Obsessive Relation to Writing Instrument - Essay Example

Obsessive Relation to Writing Instrument It is absolutely difficult to determine whether the French writer was obsessed with the materials he used for writing. The interview that was conducted reflects the true picture of the writer starting from his methodology of working. The writer based on work habit he has a method of working. Despite the fact that he is proud to talk about is method of work he also believes that it is a taboo to talk about the topic, under the pretext of being futile for a writer to talk about his writing. According to him insignificance is the true locus of significance and he describes that as the anti-mythological action. The action to him presents language as the instrument of thought that brings him the inward passion of performance of writing to him being a simple instrumental practice. With his passion of writing the French man has the historical meaning and follows up of writing work as well as the anthropological context of it. His method is by different coordination, working time, working space, and the action of writing. To him the first page that is glued to the manuscript is preparation for writing (pg. 178). The French man inscribes his work in a ceremonial manner, and he likes switching from one pen to another just for the pleasure of using and enjoying the different taste in them. He has an obsession with the new pens, and as much as has he has more of it he can’t stop himself from buying any new invention in the market. The only difference is that he has no affinity for Bics, and according to him there is Bic style that is used for chumming out copies, and writing that merely subscribes thoughts. He writes his work through his hands by mostly the use of fountain pens. He has two stages in the creative process. He has the moment when the desire is invested in a graphic impulse, making him to produce a calligraphically object, while the second is the critical moment. During this moment the object is prepared for anonymous and collective consumption of others through transformation of typographical object (pg. 179). The French writer is a growing man who believes in transformation. After making his hand written work, he goes ahead and types the whole document on a typewriter using two fingers, since he is not that much of a good typist. To him the two stages – handwriting and typewriting- was more of sacred to him but he his transformational man and he works on changing his ritual. He improves his typing skill by training with the electric typewriting machine he bought himself has a present for half an hour daily. The French writer his a man that likes learning from personal experience, like when he had people to type for him it bothered him and that motivated his action of buying the machine. Having passion in writing work he believes that after learning to be a good typist he doubts if he will ever stop writing but as well he is not sure if he will completely stop writing hand written scripts. He’s trying to make an honest transition with the times and trying as well to get used to his new regime. He cannot work in a hotel due to organizational spatiality or him being structuralist. For him to be able to function and structurally reproduce he has to be at his usual working space. He schedules his time to be working from 9:30a.m to 1:00p.m in his normal working space in Paris. The place is by a music area where he goes and plays piano every day at about 2:30p.m in the afternoon. He also performs a Sunday painting and therefore while making his working space he creates a place where he can splatter paint around. He has a country house where he has reproduce those three areas faithfully. He divides his working space into functional micro-places, like where to place the table, a place on the side where he can add another table to spread out different things he has to work on. The French writer does not like scholarly work as well as reading in the library. He enjoys the excitement provoked by immediate and phenomenological contact with the tutor text (pg.181). He does not set up a preliminary library for himself but rather he is content with reading the text and writes down certain passages, moments, and words that have the power to move him. He uses cards to write down quotations or ideas he has, which comes up curiously in the middle of the sentence and that takes an existence of writing. The writer is an essayist rather than a novelist, but still after reading some books it is inevitably clear that whatever he has read will find its way in his work which makes him feel and reason like a novelist. The solution he uses to solve the problem of making his essay seem like a novel is by reading classic books such as book of linguistics by Jakobson. He has the habit of reading in his bed which he calls locus of irresponsibility while the table being the locus of responsibility. The writer believes that correspondences are not a question of writing but rather they are textual analysis where some people has structural reflex and tend to see things in oppositive terms while others don’t (pg. 181). His aim in his writing work as well as career is to deconstruct the dissertation, to deflate the reader’s anxiety and reinforcing the critical writing by fracturing notions of the subject of the book his writing (pg.182). He does his work in method which he happens to call ‘controlled accident”. He believes that novels are not being defined by its object but by forsaking the temper, and to him the only two writing style that gives him pleasure of writing is to begin and to complete. The writer is a true essayist who has a great passion in his work and respect other peoples work as well. He believes in writing essay than to write novels. Works Cited Monde, La. Interview by Jean-Louis de Rambures. Personal interview. 27 Sept. 1993. Read More