To Write as if Already Dead
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- 20,99 €
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- 20,99 €
Beschreibung des Verlags
To Write As If Already Dead circles around Kate Zambreno’s failed attempts to write a study of Hervé Guibert’s To the Friend Who Did Not Save My Life. In this diaristic, transgressive work, the first in a cycle written in the years preceding his death, Guibert documents with speed and intensity his diagnosis and disintegration from AIDS and elegizes a character based on Michel Foucault.
The first half of To Write As If Already Dead is a novella in the mode of a detective story, searching after the mysterious disappearance of an online friendship after an intense dialogue on anonymity, names, language, and connection. The second half, a notebook documenting the doubled history of two bodies amid another historical plague, continues the meditation on friendship, solitude, time, mortality, precarity, art, and literature.
Throughout this rigorous, mischievous, thrilling not-quite study, Guibert lingers as a ghost companion. Zambreno, who has been pushing the boundaries of literary form for a decade, investigates his methods by adopting them, offering a keen sense of the energy and confessional force of Guibert’s work, an ode to his slippery, scarcely classifiable genre. The book asks, as Foucault once did, “What is an author?” Zambreno infuses this question with new urgency, exploring it through the anxieties of the internet age, the ethics of friendship, and “the facts of the body”: illness, pregnancy, and death.
PUBLISHERS WEEKLY
In this clever hybrid work, Zambreno (Drifts) interrogates her fascination with French writer and photographer Hervé Guibert, whose novel To the Friend Who Did Not Save My Life (1990) controversially outed friend Michel Foucault of having died of AIDS. In the first of two parts, Zambreno sets out to explore "the problem of a friendship," first between herself and a famous author she met under a pseudonym online, then between Foucault and Guibert, before the novel—which traces Guibert's own suffering with AIDS and featured a character named Muzil, based on Foucault—was written. "At what point," she wonders, "does the writing become an act of betrayal?" Part two takes a diaristic turn, covering Zambreno's pregnancy-related ailments and the daily demands on her as a working mother, as the act of writing becomes more difficult: "I need to push it out as if through my body... even if the thinking is fickle, even if it changes over time." As her investigation turns to the financial and material needs motivating her to write in the first place, it morphs into a feverish quarantine journal wherein she questions the meaning of language during crisis, especially the use of first-person writing. The author's fans will savor this cascading meditation on what makes writing possible and necessary.
