This chapter instructs the reader to continue on chapter or In the former, we learn about the capital punishment of a prisoner at San Quentin ; and in the latter, about the execution of minors by hanging or on the stakes, when it was proven that they could tell right from wrong. Similar to Rayuela, in Farabeuf the oriental execution and torture is equated with western forms of torture, especially by doctors and psychoanalysts.
Consider, for example, the fictional account of a conversation between Jean Jacques Matignon author of Dix ans du Pays du Dragon and Louis Hubert Farabeuf: Doctor Matignon, a doctor of the Legation, a former resident of China, explained to me the origins and the procedure in all its details. I must say that the procedure is completely devoid of subtlety. The execution was witnessed at close range by a number of observers, and photographed by two or three cameras, none of which were operated by Louis Carpeaux, who was not present at the execution despite his claims.
Debo decir que el procedimiento carece por completo de sutileza. During this period of less than 5 years, over a hundred photographs were shot. The short and accidental meeting between a modern camera and an obsolete punishment generated a surprisingly lasting image. In it, are circumscribed not only the technical, military, and political, but also the aesthetic, and scientific discourses of Farabeuf.
He duplicates the physiological tone of Dumas , and also imitates the medical-aesthetics and metaphysics of Louis Hubert With Georges Soulie de Morant , amongst others, he additionally shares the technique of mixing historical with imaginary facts. Elizondo is thus not a hallowed sage lost in signs and ancient glyphs, oblivious of world politics; but neither is he an agent for colonial murky plans of world domination. The crucial distinction to be made is awareness. While Harfeld believed he was reporting an objective account of facts see for example the epistolary exchange over his book with Maspero in , Elizondo is deliberately bringing to central stage the manipulative nature of discourse to denounce how the occidental notion of self-righteousness is a construct.
It is not a Verfremdungseffekt either, as he does not conceive art as a tool for social change. He does not seek to justify appropriation, or to instigate social revolution,26 but to seize the forbidden fruit of knowledge and self-awareness.
To construct Farabeuf, Elizondo draws indistinctly from European and Chinese systems of assemblage, and the narrative voices are descriptive and do not posit themselves as better or superior than the other, but as equally perverse. Even when the narrator stands next to the executioner and observes, he helps; if you play the game, it will only be to realize in horror that it ends in the ritual vivisection of you, an androgynous being; or in the realization execution was meted out.
The gaze of the problematic self In Orientalism , Edward Said argues that the political and academic discourse in the United Kingdom, France and the United States referring to Arabs, Islam and the Middle East, has been an instrument for, and a reflection of European colonialism. According to Said, the characterization in which the subaltern is not allowed to present his case, but is voiced by an authoritative voice posed as benevolent, cannot be an innocent misrepresentation.
It is a calculated strategy identifying otherness with inferiority to legitimize political and economic subjugation Orientalism Latin-American descriptions of the Far East cannot be Orientalism in strictu sensu, as there is no cross-national military, political, or economic dominion to legitimize over the Orient. The continent has been the locus of American and European colonial interests for the past three and a half centuries, which places it in a position comparable to the Orient, or even East to it, as Richard Rodriguez, Kushigian, and Romero argue.
The symptoms Dr. Farabeuf tries to apprehend are progressive alienation, disorientation, and loss of identity: Death, Elizondo concludes, is oblivion. Robinson Crusoe is not, until he meets Friday, and the victimizer is not, until recognized by the victim.
Identity is thus a collective problem. Said is suspicious of essential identities, and Elizondo distrusts essential representations. His ontological experiment does not seek to establish an immutable essence but, on the contrary, to expose the mutable substance of identity, its phenomenology and its ecstatic, but not static characteristics. An insight I owe to Tzevtan Todorov is that history is written in terms of we versus they: we, the heroes or the victims; and they, the villains or the passive beneficiaries of goods; we, humans and they, monsters or worm-men.
Elizondo reminds us in Farabeuf that the executioner, the perpetrator, is not less human than ourselves. The monster, the criminal is not the other. Humans will not be delivered from Evil until they are delivered from Good. I argue thus that Orientalism can only occur if both exoticization of the other AND idealization of self occur. They are also French doctors, albino mutants, and deformed reflections of self. For Elizondo, on the one hand, Western and Eastern philosophies and aesthetics are comparably valid; on the other, in the world presented in Farabeuf, there are only monsters.
While for you—the character—there is no alternative, the reader can cling to his innocence and die with you, or accept his voyeuristic gaze in the spectacle and become an accomplice to an executioner.
- Becoming Johnny Vegas.
- Stone Man.
- In Her Defense (Submission Spanking Erotica)?
Bataille, Georges. Paris: Jean Jacques Pauvert, Buenos Aires: Sudamericana, Elizondo, Salvador. Farabeuf, Louis-Hubert. Harfeld, F. Commandant, and M. Heindl, Robert. Robert, Meine Reise nach den Straftkolonien. Berlin-Vienna: Verlag Rolf Heise, Kushigian, Julia Alexis.
Louis Hubert Farabeuf - Wikidata
Brand new Book. Seller Inventory n. Book Description Paperback. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Perhaps one of us is real and the others, his hallucination. There is still another possibility. Perhaps we are a printing error that has inadvertently slipped by, that makes an otherwise clear text confusing. Not only for helping bring such an interesting work into English, but producing a text that never loses its fiendish complexity or provocative voice.
The novel itself ranges across letters, detective-style cross-examinations, playful streams of consciousness and taunting monologues by the elusive narrator:. Try to remember everything, right from the beginning. The slightest detail might be of critical importance. The most insignificant clue may help us discover an essential fact. It is vital that you take a detailed, exhaustive inventory of all the things, all the feelings, all the emotions that collectively shape what perhaps is a dream.
The concerns of the novel are closely aligned with those of the French nouveau roman of the s and s, namely a heartfelt challenge to the conventions of literary realism.
Farabeuf by Salvador Elizondo
Alain Robbe-Grillet, a key nouveau roman author, wrote that. What he asks of him is no longer to receive ready-made a world completed, full, closed upon itself, but on the contrary, to participate in a creation, to invent in his turn the work—and the world—and thus to learn to invent his own life. As Farabeuf assaults us with its mind-bending tale of body horror, bizarre sex and torture, it is also trying to teach us a new way to read, and to interpret experience.