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Our Assessment:
B+ : typical Modiano, revisiting and dwelling on the past See our review for fuller assessment.
From the Reviews: - Return to top of the page - The complete review's Review: Sleep of Memory finds Patrick Modiano's first-person narrator -- the author himself, basically -- returning yet again, in his mind and on paper, to old haunts and memories. At one point he maintains: I am trying to impose some order on my memories. Every one of them is a piece of the puzzle, but many are missing, and most of them remain isolated.'The puzzle' is Modiano's writing-project -- whether the individual novels, such as this one, or the larger one; it is almost all of a piece. The connections to the larger project -- the whole body of his writing -- are clearer here than in some of the earlier work, referring to it and events that have cropped up in previous novels of his over the decades. And the approach remains similar: as he suggests about one piece of the past, and trying to come to grips with it: The only way to defuse this thin file once and for all was to copy out portions of it and blend them into the pages of a novel, as I did thirty years ago.It is not always something as tangible as a file -- mostly, it is memories, vaguer and more malleable -- but even in this account the narrator relies on markers from the past, including lists of names, books, and the place-markers of Paris itself, old addresses, cafés, and hotels. As he notes: For me, Paris is littered with ghosts, as numerous as metro stations and all the dots that light up when you press the buttons on the electric route map.As so often, Modiano's narrator fixates on the time when he is a young adult, in the mid-1960s -- though both earlier and later times bleed into this as well. It is around the time that he is enrolled at the Sorbonne, but just for the military deferment; he doesn't actually go to class; he earns some money dealing in books. But mostly he seems to wander the streets of Paris, seeking -- something he already started doing in his teens ("I got used to walking the streets on my own"). It is a blur of sameness and change; typically, he describes a re-encounter with some he hadn't seen for years and finds: "we had found each other again six years later in the same street where we'd first met, but it didn't seem as if any time had passed". In Sleep of Memory the narrator describes encounters with a variety of women. Tellingly, the opening pages describe his fruitless efforts to meet a girl who was the daughter of an associate of his father's, a connection that never goes beyond a limited telephone call, though he tries to call several more times and repeatedly lingers in front of her home: it's typical of the relationships that don't so much go nowhere as simply hang open in the air. Indeed, what relationships there are here are barely gone into by the narrator; the descriptions remain very much surface. The drama in Sleep of Memory, when it bursts onto the scene, is surprising. There's violence here -- a scene where he feels he needs to use force to escape and then a more shocking scene he is called to, violence he isn't involved in but which he sees and tries to deal with the aftereffects of. The latter is an event of June 1965 he: "alluded to twenty years later, in 1985, in a chapter of a novel", but was still hesitant to describe more closely then, and only now, another three decades later, does he reveal more of what happened -- another building block of the larger Modiano-edifice, even if one that has long been (and continues to be) somewhat set apart: When I think about that summer, it feels as though it's become detached from the rest of my life. A parenthesis, or rather, an ellipsis.The narrator notes that, for much of his youth: "flight was my modus operandi" -- until about the age of twenty-two, that summer of 1965, when the point comes when he realizes: "I had been letting myself drift and that, if I didn't do something about it immediately, I'd be swept away". Much of Sleep of Memory is still deep in that drift, but the narrator also works towards dealing with the turning-point and after. Several books feature prominently in the novel, from childhood reading on his bookshelves to some more occult titles from a more recent phase back then. Among them, The Eternal Return of the Same gives him much to ponder; it's an idea he really takes to: At every page, I said to myself: if we could relive something we'd already experienced, in the same time, the same place, and the same circumstances, but live it much better than the first time, without the mistakes, hitches, and idle moments, it would be like making a clean copy of a heavily revised manuscript ...Modiano's novels are a form of reliving the past, a reëxperiencing and reconsideration of it, with the accumulated knowledge and experience of the years since obviously coloring it. His narrators recognize that the experience is lost in the past -- their memories are foggy and have gaps -- yet still try to reach, understand, and, in part, re-shape them to fit in with their present-day understanding. Sleep of Memory is yet another variation on Modiano's now very familiar exercise, engaging with a slice of his past. Leaning some on previous works, it's not an ideal introduction to his project for the newcomer, but for those who have been following his work it is a welcome addition. - M.A.Orthofer, 23 October 2018 - Return to top of the page - Sleep of Memory:
- Return to top of the page - French author Patrick Modiano was born in 1945. He was awarded the Nobel Prize in Literature in 2014. - Return to top of the page -
© 2018-2021 the complete review
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