“You were on your way to your place of work when the vehicle hit you, is that correct?” Barthes nods. “Was the vehicle moving quickly?” Barthes tilts his head slowly from side to side, and Bayard understands: he doesn’t know. “Were you distracted?” Yes. “Was your inattention connected to your lunch?” No. “To the course you had to prepare?” A pause. Yes. “Did you meet François Mitterrand at that lunch?” Yes. “Did anything special or unusual happen during that lunch?” A pause. No. “Did you consume alcohol?” Yes. “A lot?” No. “One glass?” Yes. “Two glasses?” Yes. “Three glasses?” A pause. Yes. “Four glasses?” No. “Did you have your papers with you when the accident happened?” Yes. A pause. “Are you sure?” Yes. “You did not have any papers on you when you were found. Is it possible you forgot them, left them at home or somewhere else?” A longer pause. Barthes’s gaze is suddenly charged with a new intensity. He shakes his head. “Do you remember if someone touched you while you were on the ground, before the ambulance arrived?” Barthes seems not to understand or perhaps not to hear the question. He shakes his head again: no. “No, you don’t remember?” Another pause, but this time, Bayard thinks he can identify the expression on the man’s face: it is incredulity. Barthes replies no. “Was there any money in your wallet?” Barthes stares at his interrogator. “Monsieur Barthes, can you hear me? Did you have any money on you?” No. “Did you have anything valuable with you?” No response. Barthes’s gaze is so unwavering that were it not for a strange fire in the back of his eyes one would think him dead. “Monsieur Barthes? Did you have something valuable in your possession? Do you think something might have been stolen from you?” The silence that fills the room is broken only by Barthes’s hoarse breathing in the ventilator tube. There’s another long pause. Slowly, Barthes shakes his head, then looks away.
6
On his way out of the hospital, Superintendent Bayard thinks: there’s a problem here. It strikes him that what should have been a routine investigation will perhaps not be completely superfluous, after all; that the disappearance of the papers is a curious gray area in what otherwise looks like an ordinary accident; that he will have to interview more people than he’d imagined in order to clear this up; that his investigation should begin on Rue des Écoles, outside the Collège de France (an institution whose existence was entirely unknown to him before today, and whose nature he therefore hasn’t quite grasped); that he will have to start by meeting this Monsieur Foucault, “professor of the history of systems of thoughts” [sic]; that, after this, he will have to interrogate a whole gang of hairy students, plus the accident witnesses, plus the victim’s friends. He is simultaneously baffled and annoyed by this extra work. But he knows what he saw in that hospital room. What he saw in Barthes’s eyes: fear.
Superintendent Bayard, absorbed by his thoughts, pays no attention to the black DS parked on the other side of the boulevard. He gets in his official vehicle, a Peugeot 504, and heads toward the Collège de France.
7
In the entrance hall, he spots a list of course titles: Nuclear Magnetism, Neuropsychology of Development, Sociography of Southeast Asia, Christianity and Gnosis in the Pre-Islamic East … Perplexed, he goes to the faculty room and asks to see Michel Foucault, only to be told that he is busy giving a class.
The lecture hall is packed. Bayard cannot even get in. He is held back by a solid wall of students, who react furiously when he tries to force his way through. Taking pity on him, one explains in a whisper how it works: if you want a seat, you need to arrive two hours before the lecture starts. When the hall is full, you can always fall back on the hall across the corridor, where the lecture is broadcast over speakers. You won’t get to see Foucault, but at least you’ll hear him speak. So Bayard walks over to Lecture Hall B, which is also pretty full, though there are a few empty seats remaining. The audience is a colorful mix: there are young people, old people, hippies, yuppies, punks, goths, Englishmen in tweed waistcoats, Italian girls with plunging necklines, Iranian women in chadors, grandmothers with their little dogs … He sits next to two young male twins dressed as astronauts (though without the helmets). The atmosphere is studious: people scribble in notebooks or listen reverently. From time to time they cough, as if at the theater, but there is no one on the stage. Through the speakers, the superintendent hears a nasal, slightly 1940s-sounding voice; not Chaban-Delmas exactly, more like a mix of Jean Marais and Jean Poiret, only higher-pitched.
“The problem I would like to pose you,” says the voice, “is this: What is the meaning, within an idea of salvation—in other words, within an idea of illumination, an idea of redemption, granted to men on their first baptism—what could be the meaning of the repetition of penitence, or even the repetition of sin?”
Very professorial: Bayard can sense that. He tries to grasp what the voice is talking about, but unfortunately he makes this effort just as Foucault says: “In such a way that the subject moving toward the truth, and attaching itself to it with love, in his own words manifests a truth that is nothing other than the manifestation in it of the true presence of a God who, Himself, can tell only truth, because He never lies, He is completely honest.”
If Foucault had been speaking that day about prison, or power, or archaeology, or green energy, or genealogy, who knows?… But the implacable voice drones on: “Even if, for various philosophers or views of the universe, the world might well turn in one direction or another, in the life of individuals time has only one direction.” Bayard listens without understanding, rocked gently by the tone, which is simultaneously didactic and projected, melodious in its way, underpinned by a sense of rhythm, an extremely precise use of silences and punctuation.
Does this guy earn more than he does?
“Between this system of law that governs actions and relates to a subject of will, and consequently the indefinite repeatability of the error, and the outline of the salvation and perfection that concerns the subjects, which implies a temporal scansion and an irreversibility, there is, I think, no possible integration…”
Yes, without a doubt. Bayard is unable to suppress the bitterness that instinctively makes him detest this voice. The police have to battle people like this for taxpayers’ funds. They’re functionaries, like him, except that he deserves to be remunerated by society for his work. But this Collège de France, what is it exactly? Founded by François I, okay: he read that in the entrance hall. Then what? Courses open to all, but of interest only to work-shy lefties, retired people, lunatics, or pipe-smoking teachers; improbable subjects that he’s never even heard of before … No degrees, no exams. People like Barthes and Foucault paid to spout a load of woolly nonsense. Bayard is already sure of one thing: no one comes here to learn how to do a job. Episteme, my ass.
When the voice wraps up by giving the date and time of next week’s lecture, Bayard returns to Lecture Hall A, elbows his way through the flood of students pouring out through the swing doors, finally enters the lecture hall, and spots a bald, bespectacled man at the very back of the room wearing a turtleneck sweater under his jacket. He looks at once sturdy and slender. He has a determined jaw with a slight underbite and the stately demeanor of those who know that they are valued by the world. His head is perfectly shaved. Bayard joins him on the stage. “Monsieur Foucault?” The big baldy is gathering his notes in the relaxed manner of a teacher whose work is done. He turns welcomingly toward Bayard, aware of what levels of shyness his admirers must sometimes overcome in order to speak to him. Bayard takes out his card. He, too, is well aware of its effect. Foucault stops dead for a second, looks at the card, stares at the policeman, then goes back to his notes. In a theatrical voice, as if for the attention of what’s left of the audience, he declares: “I refuse to be identified by the authorities.” Bayard pretends he hasn’t heard him: “It’s about the accident.”
The big baldy shoves his notes in his satchel and exits the stage without a word. Bayard runs after him: “Monsieur Foucault, where are you going? I have to
ask you a few questions!” Foucault strides up the steps of the lecture hall. He replies without turning around, loud enough for all the remaining students to be able to hear him: “I refuse to be confined by the authorities!” The audience laughs. Bayard grabs his arm: “I just want you to give me your version of the facts.” Foucault stands still and says nothing. His entire body is tensed. He looks down at the hand gripping his arm as if it were the most serious human rights violation since the Cambodian genocide. Bayard does not loosen his hold. There are murmurs around them. After a minute or so of this, Foucault finally speaks: “My version is that they killed him.” Bayard is not sure he’s understood this correctly.
“Killed him? Killed who?”
“My friend Roland.”
“But he’s not dead!”
“He is already dead.”
From behind his glasses, Foucault stares at his interrogator with the intensity of the shortsighted. And slowly, emphasizing each syllable, as if concluding a long argument whose secret logic he alone knows, he announces:
“Roland Barthes is dead.”
“But who killed him?”
“The system, of course!”
The use of the word system confirms to the policeman exactly what he feared: he’s surrounded by lefties. He knows from experience that this is all they talk about: society’s corruption, the class struggle, the “system” … He waits unenthusiastically for the rest of the speech. Foucault, magnanimously, deigns to enlighten him:
“Roland has been mercilessly mocked in recent years. Because he had the power of understanding things as they are and, paradoxically, inventing them with unprecedented freshness, he was criticized for his jargon, he was pastiched, parodied, caricatured, satirized…”
“Do you know if he had enemies?”
“Of course! Ever since he joined the Collège de France—I brought him here—the jealousy has intensified. All he had were enemies: the reactionaries, the middle classes, the fascists, the Stalinists, and, above all, above all, the rancid old critics who never forgave him!”
“Forgave him for what?”
“For daring to think! For daring to question their outdated bourgeois ideas, for highlighting their vile normative functions, for showing them up for what they really were: prostitutes sullied by idiocy and compromised principles!”
“But who, in particular?
“You want names? Who do you think I am? The Picards, the Pommiers, the Rambauds, the Burniers! They’d have executed him themselves given the chance. Twelve bullets in the Sorbonne courtyard, beneath the statue of Victor Hugo!”
Suddenly, Foucault strides off again and Bayard is caught off-guard. The professor gets a head start of several yards, leaves the lecture hall and races up the stairs. Bayard runs after him, close behind. Their footsteps ring loudly on the stone floors. The policeman calls out: “Monsieur Foucault, who are those people you mentioned?” Foucault, without turning around: “Dogs, jackals, mules, morons, nobodies, but above all, above all, above all! the servants of the established order, the scribes of the old world, the pimps of a dead system of thought who seek to make us breathe the stench of its corpse forever with their obscene sniggers.” Bayard, clinging to the banister: “What corpse?” Foucault, storming up the stairs: “The corpse of the dead system of thought!” Then he laughs sardonically. Trying to find a pen in the pockets of his raincoat while keeping up with the professor, Bayard asks him: “Could you spell Rambaud for me?”
8
The superintendent enters a bookstore to buy some books but he is unused to such places and struggles to find his way among the aisles. He cannot find any works by Raymond Picard. The bookseller, who seems relatively knowledgeable, mentions in passing that Raymond Picard is dead—something Foucault had omitted to tell him—but that he can order New Criticism or New Fraud? On the other hand, he does have a copy of Enough Decoding! by René Pommier, a disciple of Raymond Picard who lays into structuralist criticism (that, in any case, is how the bookseller sells him the book, which doesn’t get him much further), and most notably, Roland Barthes Made Easy, by Rambaud and Burnier. This is quite a slim book with a green cover, a photograph of Barthes staring out severely from an orange oval. Coming out of the frame, a Crumb-style cartoon character says “hee-hee,” grinning and laughing, mockingly, one hand over his mouth. In fact, I’ve checked, and it is Crumb. But Bayard has never heard of Fritz the Cat, the countercultural cartoon strip and film, in which black people are saxophone-playing crows and the hero is a cat in a turtleneck who, Kerouac-style, smokes joints and fucks anything that moves in Cadillacs, against a backdrop of urban riots and burning Dumpsters. Crumb is famous, though, for the way he drew women, with their big, powerful thighs, their lumberjack shoulders, their breasts like mortar shells, and their mares’ asses. Bayard is no cartoon-strip connoisseur, and does not make the connection. But he buys the book, and the Pommier, too. He doesn’t order the Picard, because at this stage of the investigation dead authors don’t interest him.
The superintendent sits in a café, orders a beer, lights a Gitane, and opens Roland Barthes Made Easy. (Which café? The little details are important for reconstructing the atmosphere, don’t you think? I see him at the Sorbon, the bar opposite the Champo, the little arthouse cinema at the bottom of Rue des Écoles. But, in all honesty, I don’t have a clue: you can put him wherever you want.) He reads:
R.B. (in his writing, Roland Barthes calls himself R.B.) appeared in its archaic form twenty-five years ago, in the book entitled Writing Degree Zero. Since then it has, little by little, detached itself from French, from which it is partially descended, forming an autonomous language with its own grammar and vocabulary.
Bayard takes a drag on his Gitane, swallows a mouthful of beer, turns the pages. At the bar, he hears the waiter explain to a customer why France will descend into civil war if Mitterrand is elected.
Lesson one: The basics of conversation.
1—How do you formulate yourself?
French: What is your name?
2—I formulate myself L.
French: My name is William.
Bayard more or less understands the satirical intent and also that in theory he ought to be on the same wavelength as the authors of this pastiche, but he is wary. Why, in “R.B.,” does “William” call himself “L”? It’s a puzzle. Fucking intellectuals.
The waiter to the customer: “When the Communists are in power, everyone with money will leave France and put it somewhere else, somewhere they won’t have to pay taxes and where they’re sure they won’t get caught!”
Rambaud and Burnier:
3—What “stipulation” locks in, encloses, organizes, arranges the economy of your pragma like the occultation and/or exploitation of your egg-zistence?
French: What is your job?
4—(I) expel units of code.
French: I am a typist.
This makes him laugh a little, but he hates what he instinctively perceives as a principle of verbal intimidation. Of course, he knows that this kind of book is not aimed at him, that it’s a book for intellectuals, for those smart-assed parasites to have a good snigger among themselves. Mocking themselves: the last laugh. Bayard is no idiot; he’s already doing a bit of a Bourdieu without even realizing it.
At the bar, the speech continues: “Once all the money’s in Switzerland, we won’t have any capital left to pay wages, and it’ll be civil war. And the Socialists and Commies will have won, just like that!” The waiter stops pontificating for a minute to go and serve someone. Bayard returns to his reading:
5—My discourse finds/completes its own textuality through R.B. in a game of smoke and mirrors.
French: I speak fluent Roland Barthes.
Bayard gets the gist: Roland Barthes’s language is gibberish. But in that case why waste your time reading him? And, more to the point, writing a book about him?
6—The “sublimation” (the integration) of this as (my) code constitutes the “third break” of a doubling o
f cupido, my desire.
French: I would like to learn this language.
7—Does the R.B. as macrology serve as “fenceage” to the enclosed field of Gallicist interpellation?
French: Is Roland Barthes too difficult for a French person to learn?
8—The scarf of Barthesian style tightens “around” the code as it is confirmed in its repetition/duplication.
French: No, it’s pretty easy. But you have to work at it.
The superintendent’s perplexity increases. He doesn’t know who he hates more: Barthes or the two comics who felt the need to parody him. He puts the book down, stubs out his cigarette. The waiter is back behind the bar. Holding his glass of red, the customer objects: “Yeah, but Mitterrand’ll stop them at the border. And the money will be confiscated.” The waiter scolds the customer, frowning: “You think the rich are idiots? They’ll pay professional smugglers. They’ll organize networks to ship their money out. They’ll cross the Alps and the Pyrenees, like Hannibal! Like during the war! If it’s possible to get Jews over the border, they won’t have any trouble getting bundles of cash over, will they?” The customer does not seem too convinced, but as he obviously doesn’t have a comeback he settles for a nod, then finishes his glass and orders another one. The waiter takes out an open bottle of red and puffs himself up: “Oh yes! Oh yes! Personally, I don’t give a toss. If the pinkos win, I’m out of here. I’ll go and work in Geneva. They won’t get my money, no way. Over my dead body! I don’t work for pinkos! What do you take me for? I don’t work for anyone! I’m free! Like de Gaulle!”
Bayard tries to remember who Hannibal is and notes mechanically that the little finger on the waiter’s left hand is missing a phalanx. He interrupts the waiter’s speech to order another beer, opens the René Pommier book, counts the word nonsense seventeen times in four pages, and closes it again. In the meantime, the waiter has begun opining on another subject: “No civilized society can get by without the death penalty!” Bayard pays and exits the café, leaving his change on the table.
The Seventh Function of Language Page 2