Alain Robbe-Grillets Les gommes - ein Detektivroman? (German Edition)

There are numerous journals and publications devoted to Sherlockian and Doylian topics and matters. Investigating Sherlock Holmes brings together thirtyseven of the Nathan and Goldfarb essays into one intriguing and unusual volume. Fischer Verlag, , pages. The Sherlock Holmes FAQ is a one-stop guide to over a century's worth of mystery, mayhem, and most of all, deduction.

Digging deep inside the manifold worlds of Sherlock Holmes, the FAQ is a dramatic and detailed digest of the Baker Street sleuth in all of his many guises, as TV and radio star, movie phenomenon, and, of course, literary giant. The London that he perambulated in deerstalker and cloak is laid bare, plus the life and other fascinations of Holmes' creator, Sir Arthur Conan Doyle, are mapped out in all their foggy, darkened atmosphere. The contributors to this book discuss the ways in which various fan cultures have sprung up around the stories and how they have proved to be a strong cultural paradigm for the ways in which these phenomena function in the twentieth and twenty-first centuries.

Essays explore the numerous adaptations, rewritings, rip-offs, role-playing, wiki and crowd sourced texts, virtual realities, and faux scholarship Sherlock Holmes has inspired. Though fervid fan behaviour is often mischaracterized as a modern phenomenon, the historical roots of fan manifestation that have been largely forgotten are revived in this thrilling book. Culturale il Foglio, Cinema , , pages. Une analyse jubilatoire pour un revival nourri aux ressources des sciences sociales.

Cinema, storia e terrorismo in Europa, Milano, Postmedia Books, , pages. Fernseh und Gesellschaftsgeschichte im Tatort, Bielefeld, transcript Verlag, , pages. Medienwissenschaftliche Perspektiven auf die genre-Theorie und den Giallo, Bielefeld, transcript Verlag, , pages. Philip Skerry's book applies the theories of dark energy and neurocinematics to Hitchcock's technological genius and camera aesthetics, helping to explain the concept of "pure cinema" and providing verification for its remarkable power.

Including interviews with physicists and neuroscientists, this study opens up new ways of analyzing Hitchcock's art. Bond, you can't kill my dreams. But my dreams can kill you. Well that should have told me something. Die Evolution des James Bond: La guida, aggirandosi tra gli aneddoti e le avventure bondiane, ci accompagna in un viaggio che spazia da Venezia a Cortina d'Ampezzo, dal Lago di Garda a Mantova, da Roma a Milano, dal Lago di Como a Siena per terminare in Sardegna.

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Was macht diesen Klassiker auch 50 Jahre nach dem Erscheinen so besonders? Wie hat der Film alle weiteren Bonds beeinflusst? Der ultimative Einblick hinter die Kuissen von Bond. Der Kalte Krieg mag vorbei sein, im Heim Kino findet er weiterhin statt. Welsh Gothic, the first study of its kind, introduces readers to the array of Welsh Gothic literature published from to the present day. Informed by postcolonial and psychoanalytic theory, it argues that many of the fears encoded in Welsh Gothic writing are specific to the history of Welsh people, telling us much about the changing ways in which Welsh people have historically seen themselves and been perceived by others.

The first part of the book explores Welsh Gothic writing from its beginnings in the last decades of the eighteenth century to The second part focuses on figures specific to the Welsh Gothic genre who enter literature from folk lore and local superstition, such as the sin-eater, c n Annwn hellhounds , dark druids and Welsh witches.

Undead Memory, Monstrosity and Genre in J. The first full-length study of the main German contributors to the Gothic canon, to each of whom a chapter is devoted, The German Gothic Novel in Anglo-German Perspective is an original historical and comparative study that goes well beyond the necessary review of the evidence to include much new material, many new insights and pieces of analysis, and some fundamental changes of perspective.

The book aims to put the record straight in bibliographical and literary historical terms, and to act as a reference guide to facilitate future research, so that anyone working on the German Gothic novel or on Anglo-German interactions in the field of Gothic, will find there references to all the relevant secondary literature. Il gotico italiano tra cinema, letteratura e tv, Lindau, , pages. The religion of science from natural theology to scientific naturalism -- Moral uses, narrative effects: Thomas Hardy and the problems of scientific thinking -- "The moral influence of those cruelties": Fiction et sciences, in Tropics, no 1, Sous la direction de Guilhelm Armand.

The aim of this book is to rediscover, present and analyze the usage of children in the gothic genre, spanning a period of 60 years from Horace Walpole's The Castle of Otranto to Charles Robert Maturin's Albigenses The Gothic Child is almost exclusively based on primary sources.

It examines children and childhood in a new light and updates the current definition of the gothic genre by adding to it the archetype of the gothic child. The book also contains analyses of selected films from the 20th and 21st centuries and links the major child-related themes and motifs in them to the 18th and 19th-century representation of the child.

In Journeys into Darkness: Lovecraft, who is treated in several penetrating essays. Escapar de la realidad, triunfar sobre el misterio de la. Vrin Pour Demain , pages. This fascinating study explores the multifarious erotic themes associated with the magic lantern shows, which proved the dominant visual medium of the West for years, and analyses how the shows influenced the portrayals of sexuality in major works of Gothic fiction. The first book-length consideration of the erotic associations connected with lantern shows, Jones reinstates the lanterns' importance for past generations in their visualization and expression of diverse sexualities and argues that an understanding of these influences serves fundamentally to change our reading of Gothic literature.

From the very beginnings of an independent literary culture, the North American wilderness has often served as the setting for narratives in which the boundaries between order and chaos, savagery and civilization are torn down, and the. The Rural Gothic in American Popular Culture argues that complex and often negative initial responses early European settlers expressed toward the North American Wilderness continue to influence American horror and gothic narratives to this day. The book undertakes a detailed and historically grounded analysis of key literary and filmic texts.

The works of canonical authors such as Mary Rowlandson, Charles Brockden Brown and Nathaniel Hawthorne are discussed, as are the origins and characteristics of the backwoods horror film tradition and the post eco-horror narrative. Much like the books on Leonardo that followed the release of the Da Vinci Code, this book will provide readers with more information about the ever-intriguing Dante.

Specifically, Inferno Revealed explores how Dante made himself the protagonist of The Divine Comedy, something no other epic poet has done, amovefor which theramifications have not yet been fully explored. The authors will focus on and analyze how Dan Brown has repurposed Inferno in his newest book - noting what he gets right and what errors are made when he does not. Of course, Dan Brown is not the first author to base his work on Dante. What does it mean to live as a ghost?

Exploring spectrality as a potent metaphor in the contemporary British and American cultural imagination, Peeren proposes that certain subjects — migrants, servants, mediums and missing persons — are perceived as living ghosts and examines how this impacts on their ability to develop agency. Meurtres de Charles Plisnier, saga et roman familial — Yves Chemla: Une saga en forme de polygone.

Sagas et transmission identitaire. Quelles sagas en Suisse romande? Kovac Verlag, , pages. Enzyklopdie der Alptraumgestalten, Brandenburg Lempertz Edition und Verlagsbuchhandlung, , pages. Anmerkungen zur phantastischer Literatur: This is an original study of the narrative techniques that developed for two very popular forms of fiction in the nineteenth century - ghost stories and detective stories - and the surprising similarities between them in the context of contemporary theories of vision and sight.

Historical and Thematic Perspectives, New York, et al. As the first of its kind, the present study of Ukrainian science fiction encompasses both the historical and thematic features of this genre. It contains a discussion of the representative and the most imaginative Ukrainian science fiction works published by writers residing in Ukraine and abroad. It is followed by an analysis of the impact of Soviet ideology on the science fiction that prevailed in Ukraine from the s to the late s. However, the novels and stories that were utilized in this study do provide a representative sample of the themes that comprise the main thrust of Ukrainian science fiction from the early s to the end of the 20th century.

Women's Utopian and Dystopian Fiction explores the genres of utopian and dystopian recent fiction. It is about how this literature of both imagined perfection and disaster creates new worlds and critiques gender roles, traditions, and values. Essays range in subject matter from Charlotte Perkins Gilman, P. Two of the three sections focus on Doris Lessing and Margaret Atwood. Examining especially the twentieth century, including second-wave feminism, writers from Tunisia, Turkey, Italy, Korea, the US, and England give both an historical and a global perspective. Evil is in the Eye of the Beholder: Neuromancer and Artificial Intelligence Nicholas Serruys: Rethinking the Frankenstein Barrier Aaron Santesso.

Unearthing the Shaver Mysteries: Steaming into the RetroFuture: Cet ouvrage est plus qu une bibliographie. This innovative collection explores the phenomena of place and space in the novels--how places define people, how they wield power to create social hierarchies, and how they can be conceptualized, carved out, imagined and used.

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The essays consider wide-ranging topics: Presenting the trilogy as a place and space for multiple discourses--political, social and literary--this work assertively places The Hunger Games in conversation with the world in which it was written, read, and adapted. War of the Words: Assassination, Insurrection and Alien Invasion: A Rereading of C. Lewis and Gender, New York, et al. Untersuchungen zu den Film- Welten und Joanne K. Tolkien, Hamburg, Chronos Verlag, , pages. Lovecraft und Karen Duve, Books on Demand, , 96 pages. Arno Schmidt und das Kino, Hannover, Wehrhahn,, pages.

The Paradigms of Fiction, New York, et al. Guy de Maupassant tra visione fantastica e ragione positivistica, Napoli, Liguori, , pages. Alle origini del Signore degli anelli, Milano, Marietti, Tolkien e dintorni, 10 , , pages. Gli articoli degli autori italiani sono frutto di uno studio di ricerca corale. Arricchiscono il libro due poesie di Tolkien tradotte in italiano. Tolkien, Bologna, Odoya, Odoya Library , , pages. The Bridge Between Fantasy and Reality.

Riddles have lost none of their power over us: The Hobbit is a book threaded through with riddles; most obviously in its central 'Riddles in the Dark' chapter, but everywhere else too—what does 'Good Morning' mean? What is a burrahobbit? How many versions of the Hobbit are there? What is the buried secret in the nine riddles Bilbo and Gollum swap between one another? What is the magic of the magic ring? Forty years of Rocky Horror: Culturale il Foglio, , pages.

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The depiction of its protagonist brothers, Dean and Sam Winchester of Lawrence, Kansas, provides a proAmerican perspective regarding a more generalized fight against evil in contemporary times. Remaking Horror chronicles the American horror genre in its development of remake titles from the s to 21st century films. Staple horror franchises are highlighted along with counterparts to illustrate the genre has embraced remake productions and what the future of horror holds for American cinema.

More than 25 films, remakes, and the movies they influenced are presented The value of horror -- Psycho: In the s, science fiction SF invasion films played a complicated part in both supporting and criticizing Cold War ideologies. George examines what these films reveal about the tensions in the United States at the dawn of the atomic age especially concerning gender roles and expectations. Using a cultural studies approach, she works from the assumption that "invasion" films with their "us" versus "them" nature provide important visual and verbal narratives for American citizens' trying to understand and negotiate the social and political changes that followed the allied victory in World War II.

By reading these invasion narratives as performances of middle-class, primarily white Americans' excitement and anxieties about social and political issues, George shows how they often played out as another round in the battle of the sexes. This book examines the way representation in these films tap into anxieties concerning the feminine and alien other. Tauris, , pages. Dealing with a variety of twenty-first century horror films, Jackson examines how the technologically produced and reproduced image functions as a site of monstrous birth.

These monsters, threatening and ominous as they may be, represent the possibility for a renewed belief in the reality of the world and humanity's place within it. Through a wide spectrum of horror sub-genres, this book examines how the current state of horror - its sense of being at an end, its increasing self-awareness, and its concern with the relationship between media and message - reflects these anxieties in Western culture. Homeland Insecurity Philip L. Romero e il cinema dei morti viventi, Roma, Profondo Rosso, , pages. Culturale il Foglio, , p. Enciclopedia della fantascienza di Syfy, dalla tv al cinema, Milano, Rizzoli, , pages.

Despite the insatiable public appetite for all things Star Wars, the more analytical side of the saga is all too often ignored. A wide variety of philosophical and mythological themes are presented and expounded upon, drawing from a rich source of scholars, thinkers, writers, and poets from East and West alike. Heretical or not, the Star Wars prequels are a surprisingly rich source of insight into the saga--as well as the human drama--as a whole.

Dennis Moore Horror Movie Guide, vol. The Highway Horror Film argues that 'Highway Horror' is a hither-to overlooked sub-genre of the American horror movie that articulates profound unease about the increasingly transitory nature of modern American life, as well as the wider impact of mass automobility. In Highway Horror films, the American landscape is by its very accessibility rendered terrifyingly hostile, and encounters with other travellers and with those whose roadside businesses depend on highway traffic almost always have sinister outcomes.

Three of the most intimate explorations of terror are examined in this study. Intimate in terms of settings small towns and an isolated motel and in the emotional links between the characters and the terrors they face. They share frustrations, fears and compulsions, albeit at different levels of intensity. In The Birds, Melanie Daniels and her new acquaintances in Bodega Bay share emotional problems which can impel them to act in destructive ways that are echoed, and then overwhelmed by violence from the natural world.

Halloween features a monster, Michael Myers, who has more in common with one of his victims, heroine Laurie Strode, than is evident at first glance. Beyond the link between normality and the violently aberrant, all three films give glimpses of emotional intimacy that is threatened and sometimes tragically destroyed by horror. Gente di cinema , , pages. Twenty horror and science fiction moviemakers--both in front of and behind the camera--reminisce about some of their great and not so great!

Some interviews were previously published. In this newest compilation of interviews, 23 more veterans share their stories--strange, frightening and even a little funny--this time with an increased emphasis on genre television series courtesy of the stars of The Time Tunnel; Rocky Jones, Space Ranger; Tom Corbett, Space Cadet; Planet of the Apes; and The Wild Wild West. The medium of television both reflects and comments upon the gendered logic of the security regime in America.

Gender, Science Fiction Television, and the American Security State uses science fiction shows from WWII through the present as a lens to explore the most essential aspects of the security regime, as the genre consistently focuses on technologies of mediation, communication, and war. As American security became increasingly dependent on technology to help shape the consciousness of its populace and to defend them from the technological threats posed by other counties, shows like The Twilight Zone, Star Trek, and The X-Files both promoted the regime's gendered logic and raised significant questions about that logic and the gendered roles it supported to maintain the security of the state.

Tauris, Reading Contemporary Television , , pages. Patrick Troughton, , pages - Volume 3: John Pertwee, , pages - Volume 4: Tom Baker and the Hinchcliffe Years, , pages. Contributions by Sandra J. Laity; Adina Schneeweis; Christina M. Politics of Race and Representation, London, Bloomsbury, , pages. The Uphill Climb to Reach a Plateau: Historical Analysis of the Development of Thai Cartooning: Chinese Cartoonists in Singapore: Chauvinism, Confrontation and Compromise Cartoonist Lat and Malaysian National Identity: Animation has been part of television since the start of the medium but it has rarely received unbiased recognition from media scholars.

More often, it has been ridiculed for supposedly poor technical quality, accused of trafficking in violence aimed at children, and neglected for indulging in vulgar behavior. These accusations are often made categorically, out of prejudice or ignorance, with little attempt to understand the importance of each program on its own terms.

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This book is a serious look at the whole genre of television animation, from the early themes and practices through the evolution of the art to the present day. Voldemeer, , pages. The legend of Doc Holliday is now well past a century old. While his time on earth was brief, troubled and filled with pain, his legend took wings and flew.

Beginning with his part in the now famous gunfight at the O. Corral, Denver newspapers first told his story in the late 19th century. They, followed by words of Wyatt Earp, grasped the glimmer of his tale. So enamored was the public that by he was a literary icon and his character had appeared in eight films.

Historians, authors, screenwriters and eventually television refined the legend, which reached its apex perhaps with the film Tombstone. Broadway, country music and art join with literature and film to continue his mystique as the personification of a surviving legend of the U. Il cinema come favola politica, Roma, Ente dello spettacolo, , pages. Jahrbuch der Karl-May-Gesellschaft , Hamburg, et al. The cold Northern European industrial city we encounter in The Erasers is ugly and creepy, lacking any trace of charm or warmth.

The main character, special agent Wallas, who travels to the city to solve a murder, repeatedly reflects on this lack of aesthetic attraction and beauty, as when we read: This unattractiveness also extends to the people inhabiting the city. Two men described in some detail are both fat and flabby and move in a stiff and mechanical way: I dropped it almost immediately and the arm fell back flabbily.

Because I have the strong impression both Robbe-Grillet and Sartre a great influence on the author saw flab and fat as repulsive and ugly, a counter to the possibility of freedom and spontaneity and fluidity we can experience in our human embodiment. In contradistinction, Wallas is a tall, calm young man with regular features and who walks with an elastic, confident gate. But at every turn Wallas encounters ugliness, even in an automat where there is a sign reading: Not surprisingly, Wallas eats too fast, resulting in an upset stomach.

Here are few more direct quotes on what Wallas sees in this city: Ahead of him, under a snowy sky, extends the Rue de Brabant — and its grim housefronts. An entire city of unsightly sights and repellent people. Is it too much of a stretch to interpret the pistol Wallas shoots at the end of the novel as, in part, a reaction to overbearing ugliness? Rather than providing a definitive answer, this raises another set of questions: Are we as readers so coarse and dull and deadened by the modern mechanized world that we accept the ugly as the norm?

Does this acceptance account for the fact that all the essays and reviews I have read on this novel do not draw attention to the ugliness Wallas confronts? View all 22 comments. Mar 24, William2 rated it really liked it Shelves: Twenty-four hours in pages: Over description for purposes of derealisation or defamiliarization , a technique out of Russian Formalism.

Much movement of characters through physical space—the streets of an unnamed provincial city beset by canals and drawbridges, a derelict inn, etc. Even interior monologues focus on the external world. Virtually no introspection into the individual lives of the characters: Even for the victim, Professor Daniel Dupont, most detail given is about how to achieve his murder.

There's little curiosity about his work, which never gets more specific than "political work," though two texts are mentioned, one on economic cycles and another on phenomenology. There is also a mention of anarchists. The novel has elements of the police procedural; it might also be called, in part, a murderers' procedural. Published in , some of its more obvious models would probably have been Georges Simenon , Agatha Christie , Boris Vian etc. Probably because of the anarchists, though in that earlier novel they tend to promote terror by bombing things.

The mode of terror here is death by gunshot. The diction is moderately freighted. This is no light, airy read by any means. Moreover, it is utterly humorless. The book must contain twenty points of view, each with its own unique perspective on events rigorously thought out. Streets of the unnamed town are labyrinthine. Wallas, the newbie detective, is often lost. A shrewdly thought out work that grips the reader consistently.

The post-modernist bits don't get in the way. Mostly, a very dense thriller requiring close reading. An unusual, rewarding read. View all 6 comments. Jul 19, Vit Babenco rated it it was amazing. The Erasers is a mystery but it is nowhere near any hardboiled detective stories. The structure of The Erasers is a structure of labyrinth — the characters constantly roam the labyrinths of streets and they incessantly rove in the labyrinths of their thoughts… Usually this landscape has little relief and looks rather unattractive, but this morning the grayish yellow sky of snowy days gives it unaccustomed dimensions.

Certain outlines are emphasized, others are blurred; here and there distances ope The Erasers is a mystery but it is nowhere near any hardboiled detective stories. Certain outlines are emphasized, others are blurred; here and there distances open out, unsuspected masses appear; the whole view is organized into a series of planes silhouetted against one another, so that the depth, suddenly illuminated, seems to lose its natural look—and perhaps its reality—as if this over-exactitude were possible only in a painting.

Distances are so affected that they become virtually unrecognizable, without it being possible to say in just what way they are transformed: Incertitude and uncertainty — the characters keep roaming the labyrinths of the crime versions until they get lost in the maze. In the murky water of the aquarium, furtive shadows pass—an undulation whose vague existence dissolves of its own accord… and afterward it is questionable whether there had been anything to begin with. But the dark patch reappears and makes two or three circles in broad daylight, soon coming back to melt, behind a curtain of algae, deep in the protoplasmic depths.

A last eddy, quickly dying away, makes the mass tremble for a second. Again everything is calm… Until, suddenly, a new form emerges and presses its dream face against the glass… That is our consciousness and this is our world. Nine murders in nine days, one by one, every evening at seven-thirty.

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Part thrilling, part annoying, the book explores a murder that view spoiler [ was never committed! The book boasts of high end literary influences like Sophocles, Borges, and Joyce. While the stylistic experiments are interesting, hardcore detective fiction fans; looking for a tightly-woven yarn, will be somewhat disappointed. An awareness of Robbe-Grillets's theory of the New Novel, Por une Nouveau Roman , would be helpful in appreciating this innovative work of fiction and so would a viewing of his cinematic masterpiece, Last Year at Marienbad.

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Chances are, if you loved that movie, you would be better prepared to tackle this book. Here's an excerpt from Robbe-Grillet's Paris Review interview which is a kind of good explanation of this book: For example, there are similarities between your books and detective novels. Is that a deliberate choice? Then he explains why. It seems that the structure of police investigation is very close to the technique of modern novels, in particular the non-resolved investigation, as in The Castle.

The difference is that in the traditional detective novel there must be a solution, whereas in ours there is just the principle of investigation. Detective novels are consumer products, sold by millions, and are made in the following way: Then it all makes sense. Therefore, what is important is not to discover the truth at the end of the investigation, but the process itself.

View all 28 comments. Nightmare Noir The noir mood is familiar to anyone who has read one of the Inspector Maigret novels of Georges Simenon. The bleary-eyed proprietor of a small bar in a French provincial town gets up at dawn to take the chairs from off the tables and wipe their stained marble tops; he is almost sleep-walking.

Eventually, the waiter arrives, excitedly carrying the morning paper. There has been a murder in the very next street. There seems to be some discrepancy as to the victim's name: Daniel Dupont, a reclusive professor, or Albert Dupont, a shipping merchant? Also some doubt as to whether the was killed or merely wounded. And what has become of the body? Wallas, the stranger who arrived the previous night to rent a room, may have something to do with it, but he has gone out before dawn.

We see him wandering through the town in the early hours, heading down endless grey streets from the docks to the city center, but taking for ever to get there. From time to time in the book, he will go into a shop to buy an eraser, but can never find the one he wants. Time and space seem entirely fluid; characters morph from one into another; the only thing tying the story down is an obsessive cataloguing of small detail. Going up, the heavy varnished banister is supported by spindles of turned wood, slightly bulging near the bottom.

A strip of grey carpet, with garnet stripes along the edges, covers the stairs and extends through the hall to the entrance door. That staircase will come back in the book again and again, in different contexts, often mutually contradictory. The entire novel is a web of simple acts and shape-shifting repetitions. Robbe-Grillet takes the conventions of the policier or French detective novel and turns them on their head.

You might think that the genre is a model of logical deduction, a chain of clues leading to the inevitable denouement. But this is where Robbe-Grillet goes his own way. Wallas, who turns out to be a detective, realizes that he may be investigating a murder that has not yet taken place.

And where's the mystery? Quite early on, we meet the man who shot Daniel or was it Albert?

Dupont, we meet his boss, we meet the local chief of police who does not even bother to investigate, but we do not know how all these fit together. The more solutions we find, the more the mystery deepens. That drunkard in a raincoat who keeps on turning up to ask meaningless riddles "What is the animal that is black, that steals, and has six feet?

Perhaps in Oedipus …? The end of the canal, he saw that himself, and the reflections of the houses in the still water… and the very low bridge that closed off the entrance… and the abandoned carcass of the old boat…. But it is possible that all that happened at another time, in another place—or even in a dream. But almost immediately after came another one, to look forward to Patrick Modiano. Modiano was still a child, of course, when this was written, but he would surely have grown up reading noir novels as a boy, and so have been interested in Robbe-Grillet's repurposing of them when he began to think of becoming a writer himself.

There is no great surprise that both authors should have chosen to write against the same tradition. What struck me is how many of the techniques of the nouveau roman Modiano also inherited. Those obsessive lists, for example: That wandering through the back streets of a city.

That fluid sense of identity. Both authors are existential, questioning the nature of being. But while Modiano's references all point outwards to the real world—streets you can find on a map, people who actually existed, his own family history—Robbe-Grillet's all turn inwards and lose themselves in the pages of his book. Which, for me, makes Modiano the greater writer. View all 8 comments. The leading figure of the Nouveau Roman, Alain Robbe-Grillet displays a wide variety features of this novel literary genre through his distinguished novel.

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However, despite its thriller and detective narrative,"Erasers" is to be precise beyond a well-structured plot, order of events, claim of reality. Yet it rather lingers in suspension of reality, interlacing narrators one into another, constantly deconstructing time frames and letting imagination be a mere active force during the whole reading The leading figure of the Nouveau Roman, Alain Robbe-Grillet displays a wide variety features of this novel literary genre through his distinguished novel. Yet it rather lingers in suspension of reality, interlacing narrators one into another, constantly deconstructing time frames and letting imagination be a mere active force during the whole reading process.

Personally, in the beginning of my reading this book all these confusing facets of the narrative have created kind of difficulties for me in getting inside the book but keeping me all out, however moving halfway through the book, I started to find it more intriguing, genius, and pretty enjoyable in tandem with time-space and narrator shifts as if it was me who shifted all time from here to there, from then to now, from this to that. To say it the other way around, indeed it's not like playing a game but rather being in a game set by another, like on a theater scene or on the Earth a place as a divine production being watched by any Peeping Tom.

No doubt in such a reading experience it is apt to become quite hard to create a tangible plot to talk about, but rather some wanderings in time and narrator shifts. If you're interested in experimental literary works and literary theory itself along with sample works, I guess this novel would have a lot to offer you with its unique and perfectly organized shifting content to see how reality itself might be a total illusion and how time, space and narrators might be misleading and unreliable.

Jul 31, Richard rated it it was amazing. The only time I was ever smart was reading this book in grad school. I cracked it, and the rest of my class thought I was nuts. May 09, Katharine rated it really liked it. I recently picked it up again and started from the beginning once more. I'm pretty sure that this was the best way to read this book.

It is a time and thought consuming read and you will benefit by re-reading parts or all of it. Read, repeat, read, repeat. This book is a bumbling comedic novel layered in a dark, mysterious tone. As I came to the end of the book I laughed at loud as I realized what was unfolding. Includes on of the best descriptions of a tomato I have read.

I think this would make a really great dark comedy movie. For my full review, please visit Casual Debris. Perhaps the most notable member of the group of experimental authors practicing the tenets of the Nouveau Roman New Novel , Alain Robbe-Grillet's first novel is a fascinating, fun and frustrating murder mystery.

It deals with a detective by the name of Wallas who is sent to an unnamed town to investigate the murder of Economics Professor Daniel Dupont. The murder is believed to be linked to a series of eight other murders occurring across the count For my full review, please visit Casual Debris. The murder is believed to be linked to a series of eight other murders occurring across the country over the past eight days, each at precisely 7: What's different about this particular murder is that there is no body, and moreover, unknown to Wallas but revealed early to the reader, is that Dupont is in fact not dead.

There are many wonderful aspects to this novel. The setting itself is incredibly well designed, and the nameless town becomes a familiar geography. Characters are colourful, at times comical and often pathetic, like the detective Wallas who is cursed with poor phrenological features which he suspects are linked to his constant failings, while he roams the streets almost at a loss as to how to investigate.

The premise that his career is to be judged on the merits of whether or not he can solve a murder that never happened is masterful tragic irony. His fate is perfectly summed up by the fact that he regularly pauses in his investigations to search for a pencil eraser that he remembers well but that may not even exist. Erasers are plentiful throughout the novel, from the pencil erasers to more subtle suggestions, such as pervasive forgetfulness, changing or replacing facts and even actual events, along with the conspiracies that these nine murders were part of a series of hits conducted by hit-men, or "erasers.

Wallas has an uncanny resemblance to the main suspect in this case, and is constantly being mistaken for that other, shadowy individual. People and objects have their twins and their alternates, as do events which are constantly repeating themselves. It is almost as though the novel is only one link from a never-ending cycle. The bar that opens and closes the novel is described as an aquarium, so that all its inhabitants are fish living in a glass bowl, swimming around in eternal circles.

Sep 17, Nate D rated it liked it Shelves: Robbe-Grillet in noir-est noir form for his first published novel. Even in a story of detection and murder, of course, his prose is highly subjective and filled with ambiguous repetition of detail. These tendencies were mostly early in their arc of development at this point, though, meaning the clearest plotting of anything I've read from him, but also less of that rarefied aesthetic atmosphere that continually permeated his work thereafter.

It reads like Robbe-Grillet, but doesn't entirely feel Robbe-Grillet in noir-est noir form for his first published novel. It reads like Robbe-Grillet, but doesn't entirely feel like him. And it is the feeling he creates, so hard to describe but so strangely magnetic, which seems his strongest point. Still, this was often fascinating in its own right.