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Кристин Анго: Incest

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Кристин Анго Incest

Incest: краткое содержание, описание и аннотация

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A daring novel that made Christine Angot one of the most controversial figures in contemporary France recounts the narrator’s incestuous relationship with her father. Tess Lewis’s forceful translation brings into English this audacious novel of taboo. The narrator is falling out from a torrential relationship with another woman. Delirious with love and yearning, her thoughts grow increasingly cyclical and wild, until exposing the trauma lying behind her pain. With the intimacy offered by a confession, the narrator embarks on a psychoanalysis of herself, giving the reader entry into her tangled experiences with homosexuality, paranoia, and, at the core of it all, incest. In a masterful translation from the French by Tess Lewis, Christine Angot’s Incest audaciously confronts its readers with one of our greatest taboos.

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The cinema with Léonore, Sunday morning, 6 December

We’re on time, but the line extends to the wall across the way, people are wondering if they’ll get a seat, there are children, adults. Everyone is standing on line. I go to the end of the line with Léonore, it’s not a straight line, it’s hard to tell who’s in front and who’s behind, it’s not obvious. Unless you’d gotten there first and watched the order in which everyone arrived. I take my place in line and move forward as the line advances. Some guy, thirty, tall, brown-haired, with a mixed-race wife and a young child, says to me, very confidently, “so you want to cut in front of me, is that it? You know perfectly well I’m ahead of you.” No, I’m moving forward, that’s all, I’m not trying to take his place, not at all. I’ve got other things on my mind. The line moves forward again, again he gives me a sidelong glance, bending down because he’s very tall, and a lot heftier than I am, “you’re in a hurry, what’s your problem?” I’m already upset enough by the night I just spent, but I finally say to him “if you don’t like the way I walk, that’s too bad, I’m sorry.” Again he accuses me of trying to cut in front of him, he was first. At that point, I grab him. The whole street can hear, I yell, I grab his arm by the sleeve of his anorak. I push him in front of me, shoving him so he’s well in front, completely and fully in front. “You’re ridiculous,” he tells me. The crowd is silent, people look away when I meet their eyes, their mouths are busy with other things, their eyes too. I tell Léonore that the guy was bugging me, I hope it didn’t bother her. She said no.

(The film was good.)

When I got home, there was a long message.

“I don’t know if you’re there or if you’re screening your calls. I’d like to see you today, so we can give each other something before we break off completely or get back together. I don’t want us to forget, but to forgive. What we had together was beautiful.” She wasn’t home, I called her cell phone, she was on the tennis court. She was happy when she heard it ring.

That’s fine, but everything that happened before this is not going to just disappear. The trigger on November 25th can’t be overcome. I was talking about causes, profound causes. To go into that, stir it all up? What good would that do? Will it make the book more interesting? No. It won’t make the book more interesting. And most of all, it’s not very polite. It’s not essential, essential, I’m perverse, just consider the way I engage in mental torture. To the point where some people, made crazy by things I’d said to them, these people around me, close to me, were driven to beat me, to insult me, sometimes very harshly (bitch, disgusting, perverse, whore, that all happened), to strangle me (two times, once in Bordeaux, and once right here in Montpellier), to shake me, to beat me, insult me. But always, pushed to the limit, I trust them when they say, at their limit, that they know me, they know me well, they’ve seen me, they’ve heard me, pushed to their limit by a mechanism inside me, a verbal mechanism, extremely effective, extremely destructive, extremely sly, above all extremely sadistic, at all times evoking elements from reality, fitting, wounding, in a kind of ferocious machinery that no one can stop, certainly not me. Except death one day. Or another trigger, in the other direction. But it would all come down to the same thing. My motto could have been ‘everything can always be twisted around’ and ‘everything can always be mashed together’ so it’s logical. I went to see my homeopathic doctor yesterday, it had been a long time since I’d last seen her, she gave me mercurius , mercury, quicksilver, quoting the corresponding phrase: “wanting to break social conventions or to see them only as the instrument of human relations, he ended up breaking human bonds themselves,” it’s logical. I need logic. I’m getting there, others understand that I say what I think. In Sujet Angot , there’s a passage in which Claude says as a compliment: “your writing is so unbelievable, intelligent, muddled, but always luminous, accessible, direct, physical. Your readers don’t understand a thing and they understand everything. It’s intimate, personal, shameless, autobiographical, and universal. You are touching without using gimmicks, without being emotional, you make people think with bits and bobs, a miracle of logical disorganization. Freedom without chaos, openness without drift.” That’s very kind, but he doesn’t get it. It wasn’t freedom without chaos anymore, but the opposite, nor was it openness without drift, but the opposite. I couldn’t take it anymore. With my muddled bits and bobs. I have a critical apparatus, there, a rather solid one. Roudinesco’s Dictionary of Psychoanalysis , I’m happy with it. At my level. As they say, by the way, people who say “at my level” put themselves down, I don’t claim to be a specialist either, I’ve got my limitations, I’m a failure, I try to be logical, simple, and to make myself understood by most people. If everyone did the same, we wouldn’t have all this shit. A lot of writers think they’re hot shit, that’s not very polite.

Valda candy

What is a substratum? It comes from substernere , underlay. That which serves as a foundation for another existence, without which a reality (conceived of as accidental) could not subsist. Without which the trigger would not have had all these consequences. It’s the substance, the essence, the base. On which an action is carried out . Queneau, “a solid substratum for the development of the actions which he might conceive,” Renan, “the earth provides the substratum, the field of battle and of work, but man provides the soul.” The earth, that element upon which lies a geological layer. Linguistically, the Gallic substratum in France. The substratum. What are the zones? What is the terrain? Upon what does it grow?

Heredity

A grandmother who committed suicide, my father’s mother. She threw herself out the window at the moment her husband and his son, my father’s brother, were entering the courtyard on their way to take a walk. My father suffers from Alzheimer’s, as did his father before him. I suffer from the opposite disease, for almost fifteen days now, fifteen days on Wednesday, I can’t get Christmas out of my mind, I have cried every day because of Christmas. I can’t forget Christmas. I cry, I can’t forget, I want to, but I can’t. I cried, I broke up with her, I got myself strangled, I even slapped myself. Christmas Christmas Christmas. Memory loss is not what I suffer from. I don’t have amnesia, rather I suffer from hypermnesia, too strong a memory, if there is such a thing. Christmas Christmas Christmas. I have a six-and-a-half year old daughter, “you always have to bring in Léonore.” Nadine is just an intermediary, Christmas a trigger. I don’t want the legitimate family to take precedence over the unstable one. Paranoids cannot tolerate certain things, I can’t tolerate Marie-Christine not loving me enough to want my child to have a nice Christmas with her and going to celebrate Christmas with her godchildren. My child in other words my flesh in other words my body, what I am, my life, what I’ve lived through that makes Christmas, Christmas, Christmas, Christmas.

Now: to organize the mistakes I’ve made not by how I’ve made them but by why , things I’ll never recover from, “move on to other things” I’ll never move on to other things, the causes, suffering at its most ineradicable, I will be polite, because in the end it makes you very, very polite. It takes away all your aggression, all true hatred, the hatred we show, sometimes, it’s fake, it’s not real, it’s false hatred. It’s a pretense. I’ll try to talk to you. Just as I’m now trying to talk to Marie-Christine, to see if it can be any use. I’ll try to talk to you, here we go, there won’t be any plays on words, there won’t be any hatred, there won’t be anything, there won’t be any literary formulations, maybe this won’t be literature, there will be nothing; nothing, nothing, nothing, there will be nothing. There will be nothing but memories, each memory will be a wrenching that must be written down. Memory, a book of memories. I remember. I remember Ricola, Kréma candies, but something else too. I remember Vittel Délice soda, but something else too. A swing set, stitches in my head, near my eyebrow, my mother in a state, but something else too. I remember Marie-Hélène, the soft sand, my pleated tweed skirt with leather piping, the Nuts and Mars candy bars and Americanos when we got out of the swimming pool in Reims, but something else too. I remember my green skirt with suspenders, my wheelbarrow, my little friend Jean-Pierre, my neighbor Chantal, my grandmother, the rabbits and chicks at the Ligot’s house, Kréma candies, raspberry first, strawberry second, lemon third and orange to finish. I remember cookies with hazelnuts and all sorts of delicious things, I remember two-person swings, etc., etc., but something else too.

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