Arthur B. Evans. Science Fiction in American SF in the French marketplace), SF writers in France have never- for la science-fiction fran(aise in world literary circles. *A somewhat different version of this essay will appear in The Handbook of .. often publishing in the "Anticipation" collection of Fleuve Noir) and those.
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The justice of the appellation was also vindicated by the appearance of that part of his limbs, from the bottom of his kilt to the top of his short hose, which the fashion of his country dress left bare, and which was covered with a fell of thick, short, red hair, especially around his knees , which resembled in this respect, as well as from their sinewy appearance of extreme strength, the limbs of a red-coloured Highland bull. My youthful mind [was impressed] with a severe aversion to the northern inhabitants of Britain, as a people bloodthirsty in time of war, treacherous during truce, interested, selfish, avaricious , and tricky in the business of peaceful life, and having few good qualities, unless there should be accounted such, a ferocity which resembled courage in martial affairs, and a sort of wily craft which supplied the place of wisdom in the ordinary commerce of mankind.
Scott as Storyteller , James Kerr explique:. Edward gradually approached the Highlands of Perthshire, which at first had appeared a blue outline in the horizon , but now swelled into huge gigantic masses , which frowned defiance over the more level country that lay beneath them. The Cheviots rose before me in frowning majesty; […] huge, round-headed 49 , and clothed with a dark robe of russet, gaining, by their extent and desolate appearance, an influence upon the imagination, as a desert district possessing a character of its own.
La trame commerciale constitue le fil directeur de Rob Roy. In this picture of a sketch, the many pictures drawn in Waverley are collapsed into one, and thereby distorted, drawn or written over. She reminded me […] of some of the paintings I had seen of the inspired heroines in the Catholic churches of France. It was a large and animated painting, representing Fergus Mac-Ivor and Waverley in their Highland dress, the scene a wild, rocky, and mountainous pass, down which the clan were descending in the back-ground.
It was taken from a spirited sketch, drawn while they were in Edinburgh by a young man of high genius, and had been painted on a full length scale by an eminent London artist. Raeburn himself whose Highland chiefs do all but walk out of the canvas could not have done more justice to the subject; and the ardent, fiery, and impetuous character of the unfortunate Chief of Glennaquoich was finely contrasted with the contemplative, fanciful, and enthusiastic expression of his happier friend.
Beside this painting were hung the arms which Waverley had borne in the unfortunate civil war.
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The whole piece was generally admired. Percie, the son and heir, has more of the sot than of the gamekeeper, bully, horse-jockey, or fool — My precious Thornie is more of the bully than the sot, gamekeeper, jockey, or fool — John, who sleeps whole weeks amongst the hills, has most of the gamekeeper—The jockey is powerful with Dickon, who rides two hundred miles by day and night to be bought and sold at a horse-race — And the fool predominates so much over Wilfred's other qualities, that he may be termed a fool positive.
But is there no room on the canvas for Sir Hildebrand? Rashleigh Osbaldistone in your domestic sketches. I see thy sire before me in all his strength and weakness ; loving and honouring the King as a sort of lord mayor of the empire, or chief of the board of trade—venerating the Commons, for the acts regulating the export trade—and respecting the Peers, because the Lord Chancellor sits on a woolsack.
The Modern Scottish Novel: Narrative and the National Imagination. Narrative Paradigms in Scottish and English Culture. Scottish Academic Press, English Fiction from Frankenstein to Lady Chatterley. Walter Scott and the Story of Tomorrow. Scottish Geographical Journal , vol. Walter Scott and Scotland. His father is killed and reported missing in ; the child Deligny becomes a war orphan.
He cultivates the idea of anonymity rather than anonymity itself. His writing comes and confirms his suspicion with regard to discourses. He favours short forms. His paragraphs are short, parted by long blank spaces which serve as the scansions of a thinking expressing itself out-loud, with its stressing, its recurrences, its ellipsis and repetitions. Digressions seep in his texts in several ways. As early as the sixties, he almost systematically uses the dictionary and etymology as references: Geographically, his trajectory is divided into three zones and corresponding moments: He never left France, spoke no language except his own, showed no regret whatsoever for the experience of that strangeness.
At the asylum and in the communist party. His texts at that time show how deeply he was haunted by a fear of ideologies. In the early sixties history walked out on him while he walked out on history. He is torn between a deep-rooted rejection of anticommunism and a profound disagreement with the ideological conditioning of the party.
At the same period, he gives up on taking care of adolescents and begins, away from any institutional apparatus, researching the possible forms of a non-verbal language. He follows it, from one experience to the other, in small touches. He never looks for the object of the trace which has disappeared. It runs about his work as the line, the writing or the image. The infinitive marking is the accomplished form of such a permanency, referring to no other thing, to no Other. It brings together, for the first time, the essential of his work: Throughout these pages, Deligny remains what he was, a school teacher, an educator, an intellectual without an assigned discipline, an inventor.
Time and an incomplete knowledge of his work have determined a certain misunderstanding: Another fact explains it, a fact which was accepted and acceptable in the seventies but which our times reject: Deligny deals with autism yet he is no psychiatrist; and even worse, maybe, he shelters autistic persons yet has no intention to cure them. Circumlocutions silence, vacancy of the language, etc. To adopt their point of view rather than the one of the educational, medical or legal authorities.
To define an adaptive environment rather than a set of abstract rules. Yet, there should be no underestimate of his institutional strategy at the C. Likewise, there should be no reinterpreting his attempts in the forties, as he tends to do it himself, in the light of his rejection of language. The chronology of the narrative is broken, the episodes dealing with the asylum, the war and the communist party are fragmented through the text and absorbed within a perception with no reference to space and time, made irrelevant by the experience of insanity and death.
This text serves as a prologue to the collection. Deligny wrote it in , at the psychiatric clinic of La Borde. He was then fifty-three; he had already spent thirty years of his life with backward and maladjusted children and adolescents, he was to spend thirty more years with autistic children. A chronological presentation of his work has the advantage to arrange a complex material made of texts, articles, issues of journals, drawings, maps, photographs, films.
Profusion is the sign for an experimental type of work aiming for the gesture and the activity rather than the object itself. The collection consists of five parts. The educator made writer has not found his style yet; his writing has not decided between a poetic prose saturated with metaphors and spoken language. His attempt to write for delinquent, epileptic, psychotic adolescents is awkward; yet it needs to be seen as a testimony on the asylum confinement in the working-class background.
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Les Vagabonds efficaces , a chronicle of his staying at the C. Deligny warns the first educators against normalization and the grip of moral standards, which come and hide the social cause for delinquency. The layout, the use of drawing, shed new light on the character: The facsimile reproduction shows the originality of such a small object.
The second part is named after the association founded in During that time, Deligny wrote very little. In he leaves Paris for good. Thus begins a ten year-long unsettled period of his life. His struggling with the mastery over fiction and over the distance, which bounds him to the characters, explain his giving up on the genre. They identify with his projects, turn his character into one of the emblems for their program. The few documents and commentaries which we have gathered sum up a certain frame of mind: The third part and its six hundred pages are central to the collection.
They recount the most experimental, most inventive years of the network of autistic children. Deligny has broken away for good with social activism. He begins a new attempt with autistic children, around Janmari, and sets out for his crusade against language. He invents a spatial device, customs, a cartography, a language. Relentlessly, Deligny goes on writing. Isaac Joseph sorts out, structures, pieces together scattered texts, excerpts from letters and interviews.
That same year, the collection is published in French: We had to give up on that idea for lack of space. Between and , Deligny publishes seven books. Since they were pulped a few months only after their publishing, we consider them to be an original material. Finally, to call upon the eternally revived presence, rather than the return, of a pacified yesteryear, a luminous time of stones and traces.
Jean-Michel Chaumont is the author of the first hundred and twenty pages, the first of the two parts the book is composed of. That same year, he published a fourth book for Hachette: Despite the peculiarity of the narrative, despite the clues he offers between the lines to his obsessive fear of the disappearance of the father, we chose not to reissue this text. Going back to the setting of the asylum, diving again in a form of writing both narrative and realistic, would have loaded down the structure of the collection.
Between and , Deligny wrote four more essays. Some are more important than others, none have been published before. Deligny does not recognize himself in the issues social workers have to deal with. He summons up Wittgenstein, the philosophy of facts, of the tacit, of the unmentionable. He uses again the metaphor of the asylum: Once again, he targets psychoanalysis, its comfort and its subjection to the norm of language.
About a film to be made. His thinking is both more and more abstract and more and more ethereal. He quotes Jean Epstein. Yet, to him, the image will always be somehow childlike, somehow primitive. The way it appears has to do with reminiscence, with the infraverbal, with the silent dazzle of the magic lantern. Deligny wrote around twenty tales, or even more if we regard as tales a great many parable-like short stories. The small handwriting is fine and cursive, hastened by time and the pressure of memory.
Around her, a theory of characters arising from the war, from the asylum, from the childhood years in Bergerac and from the adolescence in Lille. The manuscript is left unfinished. It is not the last one. What are these pages? Essays, narratives, scenarios, plays, tales, letters. There were not all worth publishing. The correspondence is way too vast. Deligny says very little of himself. It all looks like his private life interested him or interested the addressee in as much as it held in a few factual comments: Indeed, he sees correspondence as following his intellectual interactions: Therefore, the correspondence is a precious complement to his texts, but we lacked the room to publish it.
Images take up a lot of space. Whenever he can, he tries his hand at drawing, at typographic techniques and layout. At the end of the fifties, he discovers, during his drawing sessions with Yves G. Deleuze and Guattari will place them at the very origin of the concept of rhizome. This transcription system is coded yet decipherable. Most of the maps have been lost.
We have gathered a few of the ones which survived: Deligny is also interested by photography, seen as an another trace. For it fixes the image without objectifying it. It calls for legends. The complexity of the editing and the great diversity of the focal distances called for a dense and turbulent type of layout, with bright whites and dense blacks. The avatars of fiction are followed by the peace and quiet of an idealized document, focused on Janmari. The layout highlights a few descriptive sequences, which turn the film into a very precious tool for the analysis of the way of life of the network.
While never trying to undo the share of legend he voluntarily kept alive, these introductions re-establish some of the historic facts, on the background of which his action and work come to light. The whole work bears the sign of this double demand. Deligny gave up early on becoming one. For entering literature was not compatible with dedication to work, with the daily risks of care, whether institutional or not.
Deligny risked experimentation and failure. In the sixties, he offers alternatives to the cult of the collective and of freedom of expression, in which he sees the hypostasis of the psychological, consumerist subject: His propositions at the time voluntarily go against the tide of history.
In the practical activities of the network, he uses art, which he characterizes as a gesture for nothing and as a memory of forms. Against the libertarian illusion of May 68, he offers to restore the principle of authority: Deligny was a man of order, as Jacques Allaire presented him. Such stands come from a critique of language, which lead Deligny to live with autistic children.
Such an approach could develop only with the observation of acute autistics, suffering from such severe disorders that the very access to the word was jeopardized for good. It was founded in It refers both to the childlike stick-figure and to the subject. In English, Fossils have it rough only translates the first meaning.
The child was mute, lively, adroit; he discovered buried springs, caught wasps by their wings without hurting them, lived in the hamlet from his powerful presence and unvarying journeys. Il a douze ans. Je le lui tendais le plus souvent au-dessus de la page de droite. Il reposait le graphite, et je lui tendais cette fois le stylo en faisant un claquement de langue: In November , she proposed that Janmari trace in a sketchbook.
Until May , they met in her studio three or four times a week. I handed a ballpoint or felt-tip pen to Janmari, and he began a series of small waves or circles. Depending on which side I extended the pen to him, he began on either the left-hand page or the right-hand page. I usually handed it to him above the right-hand page.
On reaching the bottom of the page, he turned the page himself and continued on the right-hand page, and so on. He traced with his right hand.
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Sometimes he used his left hand, in which case he began in the middle of the page. He quickly became tired at the time, and he sometimes stopped before the end of the first page. Whenever I traced a vertical line from top to bottom, Janmari completed the rectangle by tracing the other three sides on his own. Soon I no longer needed to draw the line on the page. I just made the gesture in the air, and he drew all four sides. Then he set the pen down; I handed it back to him again, and he filled the frame with little circles or wavelets. We made the grids together.
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I began to sketch the left-hand vertical line in the air, Janmari traced the frame and then put down the pen; I performed the gesture of the second vertical line in the air, he traced it and aligned the others. He set the pen down before making circles again, from top to bottom, respecting the separations formed by the vertical lines. I tried to vary the shapes. When he began a series of wavelets or circles, I sometimes took a piece of graphite and laid it flat on the paper.
Janmari took it and traced a rectangle. He set down the graphite, and this time I handed him the pen while clucking my tongue. He immediately responded by resuming the circles or wavelets and filling the rectangle without going outside the frame. As for the graphite circle, I often had to get him started in the air. But not always—Janmari could trace it entirely by himself. Clucking my tongue could cause him to switch from one sign to another, which was how one day, when he had begun tracing circles, I made the sound, and he switched to tracing wavelets up to the right-hand edge of the page.
Then he resumed the circles, on the left, and I made the sound again and he drew wavelets. After a while, he internalized this rhythm and alternated on his own—sometimes with a certain difficulty—between circles and wavelets, which ended up forming two columns. When he had finished a page, I sometimes handed him a colored pencil. He colored the circles, beginning and ending whenever and wherever he wanted. One day, I interrupted him while he was tracing circles; I traced colored bands, and he continued the circles, keeping inside the limits of the bands.
It took him around ten or fifteen minutes to fill a page. During that time, I went to draw a bit farther away in the studio. Once he got to the bottom of the page, he continued or else waited for me to come back. He traced sitting down, but the sitting position was painful for him he was ill at the end of his life , and around April, he started to stand. He traced more slowly, his circles and wavelets becoming less regular, and he lost strength. He died one month after tracing the last page. Essay by Bertrand Ogilvie. About Extracts Exhibitions In French.
The map constitutes the path that leads us to this unsuspected place in which the mute child stands, and where the adult will be able to stand in turn, hoping to transform himself into a sign and become an opportunity for a relationship, an act. This is what the entire project of the maps is about: This is how, through a sort of choreographic invitation or provocation, paths and journeys, roamings and routes interweave until shared dances, both trivial and sublime, unpredictably appear around the most basic and essential gestures of life.
Little by little, the autistic children join in the common activities. However, these seemingly identical activities must be named differently depending on who carries them out. The fact that they are shared, carried out in common, does not mean that they are identical. Washing, preparing, planning, cutting, cooking, distributing, and collecting: Deligny goes so far as to refuse to name what is happening then imitation?
Using the infinitive form also eludes the problem of the subject.
As Nietzsche says, we are trapped in the prejudice of grammar that every verb requires a subject. He understood that this thought requires a different mediation in order to be effective: He expresses an anti-normative position that may cause a scandal and be hotly debated, but he does not do so from a simple, normative position. Deligny situates himself beyond such problems: Deligny was not a psychiatrist. In fact, he preferred to call the children mute rather than autistic. From one place to another, different hands did the tracing: The modes of transcription also change: Superimposing tracing paper caused a centripetal territory to appear inside which the children circulated in every direction, drawn by presences, gestures, objects, or nodes of life.
Objects were interspersed throughout the territory: Il est le fils de Camille Deligny et de Louise Laqueux. Il supprime les sanctions. Guy Aubert enregistre les sons. Les demandes de stages se multiplient. Trente est un mot qui peut se redire. Il y en avait un autre, le surveillant, qui passait deux ou trois fois par jour. Il est perdu dedans. Il en sort pas. Il ne rigolait pas du tout. Il y pensait vraiment.
Tout en pensant, je corrigeais: Pas de compromis possible. Alors, autant ne plus vouloir. Il attendrait les autres. Il a fini par le dire: Il ne finirait jamais. Autant dire sur la page. Une lettre minuscule en initiale y suffira donc: Car il y a un reste. Il y a ce voir et se voir. La voix est trace?
Dans un lieu nouveau, il explore avec minutie. Il ne demande toujours rien. Balivernes pour un pote , Paris, Seghers, coll.
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Nature et pouvoir et nature du pouvoir , Paris, Hachette, coll. Passe encore pour la lune qui peut se voir et donc se dire. Il en sera de ma mort comme de ma naissance, absolument involontaire. Six petits corps gris. Il invente un dispositif spatial, des coutumes, une cartographie, une langue infinitive. Et cette tentative surprend par sa robustesse tranquille et fait mirage: Je les voyais, les escargots, qui se vadrouillaient, tranquilles, sur la tapisserie grand luxe. Je lui disais, au gars:. On allait croire que je me mouchais avec ma manche.
Ce discours est de toujours. Et il y a des tribunaux pour enfants et adolescents, il y a des psychologues. Il y a ceux qui disent: Nous sommes le 14 juillet Quelquefois, en arrivant, vers neuf heures, je voyais un mur abattu. Il arrive au plancher. Il est assis contre le mur. Le sang va emplir le creux. Leur paquet sous le bras et leurs souliers sans lacets aux pieds, ils suivraient.
Je te mets en prison. Tu me mets en prison. Il en arrive un tout seul. Il ne vient pas de prison.