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| Stephano della Bella Dance of Death 2 |
"Death has a Hundred Hands and walks A Thousand Ways "(TS Eliot, Murder In The Cathedral )
Christopher D., who has dedicated Gabrielle Wittkop The Necrophile in 1972, was assassinated in Bombay in 1975. This tragic and mysterious is the origin of this mesmerizing novel that catalyzes the fascination about her death and love. C. The death of the man she loves, is the subject of this strange autopsy of a murder; single event, it is inscribed in a never-ending cycle of constant renewal of a criminal act, renewal Perpetual currently empty singular body of his mind and degrades to an object.
Is tirelessly to relive the death to better understand, or to deny it? Consider its various manifestations, appearances, avatars to pierce the mystery, or rather to make it thicker? The death of C. is captured in all its horror, in its corporeality: the organs are affected, all put to the destructive act of a stranger, the flesh decays immediately, thins, pours in a deliquescence Instant
blade pierces clothing C., pierces the skin, penetrates the wall fat in the muscle wall. It breaks through the peritoneum, immersed in the liver, slice the round ligament and then made two U-turns on itself, upper right axis, upper left axis, destroying the liver tissue in its path, reducing it into a porridge brown and black. The blade runs again, angrily, before leaving the wound with a hiss mat, and to return to his master, still warm blood of C. The
body sags, consciousness fades after a last gasp: C. does not die, he seeks help, or is hospitalized, or comforts her killer. The abuser offers different faces: beggar giton, friend ... The story plays on the contrast between violence and repetition: the death of C. is a piece played to infinity, the tiny variations, with subtle nuances. It transforms the living, which dramatizes the moments immediately preceding.
The "departure violent but abandoned secret" is staged; different actors are nameless, designated only by initial: A, B, C, as in a crime story. This dramatization crystallized the paradox of any death, personal catastrophe and common destiny. Thus, regardless of the actors' faces. Only those of C. is outlined by successive close-ups:
The smile of C. - Mouth tender and strong and soft and raised to the right, mouth line enough and child, sometimes with a little distortion when he speaks - the smile of C. swells, throbbing. It has small teeth.
A Through this draft portrait expresses the tenderness of Gabrielle Wittkop: the beloved remain fragments, traces of bright moments. What remains of C: a photograph, described with loving attention to detail, careful attention to detail:
example image melancholy that the right profile, the neck gown whence the disorder of a cashmere shawl designs occupy a whole, standing out clearly against a wall plastered from clear. The hair of a dark blond looks almost brown, it is moved from the top Head towards the temples and forehead, in the Roman manner. C. wears a beard as a necklace, in a fall disillusioned, the angle of the mustache joined as the articulation of a mask. C. took off his glasses but you can still see the tiny pressure above the nose. The eye seems darker blue that is full of wisdom, resignation and lips also skeptical lenient. And, in the texture of the cheek in the crook of your neck, as heralding an end: distress.
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| Stephano della Bella Dance of Death 5 |
The image of living a destiny prefigured: replay of this photograph records the existence of C. in a tragedy, as the chronicle of a death foretold. The mere mention of C. as the living is its role in Murder in the Cathedral TS Eliot, but as that of Thomas Becket, his destiny is to die a violent death. Thus, death is staged in a maze of moments lived, imagined, fantasized, told. The story provides views of the actors and variables, the absence of direct evidence indicating that the truth is inaccessible, no assurance can be made to this death some meaning. The only evidence is the impossibility of finding C. outside of moments frozen in memory: a process, the flash of a smile ... The establishment operated through the assumption replaces the existing relationship, the only way to prolong the contact, but it also included this disaster in a form of denial of death. The multiple narratives of the death of C. confer immortality, that of words, phrases, of the literary work. More a reflection on the death of a loved one, the story is meant by way of explaining the inexplicable, to freeze the fugitive, to build from nothing. Death lies beyond any sacred. No hope of survival that accompanies meditation is not, strictly speaking, but rather an attempt to experience things, to feel through words.
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| Holbein Danse Macabre |
Writing replaces the experience of the darkest mysteries of life. Gabrielle Wittkop evokes roaring darkness of death evoked by stifling the light Jakob Wassermann in Caspar Hauser or the laziness of the heart : "In der Nacht sitzt das auf der Lampe und Finstere brüllt" death of C. (Christopher / Caspar) resonating strangely with that of the mysterious stranger in Nuremberg. Spiegelschrift , mirroring ... Words creep into the cracks of the inaccessible. "Life is lost in death, the rivers into the sea and the known into the unknown. Knowledge is the access the unknown. The nonsense is the result of each possible "(Georges Bataille, Inner Experience ). Thus, for the words operates an attempt to know the unknowable, and the entire work of Gabrielle Wittkop part of an existential quest, that of giving meaning through death to life.
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