Life A User's Manual (the original title is La Vie mode d'emploi) is Georges Perec's most famous novel, published in 1978, first translated into English by David Bellos in 1987. Its title page describes it as 'novels', in the plural, the reasons for which become apparent on reading. Some critics have cited the work as an example of postmodern fiction, though Perec himself.
Seldom you come across a book which is so magnificent in its scope, so disarmingly rich in style and variation, that after finishing it, you feel quite numb and dull. And later, when you try to reflect on the book, you are desperately short of words and expressions. Common examples include James Joyce’s “Ulysses” or Dostoyevsky’s “Brothers Karamazov”.
Recently, I’ve finished reading “Life: A User’s Manual” by Georges Perec and without hesitation, I’ve placed it in the aforementioned category.
I’m supposed to call “Life: A User’s Manual” a book, or a novel, but I prefer the word ‘tapestry’, and indeed, it is an ingenuous one. The title page describes it as “Novels”, in plural, and we’ll understand its significance a little later. The central character of the narrative is a wealthy Englishman called Bartlebooth (recently I've come to know that this is a cross between Herman Melville’s Bartleby and Valery Larbaud’s Barnabooth; such tongue-in-cheek references are abundant in this piece of work) living in a Parisian apartment at 11, Rue Simon-Crubellier. Not knowing what to do with his time or his fortune, he contrives an extensive plan which will keep him busy for the rest of his life. His plan goes as follows--
- In the first 10 years he devotes himself learning the techniques of water-colour under the guidance of Valene, who also comes to live at 11 Rue Simon-Crubellier.
- Then, he starts his voyage spanning a period of 20 years around the world, accompanied by his faithful butler Smautf (an obvious reference to Jules Verne’s “Around the World in Eighty Days”, bringing back the sweet memories of my childhood days) and painting 500 landscapes in different ports in different countries.
- As soon as he finishes each of these canvases, it is sent to Gaspard Winckler, a clever and ingenuous craftsman (another resident of 11 Rue Simon-Crubellier) who converts it into a jigsaw puzzle, increasingly difficult in nature, and stores them for future.
- After returning from his voyage, Bartlebooth solves those jigsaw puzzles.
- Each of the solved puzzles is then transferred to Georges Morellet (still another resident of the same building) who then rebinds the paper with a special glue and restores the original painting, removing the support of the pasteboard.
- This painting, which is in almost the identical state when Bartlebooth painted it, is then sent to the port where it was painted, exactly 20 years after the day of its creation.
- The painting is then placed into seawater until the colour dissolves, leaving a plain virgin sheet of paper.
- This blank sheet is then returned to Bartlebooth.
- The whole process is repeated for all the 500 paintings.
Now, as the narrative progresses, it dawns upon the readers that the novel is set not only on the day of Bartlebooth’s death, but also, at the precise moment of his death. All the characters and objects, living in the microcosm of this Parisian apartment, are frozen in time and space by the author as he goes on painstakingly describing each of them, in each of the flats in the building, where they are and what they have been doing at that fateful moment, with elaborate references to their past, present and future. And this act of describing them is actually what the novel consists of. Probably now, the word “novels” makes some sense, because in the course of this narrative, we’ve come across more than 100 main stories (concerning all the residents and their lives), spanning almost 142 years (1833-1975).
But, what is the point of telling such a convoluted array of stories? And, moreover, what is the point of indulging oneself into such a tedious and futile endeavour like Bartlebooth? The answers are the same—NOTHING!
The most striking characteristic of this tapestry is its capability of referring to itself and its elements. The book itself is in the fashion of a vast jigsaw puzzle, similar to the ones Bartlebooth has been solving throughout his life. All the different stories and characters are the random pieces of the puzzle. As you are going through them, you engage yourself in joining them together, groping around in dark, unsure of yourself. Eventually, at the end, this tapestry emerges with full splendour.
The quixotic effort of Bartlebooth and that of the author touch upon yet another theme. However hard a person tries to attribute a meaning to an act, ultimately it is devoid of any significance, or rather, if it has any significance at all, that is purely random (remember Sassure’s “Signifier - Signified” duo which is random). We are nothing but preys of an illusory meaningfulness which we pursue till the end of our lives. The effort of both Bartlebooth and Perec is a mockery of this illusion. At the end, Bartlebooth dies without finishing the project, in the process of becoming aware of the impossibility of such a task.
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While Bartlebooth’s bizarre project provides the central theme, 11 Rue Simon-Crubellier gives the book its structure. Supposedly, the narrative moves like a Knight in a chess game, one chapter for each room (thus, the more rooms an apartment has the more chapters are devoted to them). Perec haults in each room and tells us about the residents of the room, or the past residents of the room, or about some of their acquaintances. Perec devises the elevation of the building as a 10×10 grid: 10 storeys, including basements and attics and 10 rooms across, including 2 for the stairwell (the plan is given at the end of the book, along with a 58 pages long Index!). Each room is assigned to a chapter, and the order of the chapters is given by the knight's moves on the grid.
George Perec was a member of the OuLiPo ('Ouvroir de littérature potentielle', which translates roughly as 'workshop of potential literature') group. The members of the group were devoted to “constrained writing” techniques (Perec himself wrote an entire book without using the vowel e for once). In this novel also, there are certain constraints that he subjects himself to, like the number of lists in each chapter, number of objects etc. Unfortunately, as an uninitiated reader, I couldn’t delve deep into such numerological nitty-gritty.
The book swarms with numerous references to other authors, books and characters, including Jules Verne, Captain Nemo, Passepartout, Kafka, Nabokov, Gaston Leroux, Cheri-Bibi, Marcel Proust and so on. As a novice reader it is an unpardonable audacity to even think of uncovering all those subtle nuances, but if you can, at least, sneak a peek at some of them, you will be justly rewarded. But be careful, there are plenty of red herrings, which may soon thwart you off the track.
Another nasty twist at the end of this post! It is not Perec, who is describing all these disparate elements of a story. Rather, he is just describing the concept behind an unfinished sketch by Valene (the art teacher of our old friend Bartlebooth), aspiring to depict the building and its residents in fullest possible details (yes, along with the incidents from their past lives). Valene stops working on this painting precisely at the moment of Bartlebooth’s death!
What should be said about this one-of-its-kind book, if not diabolic?
Picador
PS: You'll find an extensive review of 'Life: A User's Manual' HERE, A short bigraphical note on Perec HERE, and Reviews of other books by Perec HERE
Life A User's Manual begins with a meditation on jigsaw puzzles. Jigsaw puzzles? Indeed, jigsaw puzzles. It is preceded by a motto from Paul Klee’s Pedagogical Sketchbook, that could equally well serve as the motto for my research into dance, aesthetics and the brain: 'The eyes follow the paths that have been laid down for it in the work.'
Georges Perec varies on this motto when, at the end of the preamble, he observes the following truth about jigsaw puzzles: 'despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.'
With this the tone of the book has been set, because the whole novel can be seen as an intricate jigsaw puzzle. Every story, every piece stands on its own, but also fits into the larger design of the novel as a whole. As a matter of fact, the tone of the book had already been set by the motto that precedes the novel, 'Look with all your eyes, look', a seemingly innocent line from Jules Verne’s Michael Strogoff. But in the universe of Georges Perec everything is what it is, but nothing is what it seems. There’s always the twist of fate, the chance encounter and the hidden meaning. In Jules Verne's novel, Michael Strogoff is told to keep his eyes open and look at the world around him, the moment when he has been unmasked by the Tartars as a spy for the czar and just before he is blinded with the glowing blade of a sword.
Life A User's Manual Perec Gaspard Winkler Net Worth
Life A User's Manual is a book for readers, and the more you have read the more you will appreciate the subtle references to other novels and popular culture. But to say so would do injustice to a book that is quite simply a marvel to read.
Life A User's Manual tells the story of a ten storied building, in the fictional 11, rue Simon-Crubellier, in Paris, minutely describing its interior and how it relates to the lives of those who lived there, but most of all it tells the stories, 179 in total, of its inhabitants. The order in which the different stories are told, is determined by a famous chess problem: how to visit every spot on the board using only the knight’s move. It is but one of many formal constraints that shape Life A User's Manual. Perec reputedly spent three years working out all the rules that govern every chapter and the patchwork they constitute. But don’t expect a formal or formalist book, for Life A User's Manual’s greatest gift is the affection with which it portrays its characters.
If there is a central character in this kaleidoscope of stories it is probably the fabulously wealthy Percival Bartlebooth, a name which no doubt resounds Melville's Bartleby. Bartlebooth argues to himself that if he is not to realize at a later age that all his life has been meaningless, he would do best to incorporate this meaninglessness into his life. And so one day he decides to take up lessons in painting watercolours with Serge Valène, who also lives at 11, rue Simon-Crubellier.
After 10 years he sets out on a journey around the world to paint watercolours of 500 different harbours and seaports, a journey which will take him another 20 years. Every other week he visits another town and every other week he sends a watercolour to his assistant Gaspard Winckler, who glues the paintings on a wooden board and makes them into a jigsaw puzzle of 750 pieces each.
In 1955, having finished all 500 watercolours, Bartlebooth returns home and begins to solve the puzzles. Once put together the puzzles are to be resolved from their backing and taken to where they were painted, where they are to be erased with some detergent. Bartlebooth will thus be left with what he started with, an empty sheet of paper. Beginning and end would coincide. But things don’t go as planned.
To revenge himself for 20 years of pointless work, Gaspard Winckler has made the jigsaw puzzles ever more difficult. Almost blind Bartlebooth dies as he haphazardly attempts to finish the 439th puzzle. As Perec writes in the last paragraph of the 99th chapter, a paragraph that brings me near tears whenever I reread it:
'It is the twenty-third of June nineteen seventy-five, and it is eight o'clock in the evening. Seated at his jigsaw puzzle, Bartlebooth has just died. On the tablecloth, somewhere in the crepuscular sky of the four hundred and thirty-ninth puzzle, the black hole of the sole piece not yet filled in has the almost perfect shape of an X. But the ironical thing, which could have been foreseen long ago, is that the piece the dead man holds between his fingers is shaped like a W.'
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Gaspard Winckler, who died two years earlier has triumphed, but it has been a meaningless triumph.
Bartlebooth’s project is the most grotesque failure in Life A User's Manual, but at the end of their life every character seems to realize that his or her life has been meaningless, that his or her efforts were futile, that he or she has spent a life building castles in the air, making plans that were unrealistic from the outset, or that life in the form of chance has at some point intervened.
The book is told by Serge Valène who has lived in the building for over 55 years and who in the final months of his life 'conceived the idea of a painting that would reassemble his entire existence: everything his memory had recorded, all the sensations that had swept over him, all his fantasies, his passions, his hates would be recorded on canvas, a compendium of minute parts of which the sum would be his life.'
In the epilogue we learn that a few weeks after Bartlebooth Valène has died, leaving behind an almost blank canvas: 'a few charcoal lines had been carefully drawn, dividing it up into regular square boxes, the sketch of a cross-section of a block of flats which no figure, now, would ever come to inhabit.'