So many airports. It's April 15
th and I’m drinking coffee in
Casablanca Mohammed V Airport on my way home from my annual yoga bootcamp, and watching the clouds. I'm mulling on this day 39 years
ago, and recalling a wondering of last year, when I was last in Morocco.
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Weather in Casablanca |
CMN to RAK. I went to COP21 in 2015 of course. Lots of talk and not a
lot of action. Interesting I warrant, but in Paris everyone is pleased with
themselves. All that pontoon-faced structuration theory. If we really want to
address climate change, we have to choose to. Last
November, in Menara Airport, Marrakech, it felt like a different world.
COP22 was a much more dour affair. Dejectedly I flitted through the latest
London Review of Books, with it's disturbing article on the May administration. Honestly. Another time. Then, a fascinating
article about Brutalism by that lovely golden-haired boy Owen Hatherley. I
rather enjoyed
his book on regeneration though Tony was spitting bricks. Or prefabricated panels. But
then, a
new biography of Roland Barthes,
reviewed by
Michael Wood. I always
wonder what you have to do to get motorway services named after you. Anyway.
Barthes. Wood talks about Barthes’s last work. He’d had, while gazing at clouds
in Casablanca, what he called a “conversion” experience on the 15
th
April 1978, and thereafter intended to “enter into literature, into writing, to
write, as if I had never written
before: to do only that.” Later he poured water on the suggestion that he
planned to write a novel, and by March 1980 he was dead. Wood says: “Many of
his readers have regretted the loss of what might have been easily recognisable
as a novel […] [some] critics […] have thought Barthes’s last book,
Camera Lucida, was his novel; and still
others see the notes for what Barthes called his
Vita Nova as a conceptual framework for the novel we are all
invited to write.
Well. I knew Barthes well. I called him Rollie of course, as
all his good friends did. I’d played many a hand of
vingt-et-un with his mother, Henriette, and he. And so Wood’s
article both grated and gratified. After that April day, Barthes
did go all out for the conceptual novel
that we are all invited to write
. Perhaps
I should outline a little of Rollie’s ouvre before that day. Of course there
was his 1967 essay,
The Death of the Author. He outlined there how one must separate the context of the author
from text. The alert reader might wonder how his book
Camera Lucida fits that frame, being so heavily laden with the
image of his mother, Henriette. Well of course,
vingt-et-un! Though he describes the pictures of his dear maman, and
the book is laden with images, none are of Henriette. Every text, he says, is
“eternally written here and now”. What’s important is the destination.
The
jetztzeit is what Walter Benjamin
calls the here and now (
nowtime, some
translate it as, but I prefer the former as an indication of the spatial too). This
is what Rollie saw in the clouds over Casablanca. A future where the choice
dictated by language was all about destination (language is fascism he once
said-didn’t-say). Where the reader was both free of and explicitly enchained by
authorial intention. Rollie was a trickster. A slippy slidey eel to paraphrase
Robbe-Grillet (whom I never really liked even before he referred to me as a
“young girl, vehement and angry” in that
little book on Barthes of his. That
was in 1977 and like all good young people I hadn’t quite understood this
French saying-is-not-saying nonsense. But Alain didn’t have a clue what was
going on, and anyway, he hit on me in the cafeteria. I most certainly did not “pounce”).
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It was like this one |
Well. I am meandering. On that April day, and in the
subsequent months, Rollie determined to produce – for young minds, free as yet
of authorial stamp – destinations. Well,
apparently
free, but also not-free. The difference –
vingt-et-un! – he told me and Henriette, between
choisir and
chosiste. Between choice, and what I see translated often as
thing-ist,
sometimes as
concrete (and I'd say, between choice-not choice and the here-and-now).
That’s
where I come in. I’d become friendly with Rollie directly after that inaugural
address when in trying to avoid Alain (who really is slippery) I’d missed my
lift. Rollie kindly took me back to the little
appartement I was borrowing, and interested and amused I suppose by
my impassioned disquiet over his saying-not-saying, he invited me to a cards
evening with his mother. Of course I accepted. And when, in May 1979 – I
was a young barrister, and although serious about Tony, not yet married (well.
E chat parti, les souris dansent) – Rollie
offered me some part-time piece-work to fill some empty hours while I built my practice and earn a few
more pounds, I was intrigued. I got the boat train to Paris to meet him and a
few others, of all nationalities, men and women, and a few I wasn’t sure about.
“My name,” he declared, theatrically, twinkly-eyed, Gitanes in hand, in his
black poloneck; with his sweet and comical heavily French-accented English,
“Is Packard. Edward Packard.” We giggled. He later explained his choice.
Packard from that funny little Hewlett-Packard word processor he’d been given
by Henriette in the late 1960s I think, and a new printer he used to refer to as
Fin, for the end of both the work as
he printed it, and the world of books as we’d known it, and some play on
Finnegan’s Wake, I understood; and
Edward, the Anglicisation of that wonderful and earnest book
Edouard by
Claire de Duras that Rollie
always said was the advent of postmodern French theory. (Henriette said though, and I believe her, that it was also after Edouard de Villefort – the poor little son of
the awful prosecutor in
Le Comte de Monte
Cristo – who falls prey to Dantes’s revenge machinations and sparks his
first episode of remorse. She said she read it to him when he was too young.)
Like all those French chaps, Rollie loved American movies.
Of course you know that. His plan, it emerged that day, was to construct a
series of books which had multiple pathways. Printed books that were
non-linear. That reflected – if not honestly, then avec amusement, the paucity
of comprehension with which we take decisions, and the rollercoasteering nature
of our lives. And with re-reading – re-living as it were – better choices are made.
Choisir – chosiste.
He showed us his prototype:
The Cave of Time, a Hegelian foxtrot and no mistake. But he left it
mostly to us. He took no remuneration himself, but split the royalties and
commission between us. Mine was No. 6:
Your Code Name is Jonah. It’s got Russian defectors (it was 1978!), German
femme fatales, crooked White House
insiders, dodgy scientists. And whale song. My little homage?
You are Roland Barthes. Choose your own
adventure!
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My (your?) friend, Rollie Barthes, by Paul Granger (from Your Code Name Is Jonah) and from the cover of Camera Lucida |
Barthes’s own homage? La mort de l'auteur, of course. This, from page 48 of his last book:
You don’t see the laundry
van until too late. You barely feel the impact. The clean sheets fill the air
above you, floating gently down. As you fall, enshrouded, you are reminded of clouds on an April day over Casablanca. It
is all over for you.
The end.