Ceci n’est pas une tragédie
L’écriture de David Markson
Ceci n’est pas une tragédieis the first monograph dedicated to the particularly innovative American writer David Markson and includes all his work from 1956 to 2007. David Markson updates the form of the novel to make a statement about our era, the fragmentation of its culture, the questions being asked and its successes and failures. From his parody of the western and his detective novels of the 1960s, or his experiences with constrained writing in the 1970s, to his most recent narratives...
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- Publisher : ENS Éditions
- Serie : Signes
- Place of publication : Lyon
- Year of publication : 2007
- Published on OpenEdition Books : 30 January 2014
- ISBN (Print version) : 9782847881066
- Electronic ISBN : 9782847884180
- DOI : 10.4000/books.enseditions.684
- Number of pages : 304 p.
Epitaph for a Tramp (1959). Epitaph for a Dead Beat (1961). Miss Doll, Go Home (1965). The Ballad of Dingus Magee (1966)
« White Apache » (1956). Going Down (1970). Vanishing Point (2004)
« A Day for Addie Joss » (1975). Springer’s Progress (1977). Wittgenstein’s Mistress (1988)
« Healthy Kate » (1986). Wittgenstein’s Mistress (1988)
« Be All My Sins Remembered » (1990). Reader’s Block (1996). This Is Not a Novel (2001). Vanishing Point (2004). The Last Novel (2007)
Ceci n’est pas une tragédieis the first monograph dedicated to the particularly innovative American writer David Markson and includes all his work from 1956 to 2007. David Markson updates the form of the novel to make a statement about our era, the fragmentation of its culture, the questions being asked and its successes and failures. From his parody of the western and his detective novels of the 1960s, or his experiences with constrained writing in the 1970s, to his most recent narratives, amongst them Wittgenstein’s mistress and This is not a novel, Markson plays with the form of the novel, parodying, fragmenting and redefining it.
Close to the monody of Greek tragedy, but lacking the coherence of a well-defined universe, his narrative voice establishes a particular autobiographical pact, which goes beyond the individual, in the uncertain Post-Holocaust world. Between what Italo Calvino termed the hyper-novel and the Berkettian murmur of an almost silent voice, Markson finds a form of expression which is unique, disturbing and intimate - one which conveys our aspirations and doubts.
© ENS Éditions, 2007
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