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Book Description
Which came first, words or things? Are your words yours, or someone else’s? And what do the Crusades have to do with it? And what do ants have to do with it?
Jean Ricardou has been given something of a bad rap: he’s widely seen as a difficult writer, or worse yet, as an intensely serious one. However, he easily sheds this weighty reputation in his hilariously playful new novel about the notoriously complex world of literary theory. Supplying his readers with everything they need to know to navigate this world, Ricardou uses his own irreverent interpretation of deconstructive theory to ask questions about language and history, theory and life, and all the intriguing connections between them.
About the Author
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Born in 1932, Jean Ricardou began his literary career in the context of the New Novel, with L’Observatoire de Cannes (1963), but soon began to push the New Novel into the realm of postmodernism, with such experimental works as La Prise de Constantinople (1965), Le Théâtre des métamorphoses (1982), and La Cathédrale de Sens (1988). He has also written extensively on the theory of the New Novel, and for many years has directed an annual colloquium at Cérisy-la-Salle, France, devoted to the problems of textual theory. |
About the Translator
| Jordan Stump is the noted translator of several modern French novelists, including novel prize winner Claude Simon, for whom his translation of Le Jardin des Plantes won the French American Foundation’s Translation Prize. |
Praise
"With remarkable mastery, Jean Ricardou creates a fiction, like those of Borges, causes the conventional foundations of reality to tremble, and that brings with it, through its infinitely reflected simulacra, the collapse of reason beneath the vestiges of a question with no answer."—Alain Clerval"Ingenious, facetious, . . . and skillfully constructed, it offers its readers the discovery, at once surprising and captivating, of a love affair, conceived in the arcane of language, between narration and fiction, and—why not?—between dreams and realities."—André Dalmas
"[Because] of its extreme eccentricity, Ricardou’s work sets its own traditions far from the more familiar forms of postmodern fiction."—Tobin Jones
"[Place Names] must be read and experienced rather than talked about."—Leon S. Roudiez
"Is there inherent meaning in language, or, in assigning names to places and things, are we merely groping blindly for meaning that might not exist? Ricardou seems to advocate the latter in his latest deconstructionist work, a novel-cum-metafictional guidebook, which owes much to the tradition of the New Novel in its refusal to adhere to any conventional notions of storytelling. A notoriously difficult writer, Ricardou leavens his latest work with a much-needed playfulness as he describes villagers' attempts to construct historical significance based on the implications of the names of the places where they reside. His sentences, freed from the mundane task of propelling the plot forward, shimmer on the page like pearls dug out of the muck of ordinary language. His powers of observation are truly daunting, and his microscopic attention to detail, including the description of a single ant struggling for its life on a diminishing dry spot of rock, make one feel less content to accept meaning and names at face value and more interested in the kind of ruthless examination of the world at which Ricardou excels. Recommended for literary fiction collections."—Library Journal
"A little bit Borges and a little bit Calvino, French postmodernist Ricardou's newly translated 1969 novel proves a circuitous trek through a fictive landscape of eight metaphorically named places. Bannière, Beaufort, Belarbre, Belcroix, Cendrier, Chaumont, Hautbois and Monteaux—each gets its own chapter, and each serves as a source from which language springs, along with the whimsically opaque plot. In the medieval village of Bannière stands the 19th-century museum house of the late fictional artist Albert Crucis ('simply the genitive of the Latin crux, 'cross'), where a young traveler, whose name is not revealed until midbook, begins his visit to the area. He will run into an antiquarian dealer named Epsilon (l'espion, 'the spy') and an elusive woman in a red dress, named Atta, who shares his passion for recondite research into the work of Crucis. The two travelers dig for clues in the artist's allegorical paintings, which depict the eight places in question. Ricardou is a practitioner of the nouveau roman, and his experimental work frees the narrative from conventional rules and plunges it, delightfully, into quandary, contradiction and travel-literature parody."—Publishers Weekly
More Information
Banniere
No sooner has this dark ridge been traversed, beneath the clouded skies, than a glistening appears on the landscape below. Its rolling terrain flattened by this view from above, the valley of Banniere offers a host of discreet undulations to the traveler’s gaze. On either side of the river lies a series of woods and open fields, alternating with near perfect regularity, forming a grid. Through this design the region’s farmers aim to conserve, despite multiple calcareous outcrops, a moisture beneficent for their pastures.
A curious fact: the silken water that flows through these antithetical verdures is known as the Damier, or “Checkerboard.” Like many another in the province, this name has long excited the passions of scholars. As might well be surmised, these fall into two camps, irreconcilably opposed. The one vaunts the virtues of realism: however complex a word’s family tree, its branching genealogy can always be followed back to the origin. In this case, the problem is elementary indeed: no doubt the river took its name from the strange countryside that it irrigates; it was “the river of the damier,” and hence, very simply, the Damier. Certain subtle embellishments, dangerous because valid only in this single instance, have at times been appended to that basic motivation: for instance, that the name’s transference from banks to river replicates the reflective phenomenon by which a watercourse, burrowing virtual depths into its own level surface, borrows the colors and forms of the landscape around it.
The other clan grounded itself in the inalienable rights of poetry. Illusory, they claim, is any search for the origins of words, for words are the provenance of things. Their solution is easily deduced.
Implanted on a bend in the river, Banniere unites some eighty slate-roofed abodes on the Damier’s convex bank. Ribbons of smoke rise in all seasons, soon fraying in a thousand ways with every slight breeze, then finally dispersing. When the air is still, the houses cast their forms and muted hues onto the rippling water, along with the loftier peak of the church.
Before continuing on his way, the traveler is urged to direct his gaze groundward: it is not unusual to find, by the side of the road, in the sandy gap separating the asphalt from the dense intricacies of the grass, several specimens of a sort of red ant to which, in this region, many a living tradition is linked.
The village’s history is a hazy one, owing to a dearth of archival records, entirely destroyed, or nearly so, by a distant disaster, very likely a fire, in the days of the wars of religion. Another fine opportunity, then, for disputes on the subject of origins.
Here, one bygone day, when the weekly market had filled the town square with farmers and villagers, amid livestock, foodstuffs, and diverse entertainments, the customary tumult—laughter, cries, disputations, whispers—suddenly waned. Silence. The sun had emerged from the clouds. Eight strangers stood at one corner of the square, shaking the dust from their tunics. One raised a banner embroidered with the emblematic cross, then planted its shaft in the gap separating four cobblestones. These instigators of the Crusade had come to awaken ardors and strike fear into the soul. Perhaps their orator spun out rousing descriptions contrasting the inferno’s red flames with the delicate azures of paradise. No doubt he evoked the primordial rivalry of goods and evils, and how this subterranean struggle sometimes surfaces in the form of fierce battles, each one apparently decisive, in the heat of which any attempt at indifference equates to support for the opposite side.
The lavish phantasmagoria inscribed in every mind by these words left the audience shaken. Instantly the adolescent’s passions were inflamed. Their elders—fathers or brothers—discreetly sought to distract them from the flag’s snapping billows, amid which the cross, continually metamorphosing, seemed alternately to vanish and to be reborn. In vain: some had been contaminated, and already these efforts to curb the mounting inspirations swelling their breasts struck them as sacrilege. Several ran off at a breakneck pace, eager to snatch up some garment to prepare for the imminent departure; a number of others, their imaginations not nimble enough to call up the splendid Orient, were convinced indirectly, by the determination of family or friends. Few returned, or none. Between those households that had sacrificed some of their number and those that, by chance or prudence, had remained entire, muted rivalries arose, soon exacerbated by the subsequent new divisions of power and land. As the province’s tortuous history wended onward, these conflicts continued to smolder, it seems, and sometimes on strangely petty grounds. Given the crucial role played by the recruiter’s banner, its emblem alternately crushed and unfurled by the wind, the village was given the name that it bears to this day.
The other camp, as might be expected, puts forth an entirely contrary theory.

