Dear Associates,

I am the literary critical detective.

In my work I examine the mise en scene of classic detective stories carefully, paying attention to the smallest metaphorical detail, sifting through the facts and then distorting them according to my whim.
My friends have been kind enough to express some interest in my observations and so to this end I am making this journal available. I hope that you might also find it of some interest.


The Literary Critical Detective.


Showing posts with label Proust. Show all posts
Showing posts with label Proust. Show all posts

Thursday, 21 June 2012

A Writer Retreats: or, A Writer’s Retreat.


It is now two days since I decided to largely retreat to my book-lined study.

My intention was simple: to force myself into calm; to find a level of purpose and concentration that would allow me to think and, above all, to write. I wanted to establish a new habit of creativity. And in order to help me achieve that, I promised myself I would update this online journal everyday until the end of the month.

So far, I have spent my time variously reading, thinking and staring out of the window, although not necessarily in that order.

In the last forty-eight hours the weather has turned from a reluctant sunshine to dank and rainy English summer conditions. Today, a persistent drizzle bothers the rooftops across the courtyard. The grey clouds overhead seem to have made themselves at home, as though having made the effort to arrive here they are now reluctant to leave, and consider this place as good as any other to dump their burdensome load.

A springer spaniel barks a regular intervals, a living clock that has taken over time-telling duties from the stopped watches collected in my drawer. I can hear the sound of bins being dragged across potted paving slabs. Yesterday, a horse and carriage made its way, unseen by me, along the main road, its shod feet clattering on the surface as it went.

No artist’s room is ever disconnected from the world around him or her. Life still intrudes. Even Proust was beset by thousands of letters and social callers after he withdrew from the Parisian social whirl. In my study, too, the lines of communication remain open.

Now, if you’ll excuse me, I intend to pick up my pen or, what amounts to the same thing, dust off the keyboard, and begin writing.

Until tomorrow…

Saturday, 2 October 2010

Case Notes

Points for further consideration:

  1. In Agatha Christie's novel Elephants Can Remember one of the key facts turns out to be that Margaret Ravenscroft (whose death Poirot is investigating) had four wigs. The detective is upset by this, and is eventually able to work out that these hair pieces were used to pass one character off as another. I can't help wondering what other significances this strange fact concerning the wigs might have. At the beginning of the novel Christie treats us to a long description of Ariadne Oliver's four hats. What is the sense of the hat connection here?
  2. In this novel Poirot asks: 'One wants to know more about the people, and how can you know people separated from you by a gulf of years' (p 159). This, it seems, might be the cruical question. And it is not only Dame Agatha's but also Marcel Proust's. His answer, of course, is that we are not separated from the past at all
  3. Question: Is the novel Elephants Can Remember really about fogetfulness? Is it even about what Nietzsche terms 'active fogetting'?