ET SI LA FIN DU MONDE ETAIT IMPOSSIBLE , ROLE ET POUVOIR DU SEXE SELON L’APOCALYPSE (French Edition)

Fictitious writer Galtan serves as a paradigmatic 'case' for an exercise in literary sociology, a critical exploration of a thoroughly commercialized cultural industry, based on literary 'branding', marginalizing every kind of author and text unfit for lucrative "labellisation" Salmon Internet trouble every day: For the frustrated visitor of various literary blogs and forums, more and more transformed into a self-hating Internet addict, the web becomes a postmodernized version of Dante's inferno:. Latching on the remainders of his reputation, struggling to conserve a minimal public presence on the market, the sadly neglected novelist starts obsessively 'trolling' on the Internet and anonymously denigrating potentially more successful colleagues: Mortified by public disinterest, Galtan also becomes his own Wikipedia-hagiographer, authorizing an unfortunately all-too 'telling' bio-bibliographical notice.

Even to detective Lucie's indifferent eye, his disguised Wiki-autobiography sketches a quite unpleasant portrait of a frustrated and self-infatuated person, incapable of taking the just measure of his own importance in the small world of literature, not to speak about the world as such: But Despentes' small Wiki-parody, besides its narrative function as an indirect portrait — or rather caricature — of the artist , also raises some fundamental questions about Wikipedia as a characteristic phenomenon of the reading, writing and copying culture of our time, about the re framing of 'canonized' knowledge via the Wiki-dispositive — and about the ways contemporary literary and other authors might react to the kind of 'un-authorized' text provided by the online encyclopedia, advertising its ambivalent 'freedom'.

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The status of Amazon, its sales ranking system cf. Rosenthal , privileging big literary brands and bestselling titles, 31 as well as its customer reviews dispositive, offering rich possibilities for manipulation cf. Merschmann , its monopolizing methods of crowding smaller rivals out of the market, its impact on the development of the international book industry, etc. The detailed analysis of Galtan's "navigation internaute" AB , undertaken after his daughter's disappearance, motivates a critical excursion into the brave new Amazon world.

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Detective Lucie Toledo wonders at the protocols of Galtan's extravagant Internet habits and particularly at his obsessive visits to Amazon, reiterated dozens of times a day: One of her colleagues from the IT service explains to her the most probable reason of Galtan's strange Amazon addiction "Il regarde son classement dans les ventes. Il change toutes les heures", AB , resuming the biblio-pathological case of an acquaintance who, having finally published his own book, immediately fell under the spell of the Amazon Empire and its perfidious ranking system AB Besides the disaster of his Amazon ratings, Galtan is haunted by another obsession, concerning the fate of the book — the very pillar of his whole existence — in a new mediatic context.

His anxieties about the disappearance of the physical book as an economically, but also ontologically 'securing' object are fuelled by his mother, accomplished psycho-terrorist, who continuously harasses him with apocalyptic news from the bibliographical front, demonstrating him again and again that he has, from the beginning, backed the wrong horse: Not only in questions of medium and format, but also in matters of contents, Galtan, old-school man of letters, has lost touch with a new literary landscape his tragicomic 'case' illustrates, once more, the dynamics of "literature as the interplay between form, content, and medium", Hayles Non, il n'avait rien vu venir.

The bomb hidden in his daughter's vagina does not only deflagrate the Palais-Royal, all guests of the dubious ceremony rewarded for various, but equally suspect reasons, AB f. Galtan, conceived as a profoundly ambivalent character, also serves a paradigmatic figure, as far as the im moral potential of literature is concerned.

Umberto Eco, in his Confessions of a Young Novelist , reflects on the ethical implications of literary fiction as a 'school' of human existence cf. Proposing various role models, illustrating possible patterns of thought, emotion and behavior, it playfully trains humans in the complex "semantics of modern society" cf. When still a schoolgirl, she has killed the abusive father of a classmate she was in love with, a symbolic representative of male violence, "endemic" in Despentes' work Jordan This initiatory murder of a paradigmatic 'bad' father figure — personifying, once again, the "banality of evil" cf.

But Galtan, although a professional writer of fiction and, as such, a supposed expert in the exploration of 'possible worlds', is depicted as an extremely un-empathic, egocentric character; in his personal life, he proves not only unwilling, but incapable of considering events from another point of view and interest than his own. As journalist Antonella, the detectives' sexy accomplice, cynically comments, the writer seems strangely disinterested in his runaway daughter's fate, as long as he can make no literary use of it: Mais si elle rentre pour le traiter de vieux con, que veux-tu qu'il en fasse?

In an interview, Despentes, perfectly aware that the literary 'recycling' of biographically close people may well be perceived as an act of symbolic violence, explains why she, so far, refrains from writing and publishing autofiction a genre raising the question of literary ethics with special virulence Je ne le ferais pas, parce que c'est dangereux.

C'est dangereux de fixer les autres, tels quels. Even if he is not very successful in accumulating economic and symbolic capital himself, his bourgeois origins, his family's wealth, his culture — and, finally, his masculinity — situate Galtan among the socially dominant, while his ex-wife, born into a poor and uneducated immigrant family of Maghrebian origins, is clearly part of the dominated class and sex. Actually domiciled in Barcelona, she enjoys her new social status: Nevertheless, Vanessa — body artist in an existential sense, cultivating herself, by all means, as her own and only masterpiece — is never able to make her body, archive sui generis , 'forget'; even covered with all the external accessories of wealth, assiduously imitating the manners and the rhetoric of the privileged class, she cannot erase her story, her memories inscribed in that very body.

Despentes' portrait of Vanessa testifies, once more, to the author's lucidity in questions of habitus ; it seems to illustrate Pierre Bourdieu's reflections on the 'incorporation' of social hierarchies, the " somatisation des rapports sociaux de domination " Bourdieu Her body conserves the memory of another past, the ineffaceable traces of another history: Vanessa's self-analysis in this passage still seems to echo Bourdieu's reflections on the corporeal 'inscriptions' of social relations, on symbolic force as "une forme de pouvoir qui s'exerce sur les corps, directement, et comme par magie, en dehors de toute contrainte physique" Bourdieu Symbolically dominated, Vanessa is also particularly sensibilized to the private and public concurrence of various narratives — and to the fact that her own position within the discursive economy of society is indeed a very weak one: Et l'autre, aussi […].

Personne n'a besoin d'entendre la version de Vanessa pour la condamner" AB At the occasion of the detectives' visit, Vanessa is surprised to realize to which degree she is longing to tell finally her own version of her past, a story embellished, manipulated in her own way: In Vanessa's eyes, her ex-husband's literary activities appear as a crucial part of the symbolic violence she feels she has been exposed to. When their separation degenerates into a regular little 'rose war', all of the couple's common acquaintances take the husband's part, Galtan disposing not only of a clearly superior social status, but also, due to his literary and journalistic tasks, of a certain public authority: Une colonne dans un quotidien.

Celui du plus fort. Once the 'stranger' gone, the Galtan family anxiously avoids any mention of Valentine's "double origine" AB ; it is against her family's will that the girl, who, so far, had been complicit in denying her double background AB f. Years later, Vanessa is still furious at the idea of having been — literally and literarily — 'exploited' by the bourgeois writer, indefatigably 'recycled' in his novels. The memory of this violence, inscribed in Vanessa's beautiful, but metaphorically 'crucified' body, is evoked in intense corporeal terms; in this context, the 'writing hand' becomes an imaginary instrument of moral and physical torture:.

Ce qui est offert d'une main aimable est repris au centuple de l'autre, la main rapace, fouilleuse et sans scrupules. Il parle d'elle dans tous ses romans, depuis. Galtan's current — and third — wife Claire who has herself a bourgeois background waits, on the contrary, in vain for her writing husband to metamorphose her into a splendid literary heroine. In her evocations of this couple, Despentes parodies another aspect of literary 'authority', the kind of sex appeal an otherwise very moderately attractive man owes to his imaginary power of reinventing and transforming reality.

Galtan's profession plays indeed a crucial role in his — secretly sadomasochistic — relationship with Claire, pitilessly considered by beautiful Vanessa as "un poussin: After having been courted by Galtan on a train trip ironically, she was flicking, quite bored, through a book by Paul Morand in the very moment Galtan, himself an ideologically conservative man of letters, entered her life, AB 86 , Claire is less than enthusiastic about her new cavalier, devoid of any particular physical charms, but evidently very narcissistic — and, as she soon grasps, obsessed with his professional status: But, nevertheless, her attitude changes in the although rather modest light of Galtan's notoriety as a writer.

At this occasion, Google reveals its unsuspected capacities as a regular aphrodisiac: The discovery of her admirer's books on the shelves of Virgin Megastore of all possible bookshops… Despentes, ex-employee of said Megastore, does not miss this small gag definitively transforms Claire from a more or less reasonable middle-aged woman into a devoted "groupie" AB Her first erotic encounter with Galtan is an act of solitary reading; after spending a whole afternoon on her bed, ravished by her future lover's and finally husband's fiction, Claire is ready for more, fantasizing — just as Vanessa, but with quite different feelings — about the magical power of the 'writing hand'.

Masochist Claire — to whom the misogyny and narcissism of Galtan's work is evident enough cf. But she does no longer dare to abandon him, already lustfully afraid of his possible literary revenge: Claire's attitude toward Galtan as a privileged shareholder of 'authority', in possession of a symbolic power that may, at any moment, turn into personalized violence, is extremely ambivalent; anticipating her own miraculous metamorphosis, she conforms herself to the role model of a Romanesque heroine, anxious not to disappoint Galtan's expectations: In a seemingly innocent 'self-written' story that she presents to the latter, she mocks, with surprising and, for the elder woman, shocking knowledge of very intimate details, cruelly her father's and her stepmother's sex life and their sadomasochistic preferences; but, above all, she dwells, with relish, on malicious descriptions of a grotesquely deformed, abject step-maternal body AB 93f.

Valentine's final transformation into a terrorist is prepared and framed by the girl's extravagant poetic activities. Still in Barcelona, the young kamikaze candidate works on a short lyrical text destined to complete her murderous performance. Sitting in a park, she sketches the poem she will read on her personal video, claiming responsibility for the terror attack:.

Finally, she will use a slightly modified version of her suicidal poem AB , her performance reminding the startled audience of some kind of school poetry slam. In this sense, Valentine may also be considered as a potential author , using and abusing writing on purposes of aggression and self-defense. But, soon enough, more audacious and still more desperate than her novelizing father, 45 she switches her 'genre', using her own body as an explosive medium in order to communicate her paradoxical message, i.

Ce que je vais faire, je le fais seule. Je vais le faire juste pour le fun" AB Despentes, conscious of her 'anarcho-feminist' mission, has repeatedly highlighted the necessity of female counter-violence cf. Immediately after introducing her bomb into her vagina, Valentine — another hint at her meta-literary status — mockingly utters the very small key sentence Despentes originally envisaged as a title for her novel as a whole: Tu la prends" AB The teenage pioneer of 'intimate' terrorism symbolically blasts away a paradigmatic scenery of bourgeois corruption — emblematic of a system in which she could have been one of the socio-economic winners.

With Valentine's attack, Despentes also stages a metaphorical explosion of politico-cultural stereotypes. As Takeda shows, the subject of suicide terrorist attacks plays a significant role in contemporary constructions of 'alterity'. While this "very old phenomenon" Laqueur When informed about the event, the novel's characters, well-conditioned contemporary media users, are all-too eager to identify the terrorist s as representative s of some menacing group 'outside'; Lucie automatically assumes that the whole thing must be the work of sinister Islamist terrorists "Au Palais-Royal?

But the mortal danger, in fact, comes from within ; the terrorist is a French teenage girl from a wealthy and conservative bourgeois family. Despentes' novel strategically displaces contemporary discourses on terrorism in other aspects, too. If the phenomenon of the female suicide terrorist — after a whole series of female suicide attacks during the years of the second 'Intifada' cf. Brunner , of Chechen "Brides of Allah" cf. Juzik , etc. Moreover, Despentes' text, with its provoking scenario of 'vaginal terrorism', demonstratively stages the presence of the terrorist's female body, an eminently sexualized, but also eminently human — neither angelic nor diabolic — body.

Despentes' novel still invites other considerations on an ethics of literature in its sociocultural context: Valentine, among her new Marxist friends, ironically reflects on the latter's naivety and on the total indifference of her own class toward the 'poor', whose only limited interest may reside in their potential quality as an inspiring object of "bad literature" AB Valentine, accustomed to her father's quite modest reputation, is surprised by Carlito's violent reaction at the mere mention of Galtan's name and his eagerness to throw himself into an imaginary dispute with the bourgeois writer, ab using her as a substitutive addressee AB Ideologically well equipped and eloquent Carlito, in his way and in his milieu, still represents a kind of symbolic 'authority'.

But Despentes' novel also explores the real margins of French society, trying to reconstruct the — or rather a — possible point of view of those 'outside'. Despentes' exploration of banlieue existences is remarkable also because of the narrative point of view adopted: If Vanessa still rages at the idea of how her bourgeois husband has 'abused' her for literary purposes, her nephew Yacine — Valentine's cousin and short-time lover "un songe de petite fille […] le fucking prince charmant", AB —, pure product of the Parisian banlieue , has his own ways of protesting against the privileges of the dominant class.

He refuses, on principle, any confrontation with the 'culture' taught at school — in his eyes, merely an affair of French 'autochthones' and, consequently, not 'his business', as he categorically claims: His French teacher is disqualified in extremely pejorative misogynous terms, as "la pute au tableau […] Cette clocharde. Elle aimerait surtout qu'il la baise […]" AB Correspondingly, Yacine expresses his violent disdain for a female relative who, exceptionally, has managed her sociocultural ascension at least in matters of formal education.

FAIRE UN DON

Said aunt, teaching at a Parisian university, is, in Yacine's eyes, the victim of ridiculous illusions about her social prestige and her degree of integration into 'real' French society: There is no single 'true' version of the events told, but only a variety of points of view, a mosaic of necessarily incomplete, biased interpretations of the world.

First-person narrator Lucie Toledo is an anti-heroic character par excellence, struggling to maintain an approximate control over a story the hidden meanings and secret connections of which she is unable — and, often enough, even unwilling — to figure out, a paradigmatic 'loser', but also, just as such, endowed with the self- pitiless lucidity of Despentes' 'marginal women'. But the novel also reflects on the ways in which human beings cope with life by means of narrative, trying to make sense in an incomprehensible world. Juvenile protagonist Valentine, in search of her identity, frenetically moves between diametrically opposed milieus, 'testing' radically different visions of the world.

This — strongly sexualized — indoctrination will play a certain role in preparing Valentine, physically relishing Yacine's sermons of anger, for her kamikaze attack; the young man's particular power of persuasion passes right through Valentine's womb just as the fatal 'vaginal bomb' will: After the disaster at the Palais-Royal, the survivors instinctively try to rearrange their lives, to mend their world by 'therapeutic' storytelling, this precarious "privilege of the weak" Lewitscharoff Ex-detective Lucie Toledo, profoundly traumatized, forced to flee from Paris, showers herself with auto-accusations for not having realized what was going on: Full of doubt and anger, she passes through all the circles of inferno, re-living the calamitous event again and again, retelling it from various points of view, gradually reconstructing her 'pulverized' identity: Only after having coped in terms of narrative with the disaster that disrupted her previous biography, Lucie is finally ready to return to a more or less 'normal' life: Her companion, in her turn, proposes a whole variety of explanatory narratives, consciously absurd interpretations of the events.

But just as Lucie, she is perfectly aware that no one — in any case, not the two of them — will ever get to know the 'true' version, the hard facts about the terrorist attack: Despentes, denying her characters as well as the reader any definitive explanation of what 'really' happened, refuses any final 'solution' — and, just as Houellebecq in his novels, any solid "message rassurant final" Houellebecq Offering the girl a perfidious simulacrum of the 'unconditional' love she is terribly in lack of AB , Elisabeth rapidly succeeds in transforming her, by emotional manipulation and pharmaceutical intoxication, into a regular "machine de guerre" AB The reader will never know on behalf of which political or economic powers, under whose concrete orders this pseudo-saint, 58 involved in a dubious network of charity missions, trafficking with "sommes colossales" AB , Opus Dei and intelligence services, fulfills her task.

Et on ignore pour qui on meurt. The whole novel stages the in-transparency, the 'unreadability' of the world; Despentes, eliminating the anachronistic phantom of a godlike, omniscient narrator, leaves things in suspense. HYDE "Tour cruz ". Hymns inthe key of Le titre de la chanson qui est aussi celui de l'album est: Dans ce cas de figure, le "Three six" se traduit par "trois six".

A noter le salut cornu en bonus Mordez dans une Pomme Le microprocesseur Olivetti P tournait sur une base et multiples. La France n'est pas en reste comme on peut le constater avec l'affiche qui suit. Nul ne pourra acheter ou vendre Au Japon, la firme Suzuki fabrique la moto Car c'est un nombre d'homme, et son nombre est six cent soixante-six.

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