Abstract In tracking his slow recovery from the facial injuries that he sustained in the Charlie Hebdo attacks, Philippe Lançon develops two distinct and conflicting senses of the word “fiction:” on the one hand, fiction as the imagination, construction, and organization of a possible world; on the other, fiction as the irruption of the unimaginable and the unreal in the midst of everyday life. In writing Le Lambeau (2018)—indisputably a work of nonfiction—Lançon aims to restore meaning to a life that feels fictional, through a narration that itself inevitably fictionalizes the experiences it recounts. Lançon’s nonfiction narrative thus incessantly explores the category of fiction. It also engages deeply with works of fiction, as Lançon finds in reading Kafka, Thomas Mann, Henry James, and especially Proust, the possibility of a displaced, meditative, and distanced relation to his own present. Whereas writers of nonfiction often claim to capture an immediacy inaccessible to fiction, Lançon seeks instead a form of reparative detachment that finds an essential resource in fictional immersion.

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“没有什么是这样的”：菲利普·兰松的《兰博》中的小说与拆离

摘要菲利普·兰松（PhilippeLançon）在追踪自己在查理周刊（Charlie Hebdo）袭击中遭受的面部创伤后的缓慢恢复时，发展出两种“小说”一词的两种截然相反的含义：一方面，小说是对小说的想象，建构和组织。可能的世界 另一方面，小说是对日常生活中难以想象和虚幻的冲动。兰松在撰写《勒·兰博（2018）》（这无疑是一部非小说类的作品）时，旨在通过叙事本身不可避免地将其叙述的经历进行虚构化，以恢复一种感觉上虚构的生活的意义。朗松的非小说叙事因此不断地探索小说的范畴。正如Lançon在阅读卡夫卡，托马斯·曼，亨利·詹姆斯，尤其是普鲁斯特时所发现的，流离失所的可能性，与自己现在的事物产生沉思和距离的关系。非小说家通常声称要抓住小说无法获得的即时性，而Lançon则寻求一种形式的修复性分离，这种形式在小说沉浸感中找到了必不可少的资源。