René Maran's 'Batouala'

In this study, the pejorative implications of the ambiguity in which Batouala and its author are identified are refuted. It is demonstrated that the work's controversial Preface-novel relationship obeys the structural and rhythmic imperatives of Africa's speech-music interchangeability, to which jazz also defers.

The polemic excited by Batouala's controversial Preface has conditioned an enduring, near-universal acceptance of a disjunction of Preface and novel. This is the first book to challenge that premise. The fallacious underpinnings of the origin persistence of this view are shown to lie in Western, dichotomously structured thinking. Through offshoots of the civilised-versus-savage dichotomy, namely oral-versus-written, form-versus-content and music-versus-narrative, Batouala's Signifyin(g) discourse spills beyond the novel's borders to reveal the sterility of dichotomy as a conceptualising structure. Dichotomy's anachronism is thrust upon it through the work's faithful representation of African ontology, whose water-inspired philosophy precludes it. Batouala's structural basis is compared with that of jazz, which similarly bridges European and African civilisations, and whose African philosophical stance also acts as a provocation to the dichotomous thinking model. As Batouala «Fixed» transmutes to Batouala «Free», the pejorative implications of its widely touted ambiguity evaporate to expose a novel that is both lucid and coherent when viewed as jazz-text and jazz performance.

Autorentext

Susan Allen is a Conjoint Fellow of the University of Newcastle, Australia, a jazz musician (boogie/blues/New Orleans piano), and a senior teacher of F. M. Alexander s work.

Klappentext

The polemic excited by Batoualäs controversial Preface has conditioned an enduring, near-universal acceptance of a disjunction of Preface and novel. This is the first book to challenge that premise. The fallacious underpinnings of the origin persistence of this view are shown to lie in Western, dichotomously structured thinking. Through offshoots of the civilised-versus-savage dichotomy, namely oral-versus-written, form-versus-content and music-versus-narrative, Batoualäs Signifyin(g) discourse spills beyond the novel s borders to reveal the sterility of dichotomy as a conceptualising structure. Dichotomy s anachronism is thrust upon it through the work s faithful representation of African ontology, whose water-inspired philosophy precludes it. Batoualäs structural basis is compared with that of jazz, which similarly bridges European and African civilisations, and whose African philosophical stance also acts as a provocation to the dichotomous thinking model. As Batouala «Fixed» transmutes to Batouala «Free», the pejorative implications of its widely touted ambiguity evaporate to expose a novel that is both lucid and coherent when viewed as jazz-text and jazz performance.

Inhalt

Contents: Part One: Batouala «Fixed»: Figé dans le temps, l'otage de sa Préface controversée - Part Two: Batouala «Free»: Son jazz performance.