René Marans «Batouala»

Jazz-Text

Fiction & Literature, Literary Theory & Criticism, French, European, Nonfiction, Entertainment, Music
Cover of the book René Marans «Batouala» by Susan Allen, Peter Lang
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Author: Susan Allen ISBN: 9783035195170
Publisher: Peter Lang Publication: September 25, 2015
Imprint: Peter Lang AG, Internationaler Verlag der Wissenschaften Language: English
Author: Susan Allen
ISBN: 9783035195170
Publisher: Peter Lang
Publication: September 25, 2015
Imprint: Peter Lang AG, Internationaler Verlag der Wissenschaften
Language: English

The polemic excited by Batouala’s controversial Preface has conditioned an enduring, near-universal acceptance of a disjunction of Preface and novel. This is the first book to challenge that premise. The fallacious underpinnings of the origin persistence of this view are shown to lie in Western, dichotomously structured thinking. Through offshoots of the civilised-versus-savage dichotomy, namely oral-versus-written, form-versus-content and music-versus-narrative, Batouala’s Signifyin(g) discourse spills beyond the novel’s borders to reveal the sterility of dichotomy as a conceptualising structure. Dichotomy’s anachronism is thrust upon it through the work’s faithful representation of African ontology, whose water-inspired philosophy precludes it. Batouala’s structural basis is compared with that of jazz, which similarly bridges European and African civilisations, and whose African philosophical stance also acts as a provocation to the dichotomous thinking model. As Batouala «Fixed» transmutes to Batouala «Free», the pejorative implications of its widely touted ambiguity evaporate to expose a novel that is both lucid and coherent when viewed as jazz-text and jazz performance.

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The polemic excited by Batouala’s controversial Preface has conditioned an enduring, near-universal acceptance of a disjunction of Preface and novel. This is the first book to challenge that premise. The fallacious underpinnings of the origin persistence of this view are shown to lie in Western, dichotomously structured thinking. Through offshoots of the civilised-versus-savage dichotomy, namely oral-versus-written, form-versus-content and music-versus-narrative, Batouala’s Signifyin(g) discourse spills beyond the novel’s borders to reveal the sterility of dichotomy as a conceptualising structure. Dichotomy’s anachronism is thrust upon it through the work’s faithful representation of African ontology, whose water-inspired philosophy precludes it. Batouala’s structural basis is compared with that of jazz, which similarly bridges European and African civilisations, and whose African philosophical stance also acts as a provocation to the dichotomous thinking model. As Batouala «Fixed» transmutes to Batouala «Free», the pejorative implications of its widely touted ambiguity evaporate to expose a novel that is both lucid and coherent when viewed as jazz-text and jazz performance.

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