them, draw a circle around them; you draw a circle around forms that have remained classical, and thereby lay them bare. You must point a thing out before you can get beyond it.
Also, you must show yourself what needs to be gotten beyond: the style of tragedy, or comedy. That is what I call parody.
I parody to achieve something new. A revolutionary is someone who knows tradition cold. You have to see it, grasp it, show it, frame it. What I do is a parody of rhetoric: the rhetoric of oratory, the rhetoric of Racine, the rhetoric of Hugo, Rimbaud, everyone.
The further I advance, the more figures I annex. You have to have a very strong sense of melody to make it palatable. Do you still believe in it? Scary stories, the kind that have always been around, and are part of the parody. I no longer have the political engagement to go along with it. And is there such an engagement to begin with? A particular scene.
That is what I need. That is what fills my throat. Stravinsky has had no posterity. It just ate away at me, which lends me a certain legitimacy when I say what I say. I truly suffered giving birth to this. I thought what I was doing amounted to a sort of personal dialect that could never be understood or shared.
But that is obviously not the case. Committing that kind of act all alone is an excruciating experience. I wondered how I could justify what I was doing. I was never sure of what I was doing. When I was languishing in my prison cell in Algeria, in the spring of , I was not at all sure I was right.
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That I am no more right than my interrogators and tormentors. You sing like a child in the forest. You sing to buck yourself up. In the beginning you spoke of the atom, and in atomism everything is indeed divided into atoms, but there is also the clinamen, which is the way atoms are all bound to one another.
We find that same tension in your work: separation and multiple associations, leading up to a fluid notion of relations, a fluidification of humanity. Do you agree? If possible, you must take every step forward with the entirety of humanity.
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This might be a Christian notion. Humanity must unite: the good, the bad, the monstrous. That is once again becoming very important in my work. I think my future writing will very much take that into account. We are an evolving species in a space that is itself evolving.
Five hundred million years ago the Earth was not yet what it is now.
A billion years ago it was still a fusing mass, and uninhabitable. Once you come to that understanding you start to look at things differently. You might start walking differently. How does a child take that in? We must get back to basics. We are but a stage, and we live on a ground, an object, that is but a phase.
The text relocates French literature. It is a fiction entirely out of the Sahara. Or, at any rate, of foreseeing, considering, prefiguring what form said humanity will take? The God of Christianity is a god for local use, for the use of humanity as it was three thousand years ago.
In a sense, Christ interiorized that essence in an even more limiting way than the Biblical God of the Old Testament, who was much more grandiose, much more astral. Christ interiorized and reduced divinity. This, perhaps, is what provoked the terrible and tragic split between Judaism and Christianity. After three months in jail he was transferred to a disciplinary centre.
Back in Paris, he got involved in journalism, writing first for France Observateur , then for Nouvel Observateur. In , Guyotat published his second novel Ashby. In , he published Tombeau pour cinq cent mille soldats later released in English as Tomb for , Soldiers.
Based on Guyotat's ordeal as a soldier in the Algerian War , the book earned a cult reputation and became the subject of various controversies, mostly because of its omnipresent sexual obsessions and homoeroticism.
In , Guyotat became a member of the French Communist Party, which he left in Eden, Eden, Eden came out in with a preface by Michel Leiris , Roland Barthes and Philippe Sollers Michel Foucault's text was received late and therefore didn't appear as a preface . This book was banned from being publicized or sold to minors.
Between and , Pierre Guyotat travelled extensively in the Sahara. In July , he was invited to Cuba, along with other writers, where he travelled to the Sierra Maestra with Fidel Castro. In , Guyotat's play Bond en avant "Leap Forward" was performed. During the s Guyotat was involved in various diverse protests: for soldiers, immigrants, and prostitutes.Too many massacres, murders, and attacks on liberty have been committed throughout history in the name of so-called subversion for artists to claim to be blissful subversives.
They told us that prayer was the most beautiful thing in the world, which is not untrue. There is no separation of perversion and life; it is one in the same. Do you still believe in it?
I am not a blissful subversive, and if I am one, it is despite myself.
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