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• W284158102 abstract "There can't be many afflictions, Theaetetus, which are more awful and unpleasant than verbiage, Socrates complained (Plato 1987: 105, par.195b). And despite this warning, it seems appropriate to rethink through a fundamental aspect of Louis-Rene des Forets' prose, chatter first underlined by Maurice Blanchot's groundbreaking piece of criticism (1971) for all of Des Forets' work. Here we shall combine what little has been written about chatter with some of many and difficult texts available on notions of memory and mystic discourse. Roger Laporte recently remarked that narrators in Des Forets' short story Une memoire dementielle and in his complex novel Le Bavard are one and same person (54). The truth of this statement lies in its reliance on notion of an all-encompassing I at center of semantic games being played out within both texts. The chatter in Des Forets' work is related to rips between what language says and what language cannot say. The I inhabits this rift and combines its infinite speech production with a mystical and memorial space where saying I becomes at one and same time a mystical experience and a reaffirmation of power of memory. As Diderot wrote in this connection, moi est le resultat de la memoire qui attache a un individu la suite de ses sensations [the 'I' is result of memory which gives an individual whole string of his experiences! (58). Tradition states that memory is also mother of all nine muses, and if this is indeed case, then we realize that there are many complex problems related to such a short story as Des Forets' La memoire dementielle. For this story speaks of a dying writer's attempts to remember in most minute details a particularly rich dream from his childhood. As title of Des Forets' collection indicates (La Chambre des enfants), chatter in his writing is generally linked to relationship between children (as we know infans means the one who is unable to speak) and their seemingly unending speech production. In a certain sense, children do not know how to speak because they do not know when to stop talking. What is remarkable about La memoire dementielle is nature of this recalled dream. What is recalled can be understood in conjunction with two semantic kernels, idea of murder of boy's teacher and oath he makes to himself to remain forever silent. This dream should be situated within context of short story. The latter is organized somewhat like a cinema novel in sequences. In beginning boy is accused by his teachers of a misdeed, never described in story, and he defends himself from accusation by telling who real author of infraction was. Such tattletaling provokes ire of other boys in his boarding school. As a way of punishing them for their having ostracized him, boy decides to remain absolutely silent at all times. The other boys are at first only slightly annoyed by his maneuver but he is so persistent that he ends up winning their admiration. Even then he does not however release himself from his vow of silence. Only once does he utter musical sounds when singing in a choir during a high mass. This is a scene somewhat reminiscent of Dostoevsky's The Adolescent, at least as described by Mikhail Bakhtin (223-34), and in particular of a passage where devil's voice intermingles more and more persistently with Gretchen's in Faust opera that Trishatov dreams about. The last scenes of Des Forets' story see boy murder one of priest teachers before escaping on train to be welcomed home by his mother waiting for him at train station. Throughout story narrator explains that during whole sequence of events shape of things was largely determined by his steadfast vow of silence in midst of all other boys in school but one. One can treat this vow as one of semantic centers of whole short story. …" @default.
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• W284158102 date "1993-05-01" @default.
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• W284158102 title "Chatter, Memory, and Mysticism in Louis-Rene Des Forets" @default.
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