“I had to look for something, a substance, a form that belonged to me personally… the old novel could no longer meet modern needs, and I thought that it would be interesting… to show interior movements existing all alone, without characters, without a plot… tropisms… instinctive movements taking place on the subconscious level that are provoked like plant tropisms, which are provoked by external stimuli, by exterior objects. “
“The character, in my point of view, exists only as a deception, a facade; all that counts are the interior movements. In my later works even the facade of characters no longer exists: there are only consciousness where these tropisms are produced… The character is only a certain form… one may free oneself of the characters in order to show the movements into stinginess, in and of itself, produced in various characters. It's not always obligatory to have characters. In my work, the characters don't exist. They don't present any interest, because what we experience, we all experience, you as well as I.“
“The character, in my point of view, exists only as a deception, a facade; all that counts are the interior movements. In my later works even the facade of characters no longer exists: there are only consciousness where these tropisms are produced… The character is only a certain form… one may free oneself of the characters in order to show the movements into stinginess, in and of itself, produced in various characters. It's not always obligatory to have characters. In my work, the characters don't exist. They don't present any interest, because what we experience, we all experience, you as well as I.“
“Le réalisme se déplace. Ce que j’appelle réalisme, c’est toujours du réel qui n’est pas encore pris dans des formes convenues. Il est nécessaire que les formes se déplacent continuellement. On ne peut plus reprendre les formes anciennes sans retrouver une substance romanesque ancienne, elle aussi connue. " [“The realism moves. What I call realism, it is always reality that yet is not taken in suited forms. It is necessary that the forms move continuously. No more one can recover the old forms without finding an old fictional substance, it also well-known.”]
“Pour moi, le roman se rapproche, essaye de se rapprocher de la poésie; il tend, comme la poésie, à saisir au plus près de leur source, des sensations, quelque chose de ressenti. Les romans devraient devenir de grands poèmes. Et de même certaines oeuvres poétiques sont créées dans des formes qui jusqu’ici étaient considérées comme appartenant à la prose.” [“For me, the novel approaches, tries to approach the poetry; it tends, as the poetry, to be nearer to its source, to the sensations, to something that must be felt. The novels should become great poems. And similarly some poetic works are created in forms that so far were considered as belonging to the prose.”]
“Pour moi, le roman se rapproche, essaye de se rapprocher de la poésie; il tend, comme la poésie, à saisir au plus près de leur source, des sensations, quelque chose de ressenti. Les romans devraient devenir de grands poèmes. Et de même certaines oeuvres poétiques sont créées dans des formes qui jusqu’ici étaient considérées comme appartenant à la prose.” [“For me, the novel approaches, tries to approach the poetry; it tends, as the poetry, to be nearer to its source, to the sensations, to something that must be felt. The novels should become great poems. And similarly some poetic works are created in forms that so far were considered as belonging to the prose.”]
"Readers must be given what they have a right to expect of a novelist: enlargement of their experience, not in extent (which is better provided for them and more efficaciously by books of authoritative information and by reporting), but in depth."
Novel? Nathalie Sarraute (1900-1999)
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