Cuando Laure (Colette Peignot) murió en 1938, a la edad de treinta y cinco años, consumida por la tuberculosis, después de haber entregado su vida a la revolución y al amor, dejó una cantidad destacable de manuscritos, sin organizar, redactados con letra apretada y en ocasiones ininteligible. Quebrantando la censura de la familia Peignot, Georges Bataille y Michel Leiris publicaron dos volúmenes con sus "LE SACRÉ", en 1939, e "HISTOIRE D'UNE PETITE FILLE", en 1943. Luego vinieron cuatro décadas de censura hasta que en 1971, gracias a la valentía del editor Jean-Jacques Pauvert y de Jérôme Peignot, aquellos misteriosos escritos volvieron a imprimirse, aunque de nuevo de forma clandestina. Años después, el apoyo de cientos de intelectuales y escritores (Marguerite Duras, Michel Foucault, Edmon Jabès, Michel Leiris, Hélène Cixous, Simone de Beauvoir...) logró que la primera edición libre de "ÉCRITS DE LAURE" (1977) viera la luz. Reunidos por primera vez en un solo volumen, "HISTORIA DE UNA NIÑA", "LO SAGRADO SEGUIDO DE POEMAS Y ESCRITOS DIVERSOS" (bilingüe) y "CORRESPONDENCIA (1921-1938)" ofrecen, mejor que cualquier biografía, mejor que cualquier relato pergeñado para satisfacer el deseo de escándalo, la imagen fiel de lo que significaba la vida para Laure, una mujer de los años treinta.
Colette Peignot (October 8, 1903 - November 7, 1938) was a French author who is most known by the pseudonym Laure, but also wrote under the name Claude Araxe.
She was profoundly affected by the deaths of her father, brothers and uncle during World War I. As a prominent member of Georges Bataille's secret society Acéphale, she had an intense affair with the author, whose Blue of Noon is based on events in their relationship. Indeed, she is known more as a biographical footnote; a volatile female personality amongst the inter war French avant-garde of literature and politics. Her works were published posthumously against the will of her brother, Charles Peignot, by her nephew, the poet Jérôme Peignot (who thought of Colette as a “diagonal mother”).
Amazing... if Bataille is the "shadow of post-structuralism", Laure is the shadow of Bataille. Of course, both are much more than this. But without Laure, would have become of Bataille's later works? The mutual influence on each other is clear, but to me it seems like Laure had a much stronger one on Bataille than vice versa. To discuss Laure in terms of Bataille is unfair to Laure, however, as she stands on her own - in fact, I actually think her short story "Story of a Little Girl" is better than any fiction Bataille ever wrote (and I love his fiction).
Her letters, notebooks, and fragments reveals a (quint)essentially Nietzschean outlook on life. Having been raised Catholic then abandoning it, and suffering from the disease that would later kill her (tuberculosis) all her life, she was still able to say "yes" to life, to affirm herself in the face of an ambiguous state of life and death. Despite her general pessimism towards politics (basically every side, though she did later state she was an anarchist - was she still this when she died? I have no idea) she still maintained an optimistic undertone. She says something along the lines of "many leftists are bad but without them fascism would win".
Her letters also reveal, what seems to me, a fundamentally anxious and highly self-critical viewpoint. This did more to humanize a very human person, her humanity bleeding through words.
She is like a mirror negative version of Bataille and Simone Weil put together, a "sovereign" individual (as Bataille calls her), completely different and apart yet totally enmeshed and together. Recommended to everyone - Laure is criminally underrated.
There are a lot of problems with this - how Laure is defined by her great romances, or in other words, by the men around her. I don't mean to discredit the importance that love and the relationships we have as not being central to our lives, but I feel like she is defined by those around her. This is problematic for her writings are about defining or separating herself from the world around her.
Regardless, it has been a while since I've had a dead French woman to obsess over.
It isn't difficult to see why Bataille was in love with Laure. She lived intensely and was at odds with her bourgeois and Catholic upbringing, but not without cost it seems. I sensed her desperation.
Laure is the literary grandmother of anyone who ever suspected female sexual subjectivity had something to do with the holy trinity of birth, life, and death. It's not incidental that the greatest philosophical works take place in the gutter.
They don't make little girls like Laure anymore. The fuel behind Georges Bataille finally gets her own collection of writings and it's a fascinating read. In fact she is sort of a walking and living Bataille novel. As a reader it's amazing to sit back and watch how certain individual react to their world, their time, and how the 20th Century unfold it with a great sense of erotica and adventure. As well as horror...
George Bataille has been a fascination of mine since I was a teenager. Colette Peignot has always been attached to his biography as his great muse. Laurie, a collection of her writings, turned her from a Batailleian biographical accessory to a three-dimensional person for me. Some really great work that helps situate her to the intellectual currents of the 1920s-1930s France, where she was an active member of the counter-culture movements around that time, from surrealism, libertinism, and Marxism to Anarchism.