Part 1
Culture in Crisis? Evolving Cultural Forms in the Twenty-first Century
1
Engagement in la fiction dâaffaires: François Bon and Thierry Beinstingel
HELENA CHADDERTON
The treatment of social and political issues and formal experimentation have been traditionally polarised in the development of the French novel. Reflecting this polarisation, from the end of the 1980s, there has been a backlash against what is perceived to be the hegemony of formalism: against self-reflexivity and metatextual questioning, which arguably came to dominate the offerings of the French novel from the nouveau roman onwards. Indeed, there has been a revival of narrative which is socially and historically anchored to reality. This has involved a âretour au rĂ©citâ, or return to the story, as summarised by Simon Kemp in French Fiction into the Twenty-first Century: The Return to the Story, as well as a renewed interest in history, and a preoccupation with contemporary social and political issues.1 It is this final aspect of this revival which will interest us here. In March 2007, a campaign entitled âPour une littĂ©rature-monde en françaisâ was launched in Le Monde to reinstate âle monde, le sujet, le sens, lâhistoire, le ârĂ©fĂ©rentââ in French literature.2 In the same way, Tzvetan Todorov, in his 2007 critique, La littĂ©rature en pĂ©ril, laments what he perceives to be the metafictional posturing of French literature and calls for a return to the study of texts in terms of what they bring to âla connaissance de lâhumainâ.3 The quandary which contemporary writers now face is how to present the social and political world while nonetheless acknowledging the loss of innocence, the expected questioning of the relationship between language and the world, that has been brought about by literary theory and recent literary movements, from Barthesâs âdeath of the authorâ to the nouveau romanâs rejection of realism on the grounds that it is the creation of an illusion. Indeed, shortly after the peak of publications associated with the nouveau roman, Barthes asked: âNotre littĂ©rature serait-elle toujours condamnĂ©e Ă ce va-et-vient entre le rĂ©alisme politique et lâart-pour-lâart, entre une morale de lâengagement et un purisme esthĂ©tique, entre la compromission et lâasepsie?â4
Despite a long and problematic history in the French context,5 contemporary understanding of literary engagement is now largely constituted by a similar binary opposition. This opposition is represented on the one hand by the Sartrean understanding of the term, that a literary text functions as a call to action and that language functions instrumentally to contain a particular message,6 and on the other, by Barthesâs understanding of engagement of form and the poetic of language.7 La fiction dâaffaires,8 or business fiction, is particularly interesting as a genre that aims to overcome this restrictive literary perception as it is very much âof the worldâ, rooted in social reality, and yet at the same time is a genre within which use of language is of the utmost importance. The blurb of Dire le travail: fiction et tĂ©moignage depuis 1980, a collected volume of writing on work, attempts to explain why:
Le monde des ouvriers, des employĂ©s et des cadres, observĂ©, dĂ©crit, racontĂ© ou fictionnĂ© pour lui-mĂȘme, nâest pas un objet comme un autre, mais un de ceux qui ont le plus contribuĂ© Ă renouveler les formes narratives depuis trente ans en France et ailleurs dans le monde. Entre autres raisons parce que câest un objet de langage: dans un monde oĂč «lâentreprise» a imposĂ© ses normes Ă la langue, le roman, comme la poĂ©sie, doit inventer les formes qui rendent toute sa puissance critique Ă la pensĂ©e.9
The manipulation of language has been one of the major ways of instigating often unwanted change in the workplace. Examples include the eradication of certain roles through changes in job title or the requirement not to deviate from prescribed scripts in communication with customers. Consequently, the relationship between language and the workplace is particularly productive in inspiring literary activity, as Bruno Blanckeman has shown:
La culture de la communication, dans le monde de lâentreprise et sur la scĂšne publique, valorise la performance fonctionnelle de la langue au dĂ©triment de sa puissance significatrice. Dans ces circonstances, la pratique du roman fait sens: ni conservatoire comme jadis, ni laboratoire comme naguĂšre, elle rĂ©anime la langue.10
The language of neo-liberalism has been accused of impoverishing and limiting language, rendering it impersonal and emptied of meaning and value. Through examples from the work of contemporary authors François Bon and Thierry Beinstingel, this chapter will tease out the nature of the rĂ©animation Blanckeman describes. Beinstingel makes the point that since âla culture dâentrepriseâ has used language so aggressively to manipulate perceptions, we must respond using the same tools: âDans cette perspective oĂč lâentreprise tente une mainmise sur le langage, le roman et la fiction reprĂ©sentent peut-ĂȘtre la seule issue possible. En effet, comment dĂ©noncer sinon en utilisant les mĂȘmes armes?â11
The use of language as a tool, a medium and a means with which to capture, represent or reflect the social world is, however, challenged by François Bon. For this reason, he refuses the concept of littĂ©rature engagĂ©e, arguing that âLa question de lâengagement part toujours dâun malentendu [âŠ] parce quâelle constitue le monde social et son actualitĂ© comme cible et but de lâactivitĂ© dâĂ©criture.â12 Accordingly, this chapter will show how Bonâs refusal of this division is apparent both in his work and also in that of Thierry Beinstingel. Through examples from selected texts, which fit into the developing genre of fiction dâaffaires, I will suggest that their work foregrounds the role of language and links it to situations of alienation and insecurity surrounding work. In this way, I will show how Bon and Beinstingel overcome the simplistic division between engagement of content and engagement of form in order to condemn the neo-liberal workplace, and in so doing, contribute to what can be seen as a new form of engagement for the twenty-first century. Alongside la fiction dâaffaires, France has also seen a trend for tĂ©moignages, factual accounts that record the experiences of often difficult working conditions, set both in the present, such as Florence Aubenasâs Le quai dâOuistreham13, in which the journalist went undercover as a contract cleaner, and in the past, such as Frank Magloireâs OuvriĂšre14 and AurĂ©lie Filipettiâs Les derniers jours de la classe ouvriĂšre,15 which both recall the authorsâ parentsâ experiences as factory workers. In OuvriĂšre, Magloireâs mother argues that the pages of the book are nothing more than âdes copies de la vieâ.16 In focusing on fiction rather than such individual testimonies, an additional aim of this chapter will be to establish the contribution of fiction to an understanding of the contemporary workplace.
François Bon has been writing since the early 1980s and is the author of over thirty full-length texts dealing largely with the working-class industrial and post-industrial experience. He has written several works which can be classified as fiction dâaffaires: Sortie dâusine (1982), Temps Machine (1993) and Daewoo (2004). Bon himself worked in a factory and is clearly politically engaged; alongside his individual acts of writing, since 1992 he has held creative writing workshops in schools, prisons and community centres, and three of his books actually emerged from these classes. He talks about his reasons for publishing the novels in Tous les mots sont adultes: âla voix des humbles, la voix des anonymes, ne rĂ©sonne encore que bien trop faiblement dans la littĂ©rature.â17 Yet Michel Ragon, in Histoire de la littĂ©rature prolĂ©tarienne de langue française, describes Bonâs style as: âplus proche de Claude Simon que dâEmile Zolaâ,18 suggesting that Bonâs commitment is to form rather than the highlighting of social ills. Indeed Bon is far more than a witness of social deprivation, rejecting the description of his work as âlâecriture sur [quelque chose]â.19 His objection to the preposition âsurâ as a divider between writing and subject of writing suggests that he does not consider the two to be connected by a simple relationship of means and message, or that he sees writing as a tool with which to capture an object external to itself. Indeed, what I will go on to show is that while Bonâs work indisputably focuses on the social world, in so doing it nonetheless questions the representative relationship between language and the world. In Sortie dâusine, Bon evokes strike, hierarchy, accidents at work and the mind-numbing monotony and danger of factory work. Tellingly in Daewoo, published twenty-two years later, Bon deals this time with twenty-first-century crisis: the neo-liberal economic imperative forcing the closure of an otherwise profitable electronics factory.
Daewoo, named for the Korean electronics manufacturer, takes as its subject the closures of the Daewoo factories in Lorraine in 2003â4, amid circumstances mired in political and financial scandal.20 Yet direct comments on social injustice or exploitation, such as this example at the opening of Daewoo in which the narrator explains his desire to undertake the project, are rare: âparce que ce qui transperce lâactualitĂ©, sĂ©parant ou brisant ce qui Ă©tait Ă©tabli de façon stable entre les hommes et les choses, a disparu sans suffisant examen prĂ©alable des consĂ©quencesâ (p. 13).21 Rather, in focusing on the materiality of language through his visceral and innovative style, Bonâs work ineluctably links his content to representation and use of language, thereby encouraging new understandings of the situations he presents. In Bonâs work we come across fragments, limited accounts, multiple voices, ellipses, repetition, delay and the switching of genres, all of which highlight, as the following examples from Daewoo show, the productive power of language to comment on its own usage.
Bon emphasises throughout Daewoo how his subjects express themselves: âsa façon de dire les motsâ (p. 103),22 the rhythm and cadence of their voices, the kind of words they employ: âJe notais Ă mesure, sur mon carnet, les phrases prĂ©cises qui fixent une cadence, un vocabulaireâ (p. 48).23 Stories are told several times in different ways by different people, highlighting, as Korthals Altes has shown, the importance of âdes maniĂšres de dire et de voirâ.24 This interest in how is echoed on a structural level in that Daewoo is generically unstable. Indeed Bonâs texts are infamously hybrid, allowing him to highlight different representative modes, something which has led him to publish with Minuit, Fayard and Verdier; all his works which appear with Verdier are classed as rĂ©cits. In 2007, Bon set up the collection âDĂ©placementsâ with Seuil, which aimed to encourage the publication of unknown first-time authors and to break down generic norms. Bon, a leading light in the digital revolution, now self-publishes via his website le tiers livre. Daewoo, arguably the most generically unstable of Bonâs texts, is made up of a mixture of interviews, narrative and what Bon calls âtheatreâ, in which his protagonists take it in turn to speak, although on the title page it claims to be a novel. In this way, the readerâs attention is constantly drawn to the movement bet...