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Barthes for dummies

October 12, 2013 8 comments

Introducing Barthes, a graphic guide by Philip Thody and Piero. 1995.

 Literature is the proof and the assertion of human freedom.

I know this is strange, I’m French and I’m reading a book introducing Barthes in English. It’s not natural, it’s a conscious choice coming from me stumbling upon a graphic guidebook about Barthes at the Tate Modern. I browsed through it, saw no complicated words, liked the drawings and thought “That, my mind can grasp and I’ll finally know why everybody talks about him.”

BarthesIt’s well-done, I think I understood the concepts. Of course, I’m totally unable to assess if it’s faithful to the original thinking of Barthes, if it simplifies too much his works or if it leaves aside relevant part of his texts. Hell, I’ve read this because I knew his name –not from a street plaque, I’ve never encountered a Barthes street— and had heard about him. The only time I tried to read his prose, I couldn’t link the signs with any content. It was filled with too much unknown jargon to be understandable to the philistine I am. Battre en brèche la naturalité du signe doesn’t make much sense to me. Philip Thody manages the anti-Barthesian –I can invent whatever adjective I want, words are just arbitrary signs— task to sum up with clarity Barthes’ work.

So this graphic guide goes through Barthes’ major works in chronological order. I knew some of the titles but had no idea of what they were about. It happens that I’m the Bourgeois Gentilhomme of Barthenism: lots of concepts I partially knew from I don’t know where (Business school probably) and without knowing it came from him. Not that he’d be happy to be associated to anything containing the word “bourgeois” in it.

As it is I agree with a lot of what I’ve read. I don’t believe in Fate, in things being “natural”. Most of what the society wants us to accept as natural is cultural and language is as cultural as anything else. Trying to sell things as natural is a way to keep the society in a stand-still and let the power in the hands of those who already have it. Take women and how convenient it is to talk about maternal instinct and the nature of women that predetermines them to stay at home and nurture kids.

I also agree with the idea of a reader, a spectator setting their mind upon reading a book or watching a play as if it were reality while knowing at the same time that it isn’t. We’ve all experienced this: sometimes we’re not in the right mindset to accept a book as it is. Think of Thomas Hardy. Some readers reproach him for the use of implausible and most convenient coincidences to move the plot forward. When I read Thomas Hardy, I know that it’s implausible but I’ve decided that I’ll believe it while I’m reading the book, just to enjoy the ride. It’s a sort of prerequisite to my reading and I accept them. Just like I accept objectified women in hard-boiled as part of the genre.

Later, Thody explains:

“Barthes’ thinking about literature criticizes the view that an author’s work has to be seen in the context of his life. It rejects any idea that the way to understand a literary work is to find out what the author was consciously trying to do”.

Regular readers of this blog know I don’t really care much about a writer’s biography. I don’t think a reader needs to know about the writer’s life to enjoy and understand a book. I like to approach a novel without prejudice and see it as a stand-alone, apart from the author’s life. The literary worth of a novel is independent of the worth of the writer as a man. Lots of writers would disappear of our shelves if we decided to disregard the works of writers whose life goes against our definition of a good or honourable man. And I think Voyage au bout de la nuit is worth reading despite Céline being anti-Semitic and Emile ou De l’éducation by Rousseau is still widely read even if Rousseau abandoned all his children.

This passage compares Barthes’ view on literature to the traditional technique to study texts and it helped me understand why I hated literature in class. I like Barthes’ vision, a lot. It suits me. And I’ve been doing the exact opposite in class. I hated the explications de texte that Barthes puts on the grill and the ideas that each word of each sentence had been thought and written on purpose by the writer. This was digging out what the author was consciously trying to do. I was young but I thought it pointless and opposite to what I wanted from literature: pleasure, evasion, knowledge, enlightenment and emotions.

Then, there’s this “The only literature worth writing or reading is the one that is about something. In short, it is content and not form that creates literary value”. It’s a little extreme and I’m convinced that great literature allies content and form. The best plot in the world won’t work for me if it’s poorly written. And a good style isn’t enough. That’s why I struggle with experimental literature that emphasizes more on experiment than on trying to say something. I’m fond of Exercice de style because Queneau doesn’t try to wrap it into what it’s not. I’m less tempted by La disparition by Perec; I can’t help thinking that such a constraint as writing without the letter e had inevitable impact on the quality of the plot. Yet it is tagged as a novel.

Well, this is what interested me in Introducing Barthes. I expected it to be more difficult than that and more distant from my experience as a reader. I hope I didn’t write anything stupid that will make specialists roll their eyes. In my defence, I’ll say that it’s not my line of work, it’s not what I majored in, so be lenient with me and correct me gently in the comment section.

I found this graphic book entertaining and easy to read. It’s aimed at Anglophone readers so it explains many French facts that I knew from my background. For example, if you’re French and you’re reading something about Barthes theories, you don’t need so many details about who Racine was, you already know. It’s like Shakespeare for an Anglophone. And also, there’s one minor slip: the Abbé Pierre fought for downs-and-outs in the winter 1954, not 1952.

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