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![]() ![]() 2 The contrast between the delusion at the heart of each work and the orderly, concise fashion with which that delusion is elaborated, is a defining feature of Bayard’s charm.Ĥ Bayard does not deliver on this claim, and how could he? Although he reverts to terms like ‘embezzlement’ ( malversation ) to describe a past writer’s anticipation of future work, he allows that the plagiarism need not be ‘completely conscious’. ‘Such a reading’, he adds, ‘is not intrinsically mad, but is certainly shot through at moments, like all great systemic delusions, with an invisible streak of lunacy’. Bayard describes one of his books as ‘dedicated to the experimental construction of a delusional reading’. ![]() Chapters are no longer than a dozen pages one consumes them like candy (like the fiction of Agatha Christie or, in his heyday, the films of Woody Allen), and even if one might feel dizzy or even queasy afterwards, the conceits are memorable. He takes his ideas in unexpected directions and the reader on sudden swerves through an absurdly defamiliarized canon, yet for all the wildness of their content, Bayard’s books are creatures of formal and reassuring predictability: an introduction is followed by three parts of four chapters each, totaling around 150 pages. by Carol Cosman (New York: The New Press, 2000), p (.)Ģ Unlike Tolstoevsky, or another object of Bayard’s fascination, Marcel Proust, Bayard refrains from writing loose baggy monsters, books that might be improved by the cutting of digressions. |
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