By Henri Godard
Mieux que quiconque, Henri Godard sait combien Céline constitue aujourd’hui encore un scandale : celui de l. a. coexistence du racisme avéré et d’une forme particulière du génie littéraire. Ces deux plans, il n’a cessé, de livre en livre, de les situer l’un par rapport à l’autre. Dans cet ouvrage, Henri Godard épouse le aspect de vue de l. a. littérature. À qui s’efforce de comprendre ce qu’est cette dernière, Céline offre, en effet, un objet d’étude privilégié : le choix de l. a. langue et du style ; l. a. voix narratrice du romancier ; sa création d’un roman-autobiographie d’un style nouveau, qui lui permet de trouver une factor à l. a. crise de los angeles fiction qu’il a été l’un des premiers à sentir - voilà ce qui fait los angeles valeur de l’écrivain. Sur les possibilités du plurivocalisme dans le roman, sur les éléments constitutifs et sur les fonctions de los angeles voix narratrice, sur le rapport du roman et de l’autobiographie, Céline ne se contente pas de mettre en œuvre certaines des possibilités du système, il en fait apparaître de nouvelles et nous oblige à repenser, voire à étendre, nos moyens d'appréhension.
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Extra info for Poétique de Céline
Edmund’s presence at Thornton Lacy provides the excuse rather than the occasion for Sir Thomas’s visits there, and the marriage is presented primarily in terms of the opportunities it affords for “the mutual attachment” of Fanny and Sir Thomas to become “quite strong” (472). Through the pious mediation of Edmund, Sir Thomas the Pygmalion has indirectly shaped Fanny to fit his desire, and by the end of the novel, Fanny’s point of view has been entirely coopted by that of her guardian and father-in-law: the parsonage is “as perfect in her eyes, as everything else within the view and patronage of Mansfield Park,” but her eyes are no longer her own (473).
The novel generates love that readers experience not in their own persons but in that of Elizabeth Bennet and bestow not on Austen but on Mr. Darcy. If Pride and Prejudice focuses erotic attention on its hero rather than its narrator, this is not for any lack of seductive potential on the narrator’s part. On the contrary, Darcy borrows much of his appeal from the narrator, the figure initially offered up for the reader’s cathexis. In her famous first sentence, the narrator of Pride and Prejudice adopts a role she enjoys today among Janeites, that of a prophet of love, and uses that role first to fl atter and then to dash the romantic hopes of a particular sort of reader with whom all readers of the novel are invited to identify, a woman in love with and eager to marry a single, rich man.
Moreover, instead of contenting themselves, as eighteenth-century quixotes must, with approximate reenactments of plots designed for others, the players of Ask Austen enjoy romances composed just for them by the great author. Fowler’s narrator exults, “We’d let Austen into our lives, and now we were all either married or dating” (249). Whether the players owe their new love matches more to their successful compliance with Austen’s advice (her omniscience) or to her sheer authorial will (her omnipotence) is not obvious, but in a novel that scants living sweethearts to focus on each character’s rebirth in Austen, it is clear that spouses and dates are ( 32 ) Jane Austen’s Erotic Advice valuable mainly as proofs of election, as steppingstones on the way to the author.