The rigourously formal approach of his prose was also evident in his photography. Levé, a critical darling in France, was a strident conceptual artist. These are the meanderings that make up a life. No detail is too small (“I do not like bananas”) nor too quotidian (“I love the unpredictability of blue jeans: how, after you wash them, they shrink, age, fade”). Levé’s dry, direct tone can verge on the aphoristic (“Names draw me to places, bodies draw me to people”) or just plain odd (“I think the big toe is doomed to disappear”). A single page can careen from the metaphysical (“I wonder whether the landscape is shaped by the road, or the road by the landscape”) to the political (“I vote for the Green party even though they rarely put forward a candidate I like”) to the sexual (“I do not foresee making love with an animal”). Phobias, admissions, curiosities: the randomness not only mimics the way our minds work, but also makes for pure, compulsive reading.
In a single book-length paragraph, Levé lays himself bare with 1,500 highly personal, yet completely non-sequential declarations. In Autoportrait, originally published in France in 2005 and recently translated by Paris Review editor Lorin Stein, Levé bluntly acknowledges this fact. Nobody understood this better than the late French writer Edouard Levé. But is this a proper reflection of reality? The way we experience the world is much more fragmented, more crammed with idle and mundane thoughts that constantly interrupt our generally plotless lives. The publishing landscape is littered with non-fiction tales powered by that reliable fictional device – plot. If you eat, pray or love, chances are there’s a story you can sell.
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