Le Genie Du Lieu (Les Cahiers Rouges)

by Michel Butor

This book gathers French writer Michel Butor's essays on his travels in the Mediterranean. Included are pieces on Cordova, Istanbul, Salonica, Delphi, Mallia in Crete, and Ferrara and Mantua in northern Italy, as well as an extended essay on Egypt where, when he was twenty-four, Butor spent a year teaching French in a secondary school in a provincial city.

Genres: Travel, Memoir, Essays, France

224 pages, Paperback

First published January 1, 1958

About the author

Michel Marie François Butor was born in Mons-en-Barœul, a suburb of Lille. He studied philosophy at the Sorbonne, graduating in 1947. He has taught in Egypt, Manchester, Thessaloniki, the United States, and Geneva. He has won many literary awards for his work, including the Prix Apollo, the Prix Fénéon; and the Prix Renaudot.

Journalists and critics have associated his novels with the nouveau roman, but Butor himself long resisted that association. The main point of similarity is a very general one, not much beyond that; like exponents of the nouveau roman, he can be described as an experimental writer. His best-known novel, La Modification, for instance, is written entirely in the second person. In his 1967 La critique et l'invention, he famously said that even the most literal quotation is already a kind of parody because of its "trans-contextualization."

For decades, he chose to work in other forms, from essays to poetry to artist's books to unclassifiable works like Mobile. Literature, painting and travel are subjects particularly dear to Butor. Part of the fascination of his writing is the way it combines the rigorous symmetries that led Roland Barthes to praise him as an epitome of structuralism (exemplified, for instance, by the architectural scheme of Passage de Milan or the calendrical structure of L'emploi du temps) with a lyrical sensibility more akin to Baudelaire than to Robbe-Grillet.

Reviews

[James Henderson · Rating 3 out of 5]

A collection of dense, dreamy travel essays, first published in France in 1958, by an acclaimed poet, critic, and proponent of the ""new novel."" Butor's travelogues, like his novels, excel in exact descriptions of physical states. Here, landscapes are often reduced to geometric patterns; Cordova is remembered for ""the cleanliness of the sun and the coolness of the precise shadows it cast, triangles or trapezoids changing proportions according to the day and the hour."" Other places whose patterns Butor traces include Istanbul (an ""Oriental Liverpool""), Salonica, Mantua, Ferrara, and Minya in Middle Egypt, where he passed eight months as a French language instructor. Sometimes the descriptions can be overdrawn or vague; of Istanbul, Butor claims in a typical French hyperintellectual inflation that ""this city was at the origin of everything, it has left its mark on everything."" On the other hand, when he focuses on humble memories--for instance of the New Year's Eve he was stuck in a small village in Crete without a bed, and suddenly ""everything began to be quite wonderful""--Butor can be amusing, vivid, and able to capture the essence of an alien land. The final and longest essay, on Egypt, is especially lovely, with its description of fields ""like aquariums filled with liquid wheat."" This is certainly not the book to pack as a sightseeing guide, but here and there, in prose that is always beautiful if not always lucid, this does fulfill its promise to convey the ""spirit"" of Mediterranean lands.

[Andrew Bertaina]

My favorite section was a very short essay on a night Butor spends in a small village. Butor misses the bus out of the quiet town and man and his family welcome him into their home and play games deep into the night. The Good Samaritan story is quite old, and Butor's story left me feeling warm. He managed to capture the warmth of that family, of the city, and the surprise of human friendship.

[Nick · Rating 2 out of 5]

Forgettable. Uninteresting even for fans of Butor. Don’t waste your time. For Butor completists only.

[Michel Castagné]

Mostly memorable for "Egypt", which takes up almost the entire second half of the book.