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The Proust Fallacy: How Can It Be Killed?
Here’s what everyone knows about Proust: he was languishing in misery and ennui until one day he ate a madeleine and suddenly remembered the past he had so long forgotten.  Immediately he felt happy again, “the vicissitudes of life indifferent to [him], its disasters innocuous, its brevity illusory.”

Here’s the problem with what everyone knows: this never happened.  Not in real life.  In his novel, Proust makes this happen to his character.  But his character remembers things that are not part of Proust’s life (such as “Aunt Léonie”); his character is Catholic (Proust was Jewish); his character grows up to be a heterosexual (Proust himself preferred men).

Can’t we at least say that Proust had a special, epiphanic experience while eating a madeleine one day, even if its content was different?  Unlikely.  This scene actually went through more than one draft, and an earlier version has the character eating not a madeleine but a biscotte (somewhere between a cracker and a piece of toast).  If the madeleine scene were simply a transcription of Proust’s diary, these different versions would not make any sense.

This didn’t trouble people like George Painter.  Painter accepted that there couldn’t have been a real epiphany with a madeleine... so it must have been a real epiphany with a biscotte!  Proust was languishing in misery and ennui until a fateful moment—“on or about 1 January 1909” (I love this precision!)—when he ate a biscotte and suddenly remembered his past; involuntary memory changed his life.  That became the standard view for a while, and Roger Shattuck, Ronald Hayman, Derwent May and others all went along with it.

But hang on: for this to be true, it would have to have been Proust’s first experience of involuntary memory.  Surely no-one’s life is going to be changed by the nineteenth time something or other is revealed to them; it has to be the first.

Now Proust did not have his first experience of involuntary memory in 1909.  Not even close.  Jean Santeuil—a manuscript Proust was writing in the 1890s, over a decade earlier—is packed with involuntary memory scenes.  (I’ve counted about a dozen, including—interestingly enough—one involving a cup of tea.)  And it offers lavish accounts of why they are so important.  (Yes, they reveal the existence of a consistent self, an atemporal true self that feeds on the eternal; that’s why they fill you with joy; they are a spur to writing; they offer a past purified of desire...)

So a second generation of Proust biographers patiently explained that in fact the madeleine scene is made up.  Proust, they pointed out, already knew about involuntary memory in the 1890s; he already had theories about it; he already planned to include it in his writing.  Nothing further needed to happen along these lines “on or about 1 January 1909.”  And it almost certainly didn’t.

But here’s the thing: all this patient explanation doesn’t seem to have done much good.  Let’s look at Jonah Lehrer, whose 2007 Proust Was a Neuroscientist made such a splash.  Incredibly, Lehrer goes even further than Painter and company: he thinks it really was a madeleine, not a biscotte!  “Proust’s solution,” he says, “arrived in the unexpected form of a buttery cookie flavored with lemon zest and shaped like a seashell.”  (He's clearly been eaten one too many products from the Illiers gift shop. http://www.tourisme28.com/uk-proust-s-madeleine/uk-proust-s-madeleine.php)  He even dates the purported event two years later, in “1911, the year of the madeleine.”  1911?  The biscotte episode was written in 1908-9!

This fallacy is like a zombie: you shoot it twenty times, and it still keeps on coming.

So here’s my question: how can we kill it once and for all?
Tough job, Joshua.  Is there any precedent for killing a literary legend?
I think that the romance of something usually trumps the reality.
Great question Joshua. Much to talk about here as it opens up the entire field of how do we relate to fiction.

Some quick thoughts:
Like an involuntary memory it's not easy to kill, whether it actually happened or not.

People's relation to fiction is strange. What is this thing and how do we relate to it? If you see museum tours and even many academic classes, the way to get people to relate to the artwork is through a story about the artist's life. A friend of mine taught Trakl, a famous Austrian poet, and while his poetry is very difficult, his life story is quite spicy (including incest, drugs, suicide attempts etc.). That definitely helped her in her class. People need something real to hold on to and to feel how these artworks relate to real life. It can't all be fiction. Like the Madeline, they need something real as a way in (into the past, into fiction...).

On the other hand, when you know authors, you also know that almost nothing is pure fiction. Everything happened in one way or another. Of course it might have "happened" in their imagination, but something in real life must have aroused it, and this real is again people's way in.

I admit I read only the first couple of books, but I remember the falsity of our memory as being an important point.

BTW, your book on Proust looks very interesting.
Books Discussed
Remembrance of Things Past: Volume I - Swann's Way & Within a Budding Grove (Vintage)
by Marcel Proust
Remembrance of Things Past: Volume II - The Guermantes Way & Cities of the Plain (Vintage)
by Marcel Proust
Remembrance of Things Past, Vol. 3: The Captive, The Fugitive & Time Regained
by Marcel Proust
Philosophy As Fiction: Self, Deception, and Knowledge in Proust
by Joshua Landy

Very amusing question.
I'll add two fairly obvious remarks. The first is the strength of the pronoun "I". If the book speaks convincingly enough and speaks in the first person, perhaps it is inevitable that we mis-remember it as a kind of testimony, and aren't quite satisfied to have heard such a story from a fictional character.

The second is that it's close to a kind of misremembering which happens often in film. In its mildest form, when discussing a movie afterwards one often abandons character names entirely and refers to the actors. In its stronger form, actors may play a character so convincingly that they become not only typecast but identified with that personality in real life. Vivien Leigh as Scarlett O'Hara, for instance. Bogart, and many of the greats. What's funny is that this sort of identification between actor and character should happen in a book; I'd expect it much more in visual media.
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Latest Post: January 15, 2011 at 10:40 PM
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