Words

Presentation and Structure of work

The text is divided into two about equivalent parts entitled “To read” and “To write”. However, according to Philippe Lejeune, these two parts are only one frontage and do not reveal the chronological progression of work. He considers that the text should rather be divided into five parts which he calls “acts”.

the first act presents in an chronological order prehistory of the child by giving his family origins.
the second act evokes the various comedies which Sartre under the influence of his/her parents played while being locked up in an imaginary world.
the third act is the awakening of its imposture, its Contingence, its fear of died and its ugliness.
the fourth act presents the development of a new imposture, in which Sartre takes various postures of writer.
the fifth act evokes the madness of Sartre, which he regards as the source of his dynamism as well as the advertisement of a second book that he finally did not write.

Analyzes and comments

the first title of which Jean-Paul Sartre thought was Jean without ground , which it was necessary to include/understand according to Jean-Bertrand Pontalis like Jean without father , and its project was to reconsider its childhood middle-class man which had it programmed to be a man of the words whereas no book makes the weight vis-a-vis misfortunes of the real men. It is for démythifier the writing, considered now as a component of the middle-class ideology , which he undertakes to regulate his accounts with the child king and buffoon that its family - and in particular her mother and her grandfather Charles Schweitzer - had manufactured. Born “wire from a death”, a private mother of its rights and from an authoritative grandfather, it describes how it played a “comedy of the adults” during his youths: “I was Punchinello, a pasquin, a grimacier. ”

Like any autobiographer, the author plays of the revealing directed while seeking to illustrate its thesis by handling with ease the car-irony. But it is indeed a setting in scene of the child who he says to have been; this re-creation of its childhood indeed comprises chronological errors and revealing choices as the detailed biography established by Annie Cohen-Solal shows it. Sartre while telling its own history intermingled that with its time.

Prolongation

Paradox:

This work of catch of distance with the writing, a little paradoxically, was very worked by the author and was greeted almost unanimously like a literary success . Let us note finally that this Autobiographie constitutes in fact the brilliant good-byes of Jean-Paul Sartre with the Littérature. In November of the same year 1964, it will refuse the Nobel Prize of Literature allotted to the French writer Jean-Paul Sartre for his work which, by the spirit of freedom and the search for truth of which she testifies, exerted a vast influence over our time. Because, according to him, nobody deserves the glory of alive sound.

Bonds and sources

Annie Cohen-Solal: Sartre - 1905-1980 , Gallimard, 1985.
'' multi-media Exposition on Jean-Paul Sartre organized by the national library of France ''
audio Book (reading mp3) of the incipit of the Words (1964).

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