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Louis ArmandThe Garden |
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Biographical note: Louis Armand lives in Prague where he directs the InterCultural Studies programme in the Philosophy Faculty of Charles University. His collections of poetry include Inexorable Weather (Arc, 2001), Land Partition (Textbase, 2001) and Malice in Underland (Textbase, 2001). He is also the author of several volumes of criticism including Solicitations: Essays on Criticism and Culture (Litteraria, 2005), Incendiary Devices: Discourses of the Other (Karolinum, 2005) and Techne (Karolinum, 2003). He is the editor of Contemporary Poetics (Northwestern), JoyceMedia (Litteraria) and Mind Factory (Litteraria).
BIC Basic EAN13: 9781876857059
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PAPERBACK
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Short
description/annotation: Armand’s first published volume of prose explores the relations between psycho-geography and geo-psychology; between the stability and instability of place, personality and perception. Sometimes compared to the work of Claude Simon and Alain Robbe-Grillet, Armand’s “unpunctuated” prose is less about the construction of ambiguity, than it is a way of writing with the ambiguities that exist already in the world by virtue of the fact that the world is something “experienced.” It is for this reason that Armand’s language always remains “concrete,” the language “tangible” – it is not about experiences but the experience itself.
Main description: “Cool, postmodern,” in the words of Kevin Hart. Armand’s first published volume of prose explores – by means of a rigorous experimentation – the relations between “psycho-geography” and “geo-psychology”; between the stability and instability of place, personality and perception. In the verbal setting of The Garden (with its echoes of Bosch, Eden, the classical “forbidden garden” or the Perfumed Garden of Arabian literature), figures mesh in a half-light of memory and desire. The text moves fluidly between the exotic and the banal, the archetypally general and the minutely specific. Sometimes compared to the work of Claude Simon and Alain Robbe-Grillet, Armand’s “unpunctuated” prose is less about the construction of imagistic or verbal ambiguity, than it is a way of writing with the ambiguities that exist already in the world, by virtue of the fact that the world is something “experienced.” It is for this reason that Armand’s language always remains “concrete,” the language “tangible” – it is not about experiences but the experience itself.
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Review quote: Louis Armand’s The Garden, exemplies more bold trends in the internationalization of Australian literature. Written in an experimental form borrowing from the French recit as practiced by the likes of Maurice Blanchot, this work consists of a cascade of unpunctuated disorienting prose drifting between subject and object, traversing spatial and temporal warpings as well as boundaries of imagination and reality. Sebastian Gurciullo
Review quote: The atmosphere of The Garden reminds me a lot of the work of the French fiction writer and theorist Maurice Blanchot – sparsely described interiors, characters who remain effectively faceless, an atmosphere of cold yet sometimes desperate alienation. It’s an utterly European Modernism. Keith Jebb
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