Work
Many of his novels and essays abound with experimental word play, lists and attempts at classification, and they are usually tinged with melancholy.
Perec's first novel, Les Choses (Things: A Story of the Sixties) was awarded the Prix Renaudot in 1965.
His most famous novel, La Vie mode d'emploi (Life A User's Manual), was published in 1978. Its title page describes it as "novels", in the plural, the reasons for which become apparent on reading. La Vie mode d'emploi is an immensely complex and rich work; a tapestry of interwoven stories and ideas as well as literary and historical allusions, based on the lives of the inhabitants of a fictitious Parisian apartment block. It was written according to a complex plan of writing constraints, and is primarily constructed from several elements, each adding a layer of complexity. The 99 chapters of his 600-page novel, move like a knight's tour of a chessboard around the room plan of the building, describing the rooms and stairwell and telling the stories of the inhabitants. At the end, it is revealed that the whole book actually takes place in a single moment, with a final twist that is an example of "cosmic irony". It was translated into English by David Bellos in 1987. Some critics have cited the work as an example of postmodern fiction.
Perec is noted for his constrained writing: his 300-page novel La disparition (1969) is a lipogram, written without ever using the letter "e". It has been translated into English by Gilbert Adair under the title A Void (1994). The silent disappearance of the letter might be considered a metaphor for the Jewish experience during the Second World War. Since the name "Georges Perec" is full of "e"s, the disappearance of the letter also ensures the author's own "disappearance". His novella Les revenentes (1972) is a complementary univocalic piece in which the letter "e" is the only vowel used. This constraint affects even the title, which would conventionally be spelt Revenantes. An English translation by Ian Monk was published in 1996 as The Exeter Text: Jewels, Secrets, Sex in the collection Three. It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both "e" and a vowel other than "e").
W ou le souvenir d'enfance, (W, or the Memory of Childhood, 1975) is a semi-autobiographical work which is hard to classify. Two alternating narratives make up the volume: one, a fictional outline of a totalitarian island country called "W", patterned partly on life in a concentration camp; and the second, descriptions of childhood. Both merge towards the end when the common theme of The Holocaust is explained.
"Cantatrix sopranica L. Scientific Papers" is a spoof scientific paper detailing experiments on the "yelling reaction" provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. "(Karybb & Szyla, 1973)".
David Bellos, who has translated several of Perec's works, wrote an extensive biography of Perec: Georges Perec: A Life in Words, which won the Académie Goncourt's bourse for biography in 1994.
The Association Georges Perec has extensive archives on the author in Paris.
Read more about this topic: Georges Perec
Famous quotes containing the word work:
“Thinking is seeing.... Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things.”
—Honoré De Balzac (1799–1850)
“Work is a responsibility most adults assume, a burden at times, a complication, but also a challenge that, like children, requires enormous energy and that holds the potential for qualitative, as well as quantitative, rewards. Isn’t this the only constructive perspective for women who have no choice but to work? And isn’t it a more healthy attitude for women writhing with guilt because they choose to compound the challenges of motherhood with work they enjoy?”
—Melinda M. Marshall (20th century)
“only an aching heart
Conceives a changeless work of art.”
—William Butler Yeats (1865–1939)