A review of Hallucinating Foucault, by Patricia Duncker
Published February 13th, 1997,
in The Minnesota Daily’s A&E Magazine
Foucault’s Pen
By Patricia Duncker
Ecco Press, $21
For obsessive bibliophiles, reading is the most intense and rewarding act of
connection to the outer world. It’s better than sex, better than friendship,
even better than the Internet. The reader’s connection to the writer is holy.
(Who after reading Franz Kafka’s “The Metamorphosis” could deny this?)
But what
happens when the pure communion of reader/writer breaks down and gets confused?
What happens when the ugliness of biology gives profane form to the sacredness
of the author? Patricia Duncker takes on this precarious and problematic
relationship in her debut novel, Hallucinating Foucault, and the result
is terribly disturbing (to the devout bibliophile, at least).
Right
away, Duncker puts the reader off guard by introducing an unnamed
boyfriend/girlfriend team of graduate students, calling them simply “I” and
“The Germanist,” respectively (read: you the reader and your girlfriend, or the
other way around, depending on your gender). The narrator is studying the
(fictitious) French author Paul Michel at Cambridge, and the Germanist, a
Schiller devotee who seems to be an expert on just about everything, urges him
to dig deeper into his research than just mere scholarship.
The
Germanist, who has ulterior and possibly sinister motives for attaching herself
to the narrator, leaves clues to Michel’s fictional and physical worlds. She
points out Michel’s creative debt to Michel Foucault (the very real French
philosopher and theorist) and then hints at Michel’s current plight, which the
narrator had chosen to ignore.
The
narrator, cajoled by the Germanist, eventually discovers that Michel had
written all of his novels to and for Foucault, that Foucault had been the
intended reader for his entire oeuvre. And when Foucault died of AIDS in
1984, Michel found that he had reason neither to live nor to write, and he subsequently
went insane. As the narrator falls deeper into his research, he finds that he
can no longer ignore Michel the man, and he decides to go to France to find
him.
For the
first half of the book, Duncker simply has her characters discussing Michel’s
work, but when she allows Michel to speak (and write) for himself, the result
is astonishing. Paul Michel, Duncker’s invented author, suddenly stops being an
abstract, studied object and leaps into the narrator’s (and reader’s) life.
Everything about him is fascinating—his lifestyle, his speech, his prose, his
insanity. He’s eminently alive, and this is what keeps the novel from being
just a dry examination of authorship. And discarding reductive academic notions
of influence or affinity, Michel’s obsession with Foucault becomes that much
more immediate. He writes in a letter to Foucault, You ask me what I fear
most. You know already or you would not ask. It is the loss of my reader, the
man for whom I write. My greatest fear is that one day, unexpectedly, suddenly
I will lose you. We never see one another and we never speak directly, yet
through our writing our intimacy is complete. My relationship with you is
intense because it is addressed every day, through all my working hours. I sit
down, wrapped in my blanket, my papers incoherent on the table before me. I
clear a space to write, for you, to you, against you. You are the measure of my
abilities. I reach for your exactitude, your ambition, your folly. You are the
tide mark on the bridge, the level to reach. You are the face who always avoids
my glance, the man who is just leaving the bar. I search for you through the
spirals of all my sentences. I throw out whole pages of my manuscript because I
cannot find you in them.
Although
Duncker unequivocally succeeds in creating this character/author, the novel at
times suffers from shadows cropping up around Michel’s brilliance. Michel’s
love for Foucault is thoroughly convincing, but the narrator’s love for Michel
is less so, and the novel sometimes progresses artificially because the
narrator doesn’t seem to be truly driven. He just kind of falls into his role,
and when the novel’s action gets intense, he doesn’t seem as amazed (or as
skeptical) as he should be.
But this
may be part of Duncker’s plan. Like the reader, the narrator gets sucked into a
strange authorial web, and his dazed compliance mirrors our own. Or maybe not.
Either way, Duncker takes a tremendously thought- (and action-) provoking stab
at why we read and write, and the reader comes away from Hallucinating
Foucault with a refreshingly new, if creepily twisted, view of the
author/reader relationship.
—David Wiley
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