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In the world of literature, the effects of criticism and praise on authors can be profound, shaping their creative process and self-perception. This is particularly evident in the works of Philippe Sollers and Annie Ernaux, two renowned French authors whose writings delve into the complexities of literary creation and its reception.
Philippe Sollers, in his latest book, A Real Novel, presents a departure from traditional novel structure. Instead, it is a collection of memoirs that chronicle his battles against stupidity throughout his life. Sollers' works often reflect on the mechanics of literary creation and its reception, emphasizing the importance of a writer's autonomy while acknowledging that external feedback influences the evolution of their work.
In his texts, such as Logique de la fiction et autres textes, Sollers discusses the paradox of fiction and reality, and the impact of public judgment on the writer’s artistry. He suggests that praise and criticism are intertwined with the "logic" that shapes fiction and narrative identity.
Annie Ernaux, on the other hand, is known for her deeply autobiographical and critically engaged works. Her reflections suggest that both criticism and praise play complex roles, acting as external mirrors that can validate or challenge the authenticity of her experience and narrative voice. Ernaux's literature often explores how public response affects the process of writing personal and collective memory.
In her book, The Years, Ernaux tells the story of France over the last 60 years, focusing on both political and intimate aspects of the country. The novel is a testament to the peak of her art, reflecting life and the personal experiences of readers. Ernaux's writing style is characterized by a hard, almost violent text, as she aims for the soft belly, not the brain or the heart.
The impact of criticism and praise on these authors is not a new topic in literary criticism. Both Sollers and Ernaux portray criticism and praise as integral to the writer’s journey, influencing their artistic direction, social engagement, and self-interpretation. However, the specifics vary according to their distinctive literary approaches.
While Sollers is often compared to other intellectual giants such as Gide, Flaubert, Marx, Nietzsche, Freud, Sartre, Voltaire, Aragon, Faulkner, Céline, Sade, Lautréamont, Joyce, Jarry, Swift, Chateaubriand, and Roussel, Ernaux is known for her unique style of removing all fiction, resulting in a raw, unfiltered narrative.
Intriguingly, both authors have grappled with the paralyzing effects of praise and the defensive reactions to criticism. Sollers has expressed feeling like he is dead under the weight of praise, while Ernaux uses a black and white cat in her photographs to pass the years, from a chubby baby to a woman of a certain age, to save something from the time where we will no longer be.
This exploration of the impact of criticism and praise on writers underscores the dialectical nature of external reception in the creative life. As we delve deeper into the works of Sollers and Ernaux, we are reminded of the complex, multifaceted relationship between the writer and their audience.
This article was published on April 24, 2008, on page A7.
Sollers' latest book, A Real Novel, introduces a departure from traditional novel structure, presenting a collection of memoirs that reflect on the importance of a writer's autonomy and the impact of external feedback on the evolution of their work, particularly the paradox of fiction and reality, and the impact of public judgment on the writer’s artistry.
Ernaux's literature, like The Years, often explores how public response affects the process of writing personal and collective memory, portraying criticism and praise as external mirrors that can validate or challenge the authenticity of her experience and narrative voice, resulting in a raw, unfiltered narrative that removes all fiction.
