At the bibliothèque Couronnes, a Perec mural
My essay on Georges Perec, the Situationists and Parisian geography appears in the third issue of the White Review, published this week.
I stood near the columbarium at Père Lachaise cemetery. I was there to see the locker-like vault containing the ashes of Georges Perec, kept alongside those of his aunt, Esther Bienenfeld. To the right of the plaque bearing their names and dates someone had affixed a wildflower to the wall with a Tom and Jerry sticking plaster. The columbarium contains thousands of urns stacked in a two-storey grid along one wall of the arcade. Its cloister-like arches surround the domed crematorium and its looming chimneys.
The grid became an obsession for Perec – his Lieux project and his novel la Vie mode d’emploi were planned using 12 by 12 and 10 by 10 grids respectively. Rather than being a limiting structure that undermined a creative impulse, the grid was seen as a constraint that would aid composition (in line with the literary group Oulipo’s view of the literary uses of limitation).
Perec’s Lieux project focused on 12 places in Paris, one of which was rue Vilin, the street where he had lived as a child.
Rue Vilin is in the neighbourhood of Belleville, in north-eastern Paris, and stands on hills overlooking the city centre. Perec’s Jewish family lived in an area described by his biographer David Bellos as ‘a whole Yiddish town within sight of the Eiffel Tower.’ While this street had an obvious emotional resonance for the writer, Perec sought to record his experience there as ‘simply, flatly’ as he could. A series of descriptive texts of each place made up one half of his project – the other half consisting of his memories of the same places. Perec’s descriptions of the rue Vilin capture a place that’s about to be erased: long designated a slum area, it has been marked for extensive redevelopment and reconstruction. It is far from a stable repository for Perec’s past.
Read more of the essay at the White Review. Or order a copy of issue three to read the whole article.
(Illustrator Badaude has contributed a poster to the same issue of The White Review that looks at Perec’s Tentative d’ épuisement d’un lieu Parisien; read her illustrated post about it here – I particularly like the tracing of pigeon trajectories around the place Saint Sulpice, something Perec does in his text. )
