In any event, I realize fully that the parole, the speech, the "word" of a writer such as myself, has something strange and even contradictory about it, even within its own creator. At the moment when I write, let us say, La Jalousie or Glissements progressifs du plaisir, what I propose is improbable and consequently unacceptable; that is, my parole as a writer or as a cinéaste in my novels or in my films is abrupt, inexplicable, nonrecuperable for any correctly (...) organized discourse. Nevertheless, you have noticed that I speak with the same clarity as any professor, and this constitutes an extremely interesting contradiction because it goes to the very heart of the debate; order and disorder never cease to interact, to contaminate each other, to practice a sort of mutual recuperation. If, having written a novel of disorder, I don't find someone—for example, Bruce Morrissette, about La Jalousie—to prove that it has order, I'll do it myself. The principle of order is so crucial that I wish to prove that the disorder which I've created I can myself transform into order. But, as soon as I have shown that it has its order, from that moment on I've destroyed the interest of my work. I have brought about within an organized discourse, organized according to the normal logic of Cartesianism, the recuperation of something which was in fact a machine of war against order. I often run into people who say to me after a film, "Ah, it's a pity that you didn't come to explain all of that before the film. We didn't understand a thing, and it is such a fine thing that you have explained it." And I reply, "Yes, but don't trust that too much," because what I've said is not at all the film. It is even almost the opposite; it is the way in which I show myself that there is in what I created a part which is in spite of everything, explainable by established order, and a part increasingly large, because order progresses. Alain Robbe-Grillet, novelist, film maker, and essayist, is the author of Les Gommes , Le Voyeur , La Jalousie , Dans le labyrinthe , La Maison de rendez-vous , Projet pour une révolution à New York , and Topologie d'une cité fantôme . His films include: L'Année dernière à Marienbad , L'Immortelle , Trans-Europ-Express , L'Homme qui ment , L'Eden et après , Glissements progressifs du plaisir , and Le Jeu avec le feu . He has presented his views on contemporary fiction in Pour un Nouveau Roman. Bruce Morrissette, author of books on Alain Robbe-Grillet and Sunny Distinguished Service Professor in the department of Romance languages and literature at the University of Chicago, has translated "Order and Disorder in Film and Fiction." He is the author of "Post-Modern Generative Fiction: Novel and Film". (shrink)

The literary friendship between Alain Robbe-Grillet and Roland Barthes lasted 25 years. Everything attests to their deep and mutual intellectual esteem: their private correspondence, their published texts, their conversations - notably in the famous dialogue which gives its name to this work. Robbe-Grillet freely said he had very few true friends but, next to the publisher Jérôme Lindon, he always cited the name of Roland Barthes. In 1980, he wrote his own ‘I love, I don’t love’, published here for the (...) first time, thinking about his friend. In 1985, he predicted: ‘It is his work as a writer which will remain’. Ten years later, in 1995, he imagined him as an impatient, blithe novelist, merrily rewriting - ‘euphorically, with inexhaustible happiness’ - The Sorrows of Young Werther. This small collection of conversations and short texts by Robbe-Grillet is like the deferred echo of those that Roland Barthes dedicated to him in his Critical Essays in 1964. It offers fresh insight into the development of Robbe-Grillet’s own work as well as that of Barthes, and is a unique testimony to one of the most important literary friendships of our time. (shrink)