Denis Hollier


    ALAIN ROBBE-GRILLET ABUNDANTLY wrote and spoke in the margins of his novels—giving interviews, writing articles, even inserting self-referential mirrors into the novels themselves. He used metadiscourse the way photographers use captions, in order to help readers know what the text was about and find their way in the labyrinth of the nouveau roman. Thus, in the late 1950s and early ’60s, he wrote the series of theoretical texts collected under the title Pour un nouveau roman (For a New Novel, 1963) that was almost instantly canonized as the manifesto of the school. It is always tempting to


    WITH THE PASSING of French novelist Alain Robbe-Grillet this winter, the world of postmodern literature lost one of its first (and last) great innovators—one whose influence extended irrevocably into the realms of theory, film, and art (and particularly its Conceptualist and Minimalist strands). Yet if the author was lauded at the very outset of his career by preeminent critics such as Roland Barthes, his near-programmatic commitment to both experimentation and provocation was such that his final legacy in life remains, perhaps, as enigmatic as the kaleidoscopic narratives he constructed