Alain Robbe-Grillet had traditionally been seen as an austere
experimentalist in fiction, addicted to arid and interminable
descriptions of objects like coffee pots, erasers and pieces of
string. His own rather bellicose theoretical pronouncements were
partly to blame for this unattractive picture, belied by the
immense popular success of the film Last Year at Marienbad (1961)
(made by Alain Resnais from Robbe-Grillet's script) and the high
critical esteem in which novels like Jealousy and The Voyeur are
held. In his original study, first published in 1983, John Fletcher
attempts to resolve this paradox by offering a new interpretation
of Robbe-Grillet's work which stresses the subversive qualities of
his imagination and the disturbing power of his vision of a world
of labyrinths and bizarre sexual stereotypes, haunted by images of
love and loss.
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