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Hardly a concretized character, Olivier Cadiot’s reoccurring narrator, Robinson, functions as an engine for linguistic performativity. Following from the Deleuzian concept of the conceptual persona, Robinson acts alongside the movement of thought that creates the literary work itself. Via Robinson, Cadiot blends poetry and prose, digression and autofiction, as well as text and image. This article examines the two independent, opposing versions of Robinson featured in Le Colonel des Zouaves and Un mage en été in order to analyze the full range of the narrator’s capacities.