by Douglas Messerli
Julien
Gracq La Presqu'ile [La Route/La Roi Cophetua], trans. by Elizabeth Deshays as The
Peninsula (Los Angeles: Green Integer, 2011)
Julien Gracq’s short fiction, La Presqu’île (The Peninsula) (1970) is a deceptively simple work with regard to plot. Simon waits at
the Brévenay train station in Brittany for Irmgard, although she has warned him
that her arrival at midday is “very unlikely.” The woman, with whom he has
obviously had previous sexual rendevouses, does not arrive, and he has little
to do but await the evening train. A methodical man, he determines to spend the
afternoon driving along the Brittany coast and arranging for their eventual
journey. He returns that evening to the train station to meet her.
It soon becomes
clear that Simon is not only methodical, but experiences life most fully at a
slight remove from it. It is vistas of the ocean, not direct contact with it,
that he finds most pleasurable. His favorite time of the day is the moment when
it begins to fade in late afternoon, with workers returning home, light pouring
from windows. As he moves across a Brittany peppered with recognizable small
towns and locations that Gracq has renamed to create a mythological quality, we
also begin to connect the various allusions to Tristan and Isolde with the
relationship between Simon and Irmgard. It becomes clear that the rising and
falling patterns of Simon’s emotional state resemble the endless waves of
passion and hate that define the famous legend, which in the original version
took place in Brittany. Indeed, Simon alternates in his feelings for Irmgard as
well, sometimes imagining her every movement with sexual anticipation, at other
times forgetting what she looks like, dreading their encounter.
As the day moves
forward into night, the anticipation heightens as the reader can only wonder—as
he stops in the small town of Coatliguen, briefly pauses on the isle of Eprun,
and listens near an isolated country home to the removed sounds of a mother and
daughter speaking within— whether or not Simon will reach the station in time.
For Simon, it is clear, is a conflicted soul, a figure of great sensitivity and
desire, but also a person who prefers his distance from others, who cannot make
lasting commitments. As he arrives at the station and watches the train enter
the yard, he stands at the other side of the crossing, a barrier of metal bars
before him, wondering “How can I get to her?” The potentiality remains, but,
one suspects, their love may remain unfulfilled.
Los Angeles, July 8, 2005
Reprinted from Reading with
My Lips (August 2024).