Chapter 26 of Part 1 of ‘Life: A User’s Manual’ by Georges Perec, translated by David Bellos

The second is an extract from a long book, therefore not a self-contained traditional short story. It is Chapter 26 of Part 1 of Georges Perec’s La Vie mode d’emploi. Slyly, Perec gives his book the subtitle ‘romans’, which should mean ‘novels’; but the narration of the lives (or episodes from the lives) of the many inhabitants of a single Parisian block of flats approximates to a series of short stories, though the same characters can come round more than once, forming a kind of syncopated short story for each.

Bartlebooth, an Englishman, has his own short story. Chapter 26 opens with a description of the ‘anti-chamber’ of Bartlebooth’s apartment, followed by short descriptions of the three servants who await his orders there. Then there is a little labyrinth motif in the text, followed by an exposition of how Bartlebooth spends his life. Bartlebooth employs an artist neighbour, Valène, to teach him the art of water-colour painting. It transpires that the former’s life-plan is to achieve perfection in a restricted sphere: to ‘seize, describe, plumb’ a portion of the world by means of painting marine landscapes – all the same size and at a fixed rate of production over twenty years. He sends them back to a craftsman, Winckler, who lived (past tense because he is dead by chapter 26) in the same building. (The protagonist of the whole book is in one sense the building itself.) Winckler was tasked with turning the paintings into puzzles of 750 pieces each, which Bartlebooth on his return was to spend the next twenty years reassembling – at the same fixed rate. The pictures would then be returned each to its original site of production and plunged into a solvent to remove the paint, leaving a virgin piece of Whatman (what [is] man?) paper.

This project results from Bartlebooth’s answer to his own question as to what he wanted to do with his life, which is “Nothing”. The saving grace of this grim attempt to control time, space and action in the service of nihilism is that, at the end of the whole book, Bartlebooth is found dead in his chair in his apartment, with a last piece of (the last?) puzzle in his hand. The space in the almost completed puzzle is that of an X: but the piece in the dead man’s hand is W-shaped. (W for Perec signifies his lost childhood.) Lethal perfectionism foiled! Turning back to the first chapter, on Winckler’s death long ago, we remember that Winckler had planned a “longue vengeance” . . . Clearly, Bartlebooth is the direct descendant of . . . 

First published by Hachette, 1978. Translated  by David Bellos as Life A User’s Manual, Harvill Press, 1987, rprt. Harper-Collins, 1992, and Vintage, 1996

‘The Winter Journey’ by Georges Perec

In ‘The Winter Journey’ the narrator (a young teacher of literature) is browsing in the well-appointed  library of a French country house when he comes across a volume called The Winter Journey (Le Voyage d’hiver) edited by one Hugo Venier. 
To his astonishment he realises that the book is not, as he at first assumes, an anthology of great French poetry, but rather an unknown and hitherto unidentified source. Published in 1864, it confirms beyond any doubt that the poetic giants of the Belle Époque –  Mallarmé, Lautréamont, Verlaine, Rimbaud and many others — all plagiarised their most celebrated lines from Vernier’s compendium. 
Everything he thinks he knows about French literature is challenged, and overturned. He decides to find out more about the mysterious Hugo Venier.
But it is September 1939, and the Occupation is about to interrupt his researches. Only after the Liberation is he able to revisit the library and continue his investigations, but  . . . but that would be to let the chat out of the sac.
This exhilarating jeu d’espirit is part Derridian, part Borgesian, and entirely Perecian (and if that combination doesn’t snag your immediate attention what are you doing here?) Perec has surprisingly never before featured in A Personal Anthology and I hope that his belated appearance will prompt more readers to enjoy his most frequently re-published work. 
‘Le Voyage d’hiver’ was written for inclusion in a publisher’s catalogue and published in 1979. The author died three years later. 
In 1992, there appeared the first in a series of twenty more Journeys, prompted by Perec’s original, in which other members of the Oulipo group expanded on the original. A highlight is Jacques Jouet’s ‘Hinterreise’, about a researcher who discovers an early 18th century composer named ‘Ugo Wernier’ who appears to have produced work subsequently plagiarised by  Mozart, Bach and Schubert, a story which itself could be said to plagiarise Perec’s. 
First published in 1979. Republished in Winter Journeys, Atlas Press, 2013 in a beautiful limited edition with translations by Harry Mathews, John Sturrock and (mainly) Ian Monk. ‘A Winter’s Journey’ was also published separately as a chapbook by Penguin Classics in 1996

Chose by David Collard. David organises Carthorse Orchestra, a weekly online gathering of writers, poets, musicians, performers and other creative types. You can read his full Personal Anthology and other seasonal contributions here