Abstract My paper shows how Stéphane Vanderhaeghe’s work goes against the grain of a literary mainstream whose most prominent authors (and literary prizes) favor autofiction or narratives re-exploring a more or less recent historical past. Instead, Vanderhaeghe’s radical writing seeks to challenge the formal potentialities of literature, thus inscribing his work in the experimental traditions of Oulipo and Nouveau Roman. Charøgnards, his first published novel, opens with a twenty-page prologue written in an invented, futuristic French language. The remainder of the text functions as an unpaginated journal whose chronology is constantly re-assessed in light of the numerous rewritings to which the unreliable narrator confesses. Graphemes gradually disappear from the page, figuring the slow disappearance of language as a result of the takeover of invasive crows. The color of pages veers from white to gray before turning into black, so that the book stands out in its unique materiality. Though À tous les airs presents itself as a more traditionally manufactured book, the text proves no less experimental, through the forgoing of characters and repetitions with minor mutations. These literary practices reveal the author’s singular literary identity whose ambitious nature runs the risk of alienating readers.

中文翻译：

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网页：Les Romans deStéphaneVanderhaeghe

摘要我的论文展示了斯特凡·范德海格（StéphaneVanderhaeghe）的作品如何与文学主流主义者背道而驰，该文学主流作家（和文学奖项）都偏爱自传或叙事来重新探索或多或少的近代历史。相反，范德海格（Vanderhaeghe）的激进著作试图挑战文学的形式潜能，从而将他的作品铭刻于Oulipo和Nouveau Roman的实验传统中。夏洛格纳德（Charøgnards）是他的第一本出版的小说，开头有二十页的序言，序言是用发明的，未来派的法语写的。文本的其余部分用作未分页的期刊，根据不可靠的叙述者所承认的大量重写内容，对它们的年代顺序进行了不断的重新评估。字素逐渐从页面上消失，解释由于入侵性乌鸦被接管而导致语言缓慢消失的情况。页的颜色从白色变为灰色，然后变成黑色，因此该书以其独特的重要性而脱颖而出。尽管《空气》以一本更为传统的书本形式呈现，但通过放弃字符和带有微小变异的重复，本书经证明不乏实验性。这些文学实践揭示了作者独特的文学身份，其雄心勃勃的本性会使读者疏远。通过放弃字符和具有微小突变的重复。这些文学实践揭示了作者独特的文学身份，其雄心勃勃的本性会使读者疏远。通过放弃字符和具有微小突变的重复。这些文学实践揭示了作者独特的文学身份，其雄心勃勃的本性会使读者疏远。