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The Man Who Stopped Writing

By Andrew Gallix.

marc-edouardnabe

L’Homme qui arrêta d’écrire, Marc-Edouard Nabe, 2010

Marc-Edouard Nabe has always relished playing with fire, but never more so than when he burned what would have been the fifth volume of his journal. His main motivation was to avoid being trapped in a Shandyesque race with time, ending up pigeonholed as a diarist. Nevertheless, he went on to describe this event in Alain Zannini (2002), a novel so blatantly autobiographical that it even bore his real name as its title (Nabe, short for “nabot” — midget — is a nom de plume). The implication was clear: having lived his life in order to narrate it, Zannini had gradually become Nabe’s creation. What, then, would happen if the writer were to stop writing?

This ontological question is raised in L’Homme qui arrêta d’écrire (“The Man Who Stopped Writing”), which begins with the author-narrator’s paradoxical assertion — given the length of the book, let alone its very existence — that he has forsaken literature after being dropped by his publisher. “A publisher paying me to write books nobody reads,” he deadpans, “I thought this would go on for ever.”

For the best part of two decades, the real-life Nabe had received a monthly wage from Les Editions du Rocher, but this stipend was suddenly withdrawn when they were bought out in 2005. Throughout the lengthy lawsuit, he expressed himself by means of posters, which his hardcore supporters pasted all over the walls of France’s major cities. He also maintained the fiction that his authorial days were over, so as to remain in character while secretly writing his novel about writing no more.

The appearance of L’Homme qui arrêta d’écrire thus came as quite a surprise, not least because Nabe chose to go down the self-publishing, or rather “anti-publishing”, route. The minimalist jet-black cover has a whiff of piracy about it: no barcode, no ISBN, no publisher’s name or logo; the spine remains bare. On the front, the author’s name is reduced to “Nabe” as if it had become a brand, and on the back you only find a number, indicating that it is the author’s twenty-eighth published work (and seventh novel). The book is only available through an official website and a handful of highly unlikely retailers (a butcher’s, a florist’s, a hairdresser’s and three restaurants at the last count). By cutting out the middleman, Nabe claims to be able to make a 70% profit, instead of the usual 10%, on each copy sold. The initial print run — funded by the sale of paintings (Nabe is also an artist and jazz guitarist) — sold out within a month; there have been three more since. Last year, the novel was shortlisted for the prestigious Renaudot prize — a first for a self-published volume in France — and last month, the online platform morphed into a full-blown company.

This declaration of war on the publishing industry is in keeping with Nabe’s image as an écrivain maudit. “Great artists,” says the protagonist, as Baudelaire’s Flowers of Evil manuscript is auctioned off at Sotheby’s, “have but one purpose: to become moral alibis for the bastards of posterity”. Initially accused of being a crypto-fascist (partly because of his predilection for Céline and Lucien Rebatet), Nabe is now frequently depicted as a pro-Palestinian leftist (whose anti-Americanism, it must be said, borders on the pathological). His first television appearance, in 1985, proved so incendiary that he was beaten up by a leading anti-racist campaigner. Every day, he declared — looking every inch the provocative young fogey, complete with centre parting, bow tie and retro spectacles — I shoot up with a Montblanc pen full of “utter hatred of humanity”. A great admirer of Jacques Mesrine, Nabe famously befriended the flamboyant bankrobber Albert Spaggiari as well as the Venezuelan terrorist Carlos the Jackal. Following 9/11, he produced a pamphlet entitled Une Lueur d’espoir (“A Glimmer of Hope”) and argued repeatedly that bin Laden was only acting in self-defence. In 2003, he even travelled to Baghdad, where he protested against the invasion of Iraq in typically Gallic fashion: by writing a novel. These antics may have earned him a large cult following, but Mazarine Pingeot summed up the views of many when she declared that Nabe was “unfortunately” a great writer.

Despite running to almost 700 pages, L’Homme qui arrêta d’écrire has no chapters or even paragraphs, as though it were shot in real time, like 24, the American TV series the narrator watches. If the dialogue is a little didactic — even Socratic — at times, there are far fewer purple passages than usual. This is the affectless, almost pedestrian, prose of someone who will not even allow himself to sign an autograph or compose a letter any more. The novel is meant to read as if it were unwritten. This tonal blankness (often reminiscent of Houellebecq’s) is marred on occasion by poor punning, but it can also be shot through with flashes of sheer poetry: a vintage sewing machine is likened to a “giant bee in mourning”; a brunette’s hair looks like it has been “soaked in liquid night”.

Structurally, L’Homme qui arrêta d’écrire is a 21st-century reworking of Dante’s Divine Comedy, taking us all the way from Inferno to Paradiso via Purgatorio. The picaresque plot begins when the protagonist abandons his calling, and spans seven days during which events that really took place over several years are skilfully conflated. At a loose end, the “post-writer” wanders around town and meets Jean-Phi, a young celebrity blogger who acts as his Virgil, guiding him through his post-literary vita nuova. Nabe’s mouthpiece dreams of a “literary lobotomy” that would rid him of all the bookish references preventing him from living fully in the here and now. Try as he may, Jean-Phi is unable to wean him off his old ways, and each new stroll through the streets of Paris gives rise to a digression about Raymond Roussel‘s birthplace or Proust‘s childhood haunts. However, as the days go by, and his life becomes increasingly bound up with Jean-Phi’s youthful entourage, the narrator rediscovers the pleasure of living gratuitously, without having to worry about transmuting his experiences into words. In the final pages, Mallarmé‘s famous dictum that “The world was made in order to result in a beautiful book” appears on a poster but, crucially, it has been misquoted, so that it is now the book which results in a beautiful world.

The protagonist inhabits this inverted world. Early on, he wonders if his new condition does not necessarily imply that he has himself become a character, as if a writer and his creation were but two sides of the same coin. The names of all the famous living people who appear in the novel have been slightly doctored (Depardieu, for instance, becomes Depardieux). This is no doubt to avoid lawsuits, but it also seems to indicate that they too have stepped through the looking-glass, on the other side of which they are exposed as grotesque parodies of themselves. As one of Jean-Phi’s friends remarks, a mere typo can suddenly plunge you into another universe.

One of the key scenes is a chance meeting with Alain Delons (Delon), on the seventh day. The narrator explains that he is his favourite actor because in all his major films Delon/s goes on a quest for a doppelgänger he could replace or who could replace him. The same, of course, can be said about the novelist’s entire oeuvre, which is haunted by the figure of the double. Narrator and author are as indistinguishable as ever, here, although the former is clearly an anti-Nabe, inhabiting a parallel universe where he has been defeated by his detractors. L’Homme qui arrêta d’écrire, proof of the real-life author’s triumph, is an affirmation of the truth of fiction as well as of the virtues of unmediated life: after all, he wrote his novel by pretending not to. Give Nabe a mask, and he will tell you the truth. Just don’t ask him — or me, for that matter — who the doppelgänger is.

Zannini/Nabe once quipped that Alain Zannini — in which Zannini meets Nabe — was told in the “double person singular”. Sometimes, however, I really is another, rather than just the other half of a divided self. Although no oil painting, Michel Houellebecq is Dorian Gray to Nabe’s picture — the acceptable face of controversy. Or at least this is Nabe’s spin on events. In the early 90s, both men lived at the same address (103 Rue de la Convention in the fifteenth arrondissement of Paris) facing each other, like bookends, across a cobbled courtyard. Both belong to the same generation, come from similar lower middle-class backgrounds, had domineering Corsican mothers they rebelled against, established their reputations by courting controversy and chronicled the demise of French joie de vivre. Nabe was, in fact, the senior partner in this relationship, up until the success of Atomised in 1998.

In The Map and the Territory, which finally earned him the Goncourt prize last year, Houellebecq depicted his own murder. Nabe immediately outed himself as the culprit in the course of an interview. What he really meant, of course, is that Houellebecq had committed literary suicide by selling out and writing a Goncourt novel. Losing the Renaudot prize, on the other hand, reaffirmed Nabe’s outsider status. Like his master, Céline, he remains untainted by recognition, alone against the world; beyond the pale. With an eye on posterity, Marc-Edouard Nabe is biding his time.

This is an expanded and slightly different version of a piece that appeared in Guardian Books.

ABOUT THE REVIEWER
Andrew Gallix divides his time between Scylla and Charybdis, co-edits 3:AM Magazine, teaches at the Sorbonne, and lives his life like a string of beads tossed in slo-mo from a frilly New Orleans balcony.

First published in 3:AM Magazine: Sunday, July 10th, 2011.