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Not only are we denied a resolution, but our thwarted attempt to find one, to assign guilt and fill that maddening cavity, becomes the real story of .The novel’s ‘clarity reveals everything except itself’, Maurice Blanchot wrote in his magisterial review.But the book is not an outlier in Robbe-Grillet’s work, or an old man’s folly.The boundaries between his two journals were more porous than he suggested.The literary movement he’d launched half a century earlier – the nouveau roman – had ground to a halt.The new novel – anti-psychological and anti-expressive, stripped of individualised characters, temporal continuity and meaning itself – was no longer new.

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(He never missed a chance to tip his hat to the canon, even as he seemed to ask us not to take him at his word.) His aim was to purge himself of violent fantasies that he claimed were widely shared.existed as an idea, and an inspiration, long before it was written.Consider Robbe-Grillet’s 1962 story ‘La Chambre secrète’, dedicated to Gustave Moreau.As her killer, a man in a cape, escapes, his face is ‘seen only in a vague profile, but one senses in it a violent exaltation’.When we read in one of the final sentences that smoke from an incense burner is ‘rising vertically, toward the top of the canvas’, we realise that what we’ve been reading is a description of a painting such as Moreau might have done.Yes, he had ‘loved little girls’ since he was 12, but he had never acted on his fantasies. And he continued in this half-facetious, half-moralising vein: ‘someone who writes about his perversion is someone who has control over it.’ He warned of a new ‘literary correctness’ (‘when one writes something incorrect, it’s as if one were committing it’), and seemed hurt by an interviewer’s suggestion that he had written a ‘masturbatory’ novel.On the contrary, was greeted with derision in France.Robbe-Grillet’s proclivities were well known – Fredric Jameson called his sensibility ‘sado-aestheticism’ – but they had never before found such gruesome expression.Back in the news for the first time in years, Robbe-Grillet had a lot of explaining to do.He called it Published six months before his death in 2008, it is the story of a 14-year-old girl called Gigi, and her initiation into S&M under the tutelage of her father, lover and master, a man known as the Professor.That’s a sanitised summary of the proceedings, described in meticulous prose in 239 numbered paragraphs over little more than a hundred pages.

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