By Louis-Ferdinand Céline
Ce cahier rassemble, pour los angeles période 1932-1957, toutes les interviews, réponses à des enquêtes, lettres de Céline adressées à des journalistes et publiées par eux, qui portent sur l. a. littérature ou sur des sujets généraux.
L'ensemble représente los angeles participation de Céline, plus energetic qu'il ne l'admet en général, à l'actualité littéraire de son temps. Beaucoup de ces textes, en particulier les plus anciens, sont très peu connus et font à l'œuvre un accompagnement souvent éclairant. On y trouve notamment un grand nombre des déclarations dans lesquelles Céline s'explique sur son travail littéraire. Quant à ses kinfolk avec les journalistes, on verra qu'elles diffèrent sensiblement de l'image qu'il en donne dans plusieurs de ses romans.
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Additional info for Céline et l'actualité littéraire (1932-1957)
And then, having established his ground on an entirely subjective literary judgment, Dr. " That is, all the contradictory or complicating or modifying testimony of the other plays is dismissed on the basis of Dr. Jones's acceptance of the peculiar position which, he believes, Hamlet occupies in the Shakespeare canon. And it is upon this quite inadmissible judgment that Dr. ) I should be sorry if it appeared that I am trying to say that psychoanalysis can have nothing to do with literature. I am sure that the opposite is so.
And always there is the profound interest in the dream— "Our dreams," said Gerard de Nerval, "are a second life"—and in the nature of metaphor, which reaches its climax in Rimbaud and the later Symbolists, metaphor becoming less and less communicative as it approaches the relative autonomy of the dream life. But perhaps we must stop to ask, since these are the components of the Zeitgeist from which Freud himself developed, whether it can be said that Freud did indeed produce a wide literary effect.
Yet there was, we know, a period when Hamlet was relatively in eclipse, and it has always been scandalously true of the French, a people not without filial feeling, that they have been somewhat indifferent to the "magical appeal" of Hamlet. I do not think that anything I have said about the inadequacies of the Freudian method of interpretation limits the number of ways we can deal with a work of art. Bacon remarked that experiment may twist nature on the rack to wring out its secrets, and criticism may use any instruments upon a work of art to find its meanings.