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Pierre Guyotat: First, I think one has to state straight- away that what . 'popular' to you, Tombeau and Eden Eden Eden, were and still remain 'difficult' because. Eden Eden Eden by Pierre Guyotat, , available at Book Depository with free delivery worldwide. Eden, Eden, Eden - Pierre Guyotat's legendary novel of atrocity and multiple obscenities - finally appears in English. Published in France in (Gallimard), .
There is only an absolute and filthy whole of a story. There is no separation of perversion and life; it is one in the same. Each word is a perversion. Each space filled with rancorous, fetid, filth.
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There are no characters, only objects of action and reaction. As all art should, Eden Eden Eden exists without reason or apology.
It is fiction at its most ferocious. It is pornography in its most naked, powerful, raw state. This book sits acutely on the edge of nothing. It waits.
Eden, Eden, Eden
It invades you. What is important is to dare to know, to accept and address it through artistic means. I did this fairly early on, and the north of England was one of the small theaters of my budding consciousness. There were still borders at the time in Europe, not to mention the great border between the Communist East and the so-called free West. It was probably fundamental that I be surrounded by a language other than the one I was used to in France, British English, which has very much changed since the war and postwar periods.
PG Yes, this is especially true of the language of television. At the time, the language on both sides of the English Channel was quite salacious and evocative. There was still a proletariat and a peasantry, and a very material language with regional distinctions.
The language that was spoken in the north of England was very different from what was spoken in London, or in Kent. Even in France, in the north, people did not speak the same way as they did in Paris or in the south. There were different accents, different words and expressions.
The family I was living with had been friends of my family since the Resistance. I fell in love with a young French girl from Brittany who was living with a family from the neighborhood.
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This book testifies to that, as it narrates and tries to explain that love. France and England were also still empires with colonies. Both countries had just emerged from the war and were quite impoverished. The north of France had already been very impacted by the Great War, and the northeast of France had just been destroyed again.
English cities had been heavily bombed. In addition to narrating this month spent in England, the book covers my return to France, to too-familial places.
My internal split resumed there, and I began to translate it into writing. The text also describes other periods of my life through flashbacks; for example, the birth of my masturbation habit in a small rural boarding school just after World War II, and my first conflicts with my father, whom I greatly admired.
NW This moment in your adolescence was also a time in which you began to acknowledge your class situation. PG Yes, and with it came the intensification of an awareness of social disparity that marks my entire work, from all points of view, on all levels. For me, the people represented freedom, metaphysically and physically, in terms of the body. Although my father was a country doctor, my family was not rich; we lived at home as I did in boarding school, in a very rudimentary way.
My internal sexual rupture was an effect of my belief in Christ, triggered by the notion that he is both man and God. When you have faith, you experience this duality intensely. My family was very religious, if not overly pious. When I was young, I believed in an entity that was at once human and divine, and I also believed in the Trinity of the Father, the Son, and the Holy Ghost combined in a single God—an invisible divinity, an entity without a body, without beginning or end.
At the same time, I was very strongly possessed by the imagery of the crucifiction, which is unbelievably carnal and sexual. This was a concrete, finite, and limited imagery, whereas the other was abstract and infinite. That was my belief, and it was strongly anchored in me, through prayer especially. At home and in boarding school we prayed quite often: before eating, when we woke up in the morning, at night.
They told us that prayer was the most beautiful thing in the world, which is not untrue. It gives dignity to humanity. As a child, I took all of this in very physically, in the flesh, especially since Catholicism is so physical. This is perhaps why it has endured for so long.
I was very content in what I felt to be a protective, poetic, intellectual, and metaphysical atmosphere. The seminary instilled in us the difference between matter and spirit, framing them as different entities that were necessarily combined.
Flesh was an element of knowledge, but its temptation weakened the strength of spirit and of mind. In that very Cartesian education, both the flesh and the spirit existed, and the idea was to find some kind of balance between them—which, of course, I did not want.
But there was a great gentleness in all of this, and I was certainly well disposed toward it. I placed my revolt elsewhere. But as the son of God I did exactly what I did with my own flesh father: I provoked him, and went farther, into sin so to speak.
NW There is another fundamental rupture that informs your work.PG Yes, this is especially true of the language of television.
What is it, morally, that requires solidarity? By Colin Herd.
How does a child take that in? We find that same tension in your work: separation and multiple associations, leading up to a fluid notion of relations, a fluidification of humanity. One of the most striking stylistic features of the book is that it dominantly inhabits the present tense.
That is what I call parody.
The text relocates French literature.
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