Waiting for Lipchitz at Chateau Marmont: A Novel by Aris Janigian
By Aris Janigian
Set in iconic locales—Hollywood's mythical Chateau Marmont and plush Fresno's Forestiere's Underground Garden—Waiting for Lipchitz at Chateau Marmont is a daring and colourful critique of the California Dream in the course of the potential of a once-upon-a-time profitable screenwriter and splendid wealth that scoffs him. stuck among John O'Brien's Better and, might be, a Christopher visitor edition of Waiting for Godot, Janigian's Lipchitz is a brand new tackle the absent protagonist and what's necessarily illuminated through its void.
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Additional info for Waiting for Lipchitz at Chateau Marmont: A Novel
Narratologically, Miller takes advantage of the telegraph company, for the service-oriented organization proves an excellent setting for his embryonic spiral techniques because of both its hectic pace and its diverse subject matter, two of the principal methods Miller eventually adopts in the mature version of spiral form. ” Miller thus transforms Moloch’s life into a series of anecdotes. Like the telegrams that Moloch’s messengers deliver or throw down the gutter, Miller tells only part of the “inexhaustible story” of his life with his anecdotes about Moloch and his friends, and thus represents only one spiral twist of the supraself’s story (1941e: 20).
While neither Moloch nor Crazy Cock strictly belongs to the genre that Miller referred to as the autobiographical romance, Miller firmly grounds them in the soil of his experience. In fact, Miller wrote to Nin in a letter of March 1935 that he “was erecting a monument to past sorrows” in his earliest narratives (Nin and Miller 1987: 297). In these texts, Miller draws heavily from material that would eventually infiltrate his more mature work. 1 Although Miller later asserted that “they were no good,” citing the novels’ conventionality—“the ‘Writer’ with a capital ‘W’”—he locates neither Moloch nor Crazy Cock in any Brooklyn dawn 2 27 definite tradition or subgenre (1994i: 176).
As spiral form places a premium on motion—because of its 30 Brooklyn dawn metaphoric significance to the supraself’s quest for identity—Moloch functions in the context of what Ihab Hassan calls the spiritual quest. The novel’s preponderant concern with movement represents a formal manifestation of the abiding thirst for self-knowledge that consumes not only Moloch, but all of Miller’s selves. Miller’s concentration on the kinetic elements of Moloch’s quest leads him toward the extreme fragmentation of character he would later exploit more fully in the autobiographical romances.