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The garden, an aesthetic place of a human order: the naturalisation of politics and literature at Claude Simon and Patrick Chamoiseau


KeywordsTriple Keywords
Context (Linguistics)
Grammar, Comparative and general--Context
Situation (Linguistics)
World literature
Western literature (Western countries)
Beautiful, The
Taste (Aesthetics)
Political representation
Representative government and representation
Parliamentary government
Politics and literature
Literature and politics
Literature--Political aspects
Graphemic analysis


This reflection looks at the literary motive of the garden, drawing on the works of Claude Simon (Les Mariques, Le Jardin des Plants) and Patrick Chamoiseau (Texaco, Biblique des Later gestes). The garden, which is particularly relevant to the world, makes it necessary to take account of the commonalities between the two authors, but also calls for the texts to be placed in a specific context of production. The simonian work bears a trace of the writing of the new novel; antilli texts take place in a post-colonial context. In contemporary literature, the design of the garden does not lead to the evocation of an immobile pastoral ideal. On the contrary, the garden appears to be a dynamic place which destabilises the authorisation preconceived by the gardener, representing a living disorder which results in a man’s roles as a unique creator and a privileged recipient of the space created. The gardener must negotiate a balance; he does not work as a collector of plants to be developed, but as a figure of the artist working on a ‘relational aesthetic’ (Bourriaud, 1998). Similarly, the author, referring to the garden, works in a poetic way of interaction. The garden ultimately appears to be a prime lever for a literary ‘naturalisation of aesthetics’, which generates a bioheritage that is not simply ekphrasis resulting from a planned representation, but the implementation of a gesture that takes place in the emergency of the kairos. The space provided in this case always meets a desire for balance; only this is not a matter of species authorisation and categorisation, but rather of a dynamic plant factory, a biological full that landscapes the moving literary work.

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