The truth is that Michaux’s most ferocious barbs were aimed at his compatriots, which is quite natural inasmuch as he knew the Belgians full well, and did not like them. But when, amidst his Asiatic travels, he published a journal article, a funny and pitilessly accurate short essay on Argentina and the Argentines, the splenetic reaction of the Buenos Aires press staggered and dismayed him. He immediately vented his confusion in a vehement and telling letter to a South American woman friend. Clearly, he did not understand how these Argentines, whom he liked very much, could take umbrage at his statements, for as a Belgian he was quite used to hearing far worse things said about his own country.
Michaux settled down in Paris at twenty-five. He had fled Belgium; in the early days he returned as little as possible, and eventually not at all. But — and this is significant — in order to write Ailleurs (1928), one of his major works, he felt the need to spend six months at a hotel in Antwerp. In Paris, indiscernibly and gradually, his life became more livable; he began to enjoy an intelligent, sociable and agreeable type of existence. Solitary and withdrawn as he was, there was nothing wild about Michaux. His circle of acquaintances, though hardly fashionable, was by no means narrow. Cioran, who had friendly feelings for Michaux, and who knew him well (though affection never blunted the acuity of Cioran’s judgement), gently applied to him Jean-Louis Forain’s cruel description of “a hermit who knows the railway timetable.”
When I say that Michaux became French, I am not, of course, talking about a change of passports, which is inconsequential, but rather about adopting a different attitude: he was now entitled to bestow certificates of good conduct and medals for meritorious contributions, be it to Mao’s China or to post-war Japan (something that would never have occurred to him while he was still Belgian). But at the same time he was obliged to mind his language. An arrogant Belgian is a contradiction in terms — a notion whose very evocation is laughable. But arrogance is something the suspicion of which the French must continually beware. In foreign parts, among disinherited indigenous people, the French are often led willy-nilly to parade their national identity like some kind of holy sacrament that must never be dishonoured.[10] Thus Michaux, being a decent man, felt a moral obligation to censor A Barbarian in Asia.
In the end Michaux forgot his own principles—“Always keep a reserve stock of maladaptation” and “There are sicknesses which leave nothing at all of a man who is cured of them.”
Delivered from his Belgianness, he cut himself off from the central inspiration of his genius, but he now lived with less difficulty. Perhaps, indeed, he eventually succeeded in finding a kind of happiness. Even if his readers were thereby the losers, who can blame him?
POSTSCRIPT
A reliable source, whose information comes from someone close to Michaux, tells me that, at the very end of his life, for a foreign edition of A Barbarian in Asia, Michaux urged his translator to use not the revised but the original version of his book. If this information is correct — and I have no reason to doubt it — then we must conclude that Michaux eventually became aware of the error he had made in rewriting his masterpiece. And, further, that the choice of the Pléiade editors, which served to ratify and consecrate this error, is all the more deplorable for it.
THE SINS OF THE SON
The Posthumous Publication of Nabokov’s Unfinished Novel
The bitterness of an interrupted life is nothing compared to the bitterness of an interrupted work: the probability of a continuation of the first beyond the grave seems infinite by comparison with the hopeless incompleteness of the second. There perhaps it will seem nonsense, but here all the same it remains unwritten.
WHEN WRITING novels, Vladimir Nabokov proceeded in a very peculiar fashion: he used first to form in his mind a complete vision of the entire work, and then would start to jot down, on filing cards, a first draft of disconnected fragments without logical or chronological order. These cards — of a size slightly smaller than a standard postcard — carried each, on the recto side only, a short passage (from one line to one or two paragraphs) couched in his large and fairly legible handwriting. Some cards stood in isolation, presenting one detached sentence — an idea, a descriptive touch; others formed numbered sequences of sustained narrative (twenty-odd cards in two instances). In a second stage, he would shift and assemble the cards, elaborating a tentative structure, sketching links and connections, weaving together the various threads of the plot. The composition would progressively take shape, till a continuous, final, clean draft could be established, welding together all the earlier elements into a seamless whole.
Nabokov began work on his last novel in 1975, but he was soon interrupted by a series of accidents and deteriorating health. At the time of his death (1977), the first stage of the process was not even half complete; what remains is only a set of 138 filing cards — which, if printed continuously in standard book-format, would scarcely fill thirty pages.
What should have been done with these 138 filing cards? As his son, Dmitri, recalls, during his final illness on his hospital bed Nabokov instructed his wife, the admirable Vera, that should the book “remain unfinished at his death, it was to be burned.”
The devoted widow could not bear to execute this instruction to the letter — it would have entailed the destruction of what was for her a most precious memento — but she respected her husband’s will in its essential aspect: she never disclosed these uncorrected fragments to the reading public. After her death in 1991, Dmitri Nabokov, only son of the extraordinary couple, became sole custodian of the Nabokov literary estate. Eighteen years later, after having done “a great deal of thinking” (described in a convoluted and obscure paragraph in his introduction), he finally decided to have them published in the present form as The Original of Laura: A Novel in Fragments: a large, luxurious volume presenting, on 138 cardboard pages printed on only one side, detachable facsimile reproductions of the 138 filing cards; each card occupies the upper half of a page, with its contents reproduced in printed form on the lower half.
If the reader so wishes, he can detach any card (or all of them) by simply pressing along the frame. Then, having the cards in hand, he becomes free to shuffle or re-arrange them in whatever order he deems to be closer to Nabokov’s original design (or finds more pleasing to his own personal taste). Without its cards, the book, now hollowed out, can be shelved back in your library: its outer aspect remains unchanged, yet it now conceals a cavity in which you can conveniently store your last will, your house keys, a small flask of old Calvados or your wife’s favourite earrings.