Roland Barthes
.
Writing Aloud
“It was perhaps necessary to
wait for Proust to see the
writer fuse certain men
totally with their language,
and present creatures only
through that solid and
colorful guise, their way of
speaking.”—Roland Barthes,
Writing Degree Zero
1. Writing aloud
2. Tricking with the text
3. Writing as if spoken by a character in a novel
4. Vocal reading/writing
5. Nipple semantics
6. Genital gutturals
7. Carnal consonants
8. Voluptuous vowels
9. S/M syntax
10. The text constantly in motion, writerly/readerly speaking, shapeshifting marginality à la S/Z, writing aloud reclaiming the narcissism of the moment, restoring each text not to its individuality but to its “play,” discourse of jizzy jouissance, parody of plural texts, satire of self-conscious closure, shameless display of self-abuse, fervent masturbatory textual transgression, translation against the American grain, conversion of “write” into intransitive verb, so that one doesn’t write something—one simply writes, writing aloud for the pleasure of it, vocal writing to hear one’s voice, one’s “groining” voice, one’s kvetching kunt, one’s pusillanimous pussy, one’s lanky long-legged comely conversations at midnight, smoking a cigarette looking at the ceiling after sex, “and the marquise remained pensive,” Balzac’s open-ended smirk at the end of Sarrasine, detouring digressing divagating through “l’impérialisme de chanque langage,” jaded jouissance and playing with the text, amorous fragments and incidents of unforgivable ambiguities…
“It was perhaps necessary to
wait for Proust to see the
writer fuse certain men
totally with their language,
and present creatures only
through that solid and
colorful guise, their way of
speaking.”—Roland Barthes,
Writing Degree Zero
1. Writing aloud
2. Tricking with the text
3. Writing as if spoken by a character in a novel
4. Vocal reading/writing
5. Nipple semantics
6. Genital gutturals
7. Carnal consonants
8. Voluptuous vowels
9. S/M syntax
10. The text constantly in motion, writerly/readerly speaking, shapeshifting marginality à la S/Z, writing aloud reclaiming the narcissism of the moment, restoring each text not to its individuality but to its “play,” discourse of jizzy jouissance, parody of plural texts, satire of self-conscious closure, shameless display of self-abuse, fervent masturbatory textual transgression, translation against the American grain, conversion of “write” into intransitive verb, so that one doesn’t write something—one simply writes, writing aloud for the pleasure of it, vocal writing to hear one’s voice, one’s “groining” voice, one’s kvetching kunt, one’s pusillanimous pussy, one’s lanky long-legged comely conversations at midnight, smoking a cigarette looking at the ceiling after sex, “and the marquise remained pensive,” Balzac’s open-ended smirk at the end of Sarrasine, detouring digressing divagating through “l’impérialisme de chanque langage,” jaded jouissance and playing with the text, amorous fragments and incidents of unforgivable ambiguities…
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