Serge Doubrovsky and the Auto-fiction Term

Abstract

Serge Doubrovsky gives with Monster again the temptation autobiographical. It even seems that he has no control over this choice. Still, he has twenty-two years older than once, in 1948. He is a professor, husband, father and orphan. The question arises differently today: How to get rid of oneself, how to write, when to write another simultaneously. How to write at the same time his own biography and his mother's? We touch there, no doubt, the painful discovery of the writer during the years of psychoanalysis: it does not belong. Even when one is alone in his room, in front of a typewriter, and there is nobody to see you, you do not belong. The absurd self-seeking. The revelation of the absurd is usually the anxiety: the fear of dignity for Camus, the responsibility for Sartre. The never belong for Doubrovsky. Only subterfuge recover to others by creating a language, revise the material of his life, other lives, filling the void in itself. Even more than self-contemplation, the work is self-genesis whose starting point could be formulated as follows: given that we cannot be born alone, self-perpetuating, must speak memory for reinventing oneself. Monster is an excess of memory. An orgy of writing. This terrorism of writing, consciousness ex-jectant the other, not only falls in reminiscences written Sartre (Erostratus, The Age of Reason, Being and Nothingness: everything happens outside of consciousness) but also at a time when the literary experiment was fashion, Joyce's figures, Queneau, Ionesco, Beckett giving an image of writing as an experience in which the reader was not necessarily prompted to walk-in.