Claude Simon was born inTananarive on the isle ofMadagascar. His parents were French, and his father was a career officer who was killed in the First World War. He grew up with his mother and her family inPerpignan in the middle of the wine district ofRoussillon. Among his ancestors was a general from the time of the French Revolution.
After secondary school atCollège Stanislas in Paris and brief sojourns at Oxford and Cambridge, he took courses in painting at theAndré Lhote Academy. He then travelled extensively through Spain, Germany, the Soviet Union, Italy and Greece. In 1936 he went to Barcelona and volunteered in theInternational Brigades during theSpanish Civil War. This experience as well as those from theSecond World War show up in his literary work.[2] At the beginning of the war, Claude Simon took part in the battle of theMeuse (1940) and was taken prisoner. He managed to escape and joined theresistance movement. At the same time, he completed his first novel,Le Tricheur ("The Cheat", published in 1946), which he had started to write before the war.
He lived in Paris and used to spend part of the year atSalses in the Pyrenees.
In 1960, he was a signatory to theManifesto of the 121 in favour of Algerian independence. In 1961 Claude Simon received the prize ofL'Express forLa Route des Flandres and in 1967 thePrix Médicis forHistoire. TheUniversity of East Anglia made him an honorary doctor in 1973.
Much of Claude Simon's writing is autobiographical, dealing with personal experiences fromWorld War II and theSpanish Civil War, and his family history. His early novels are largely traditional in form, but withLe vent (1957) andL'Herbe (1958) he developed a style associated with thenouveau roman.La Route de Flandres (1960), which tells about wartime experiences, earned him theL'Express prize and international recognition. InTriptyque (1973) three different stories are mixed together without paragraph breaks. The novelsHistoire (1967),Les Géorgiques (1981) andL'Acacia (1989) are largely about Simon's family history.[3]
Simon is often identified with thenouveau roman movement exemplified in the works ofAlain Robbe-Grillet andMichel Butor, and while his fragmented narratives certainly contain some of the formal disruption characteristic of that movement (in particularHistoire, 1967, andTriptyque, 1973), he nevertheless retains a strong sense of narrative and character.[4]
In fact, Simon arguably has much more in common with his Modernist predecessors than with his contemporaries; in particular, the works ofMarcel Proust andWilliam Faulkner are a clear influence. Simon's use of self-consciously long sentences (often stretching across many pages and with parentheses sometimes interrupting a clause which is only completed pages later) can be seen to reference Proust's style, and Simon moreover makes use of certain Proustian settings (inLa Route des Flandres, for example, the narrator's captain de Reixach is shot by a sniper concealed behind a hawthorn hedge orhaie d'aubépines, a reference to the meeting between Gilberte and the narrator across a hawthorn hedge in Proust'sÀ la recherche du temps perdu).
The Faulknerian influence is evident in the novels' extensive use of a fractured timeline with frequent and potentially disorienting analepsis (moments of chronological discontinuity), and of an extreme form offree indirect speech in which narrative voices (often unidentified) andstreams of consciousness bleed into the words of the narration. The ghost of Faulkner looms particularly large in 1989'sL'Acacia, which uses a number of non-sequential calendar dates covering a wide chronological period in lieu of chapter headings, a device borrowed from Faulkner'sThe Sound and the Fury.
Despite these influences, Simon's work is thematically and stylistically highly original. War is a constant and central theme (indeed it is present in one form or another in almost all of Simon's published works), and Simon often contrasts various individuals' experiences of different historical conflicts in a single novel; World War I and the Second World War inL'Acacia (which also takes into account the impact of war on the widows of soldiers), theFrench Revolutionary Wars and the Second World War inLes Géorgiques.
In addition, many of the novels deal with the notion of family history, those myths and legends which are passed down through generations and which conspire in Simon's work to affect the protagonists' lives. In this regard, the novels make use of a number of leitmotifs which recur in different combinations between novels (a technique also employed byMarguerite Duras), in particular, the suicide of an eighteenth-century ancestor and the death of a contemporary relative by sniper-fire. Finally, almost all of Simon's novels feature horses; Simon was himself an accomplished equestrian and fought in a mounted regiment during World War II (the ridiculousness of mounted soldiers fighting in a mechanised war is a major theme ofLa Route des Flandres andLes Géorgiques).
Simon's principal obsession, however, is with the ways in which humans experience time (another Modernist fascination). The novels often dwell on images of old age, such as the decaying 'LSM' or the old woman (that 'flaccid and ectoplasmic Cassandra') inLes Géorgiques, which are frequently seen through the uncomprehending eyes of childhood. Simon's use of family history equally attempts to show how individuals existin history—that is, how they might feel implicated in the lives and stories of their ancestors who died long ago.
Jean Ricardou and Claude Simon (Cerisy, France).Contemporary literature workshop with Marc Avelot, Philippe Binant, Bernard Magné, Claudette Oriol-Boyer,Jean Ricardou during the writing ofLes Géorgiques (The Georgics) (Cerisy, France, 1980).
La Separation (1963; play, adapted from the novelL'Herbe).The Separation
Femmes : sur 23 peintures deJoan Miró (1966; republished asLa Chevelure de Bérénice, 1984).Berenice’s Golden Mane, trans. Simon Green (Alyscamps, 1998)
Tome I (Gallimard, 2006), includingLe Vent: Tentative de restitution d'un retable baroque,La Route des Flandres,Le Palace,La Bataille de Pharsale,La Chevelure de Bérénice (Reprise du texte Femmes),Triptyque,Le Jardin des Plantes, and other writings.
Tome II (Gallimard, 2013), includingL'Herbe,Histoire,Les Corps conducteurs,Leçon de choses,Les Géorgiques,L'Invitation,L'Acacia,Le Tramway, and other writings.
Bernard Luscans,La représentation dans le nouveau nouveau roman, Chapel Hill, Université de Caroline du Nord, 2008.[1]
Ilias Yocaris : « Vers un nouveau langage romanesque : le collage citationnel dans La Bataille de Pharsale de Claude Simon »,Revue Romane, 43, 2, 2008, p. 303–327.
Mireille Calle-Gruber,Claude Simon, une vie à écrire, Paris, Ed. du Seuil, 2011.
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