The outbreak of AIDS in France produced a boom in the narrative theme. It is estimated that between 1985 and 1993 were more than 40 books (evidential or fiction) about the disease. The work that stands out above the rest of this invasion was that of the former enfant terrible of French literature: Hervé Guibert.
Sometimes, the immediacy of the tragedy may be counterproductive to the immediacy of writing. Then the "scandal" obscures the purpose of writing experience. The agony of Foucault and make public the cause of death (which relates Guibert The friend who saved my life ) was an almost unforgivable act for the "apostles" of Foucault. That's why you have to detach the contemporaneity of the events recounted in the first place (which is the urgency of the review), to restore to the work of Guibert literary status, and secondly, to justify the delicate balance between fiction and autobiographical memory, ie, when the space of literature is "border." Guibert
breaks in the French literature with his first book La mort propagande (1977) when he was 22 years, marking a line that was always going to go over his work: the construction of autobiography through fiction. The criticism of his country understood by mythomania fiction. Guibert slid across the range including the self literature, newspapers, autobiographical novels, correspondence, autobiographical texts illustrated with photographs of their own production. His figure is no longer the "cult" in the literature gala when in 1984 he won the César for Best Screenplay for the film The wounded man, directed by Patrice Chereau.
In 1990 the French literary world is shaken by the appearance of The friend who saved my life to begin the cycle of works about AIDS (disease was the cause of his death) and would continue to compassionate protocol (1991), L'homme au chapeau rouge (1992, unpublished in Castilian) and the posthumously published diary Cytomegalovirus.
The controversy generated by Guibert's work is the autobiographical story of all: that is told or what is omitted, what is the limit of such accounts (public and private) and what criteria utilization of raw materials of these types of stories, which is none other than life itself. Undoubtedly
fractures literary space "topographically" when the novel becomes autobiographical confession. In the absence of privacy, life can be told. The own and others. And when the friendship is "betrayed" (talk to reveal the cause of the death of Foucault), the work becomes blurred and the event occurs, the scandal. We emphasize the use of the word. Disclose being HIV carrier creates scandal and precedes the "social death" of the subject. It is a body that is contagious and that is the bearer of death and reveal "practices unconventional sex. " Dominates the discourse of death.
"... Ultimately, AIDS is predominant in the discourse of death and are forgetting that the desire is not something so easily controlled. No danger, but also on behalf of the danger you say "Let's live", which is the great message of medicine. "Perlongher Nestor, interview Papers refuseniks.
Focusing solely on "Foucault case" would limit the scope of writing Guibert. In any case, one of the functions of his prose is to perpetuate the memory. A measure of urgency for those absent for own future demise. Although it is sometimes not a participant in those memories:
"(Christine Ockrent) spent a short excerpt that I would not have missed it for the world during its evening news Muzila's death in June 1984. Christine Ockrent, which he exulted, often called ma petite or large ma cherie not actually issued more than a vast and endless laughter, shot during the release of varieties, Muzila wearing a suit and tie , pictures in which he literally writhed with laughter at a time when it was expected that he was seriously like a dad to glorify one of the rules of that history of behavior whose bases destroyed, and that comforted me laugh in a moment I was frozen when I put the TV in the house of Jules and Berthe, where I had fled the night of his death to see how they would treat your obituary on the news. That was for me last Muzila animated visual appearance that he consented to receive, I wanted then I wanted, for fear, fight any pretense of their presence, except with dreams, and that laugh so formidable, so fierce, so bright, just in time before our friendship. " The friend who saved my life.
Restore the absence, because forgetting is an torment. Hence the need to recover the memory, perpetuate it, photograph it, cast the ritual of disappearance:
"In four months the torment of absence had had time to settle on things like an impossible to remove dust again, things had become untouchable, hence had to photograph them, before new disorders cover them. " The friend who saved my life.
If memory functions would be to perpetuate the memory, the autobiographical novel continues writing while the disease runs its course, undermining the forces. Guibert is in constant struggle against time. The autobiography is the biography of the body burning. Throughout this cycle of works of Guibert, the narrative form of novel mutations blog, where he settled let setbacks and progress of the disease. We can not call it every day (except for CMV ). The Journal is the raw material Guibert autobiographical fiction, then what is extracted is transformed into fiction novel.
"The report certainly gives a jump and I have no desire to continue referring to the newspaper to avoid today, five years later, the sadness of what, playing too exactly what happened, it restored with malice ..." the friend who saved me life.
dates are not recorded, record the progression of the work:
"The book combating fatigue produced by the body's fight against virus attacks. I have only four hours a day validity, after lifting the huge picture window blinds, which are the potentiometer weakening my breath to return to find daylight and get to work again. " O
contrary register the failure of the company, the body is the vector of writing. The experience of writing is the war against depression, fiction is set in line with the body's response, the body materializes narrative form or more precisely the writing dynamic signals the beginning and the end, the unexpected or solution of continuity of the work:
"... before yesterday I felt a little better from the morning and began this story, though sinister, seemed to present some joy, if not lively, it is due to the dynamics of writing and how much it may have to improvise. There is no book without unexpected structure, and emerges with the hazards of writing. But I saw him yesterday all black and did not write a line. " compassionate protocol.
tolerance of medication is one that can keep producing the story:
"I remain so bad and I'm waiting for relief from this drug, which actually took five days to take, feeling no other effect than the production of this story. " compassionate protocol.
The Journal writing swings also suffer the body's resistance. The continuity of life arises and makes writing the narrative forward. Survival and generates the story of the work plan. The body is at "war" against the virus progresses, Guibert questions the extension of the work:
"The War Diary of Babel: if I lose my eye is one of the last books I have opened.
This diary should also be a war diary. (...)
This journal, which should last two weeks, I stopped from one day to another due to absolute despair. (...)
My doctor happened to me a while ago. I said that if the placement of the slide-catch usually passed under local anesthesia in the operating room, would initiate the administrative procedures that would allow me to be transferred to my home as quickly as possible and sooner than expected (I thought at once great and Shit My diary is not going to last fifteen days ). " Cytomegalovirus.
As built Sarduy The autobiography through the archeology of the body, Guibert writes about the beauty of the body, the fullness and the decline of the same. All construction autobiographical writer needs that commitment to the body. The body is the experience of writing which tells the life and also can be told with a camera
"Leaving the camera in your pocket under the skin of a panther the desk chair, I went immediately to stroke, in the eyes of the Polish assistant, the meat so soft gap between the two breasts of my aunt. A young flesh and erotic despite his ninety-five. I feel no repugnance to the flesh, sometimes mushy, woman very old, but on the contrary, a great tenderness toward nearby attraction, an attraction joyful, not vicious. Suzanne should note that it gives me much pleasure as she rubbed my nose against hers in our Eskimo kiss., Since we can not talk, stroking his forehead with a gesture repeated in the grip of the hair, shake his hand mine, two patients are still dying to look a little pleasure on this earth before returning to find ourselves in hell. " compassionate protocol.
In June 1992, Guibert video was filmed in various everyday situations registering their illness and their families in their rehabilitation, with friends, naked. Final assembly of the film, released posthumously called The pudeur ou l'impudeur (The modesty or immodesty), and other flagship title that reflects the development parameters within which all his work. Avoiding
final demise of his body, Guibert commits suicide in Paris in December 1991.
Pablo Moreno
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