Asymptote: An Approach to Decadent Fiction (review)

Robert Ziegler establishes his thesis in a clear and concise Introduction explaining his asymptotic approach to Decadent literature. In short, he rejects the common tendency among critics to assimilate Decadent authors with their characters, and offers instead a fresh perspective on this literary dilemma. Ziegler claims that the relationship between Decadent writers and their fiction can be compared with that of an asymptote and its corresponding curve. An asymptote, according to Ziegler's definition, is 'a straight line that is closely approached but never met by a curve [Greek asumptōtos not falling together]' (p. 9). The curve represents the licentious predilections (incest, sadism, thaumaturgy, bigotry, etc.) tempting the author, closing in on the author — signified by the straight line — but to which the author never actually cedes. Ziegler expands the concept of the asymptote to propose that not only does the author eventually diverge from his Decadent fiction, but the authorship of said text acts as therapy and cleanses the author of his lascivious inclinations. To support his theory Ziegler studies the reflection of ten authors' personal lives on their respective literary corpora, focusing usually on one particular text but referring frequently to other works. This well-selected group of artists are paired in twos and divided into five chapters, each dedicated to an archetypical Decadent topos. In his first chapter, examining J.-K. Huysmans's À rebours and Catulle Mendès's Zo'har, Ziegler provides a strong foundation for the entire investigation, as it is here that his argument proves most coherent and innovative. His critique of À rebours illustrates clearly how the recurring failure of Des Esseintes's numerous perverse experiments and his final return to ordinary life in the city exemplifies both Huysmans's refusal of aesthetic degeneration and his rehabilitation from loss through writing. In subsequent chapters, however, Ziegler's reasoning periodically falls short of convincing the reader. For example, he proclaims that Octave Mirabeau demonstrates how social prejudices and violence can be resolved through the analysis of unconscious penchants and fears in Le Journal d'une femme de chambre, insinuating that the curve strays from the asymptote owing to the author's 'rational analysis' (p. 129). Readers may question Ziegler's notion of the author's 'rational analysis' as he explains away rape, bigotry, and bestiality with selfish materialism: 'The torturer of animals, the supposed disemboweler of young girls loses the grandeur of the monster when he is shown to be a schemer' (p. 129). While Ziegler eloquently communicates his overarching philosophy throughout the study, his justifications remain suspect at times, and his explanations are saturated with arcane vocabulary, redolent of the literature under study. Despite any lingering objections, this reviewer recommends Ziegler's book for its evocative insight and astute prose structured around many crafty metaphors.