“Only from the negative impulse, from the labyrinth of the No, can the writing of the future appear,” writes the narrator of Vila-Matas’s 2000 work, Bartleby and Co. If literature’s negative impulse was once directed at a world that it critiqued or transfigured from a position of relative detachment, in Vila-Matas’s work that negation has turned inward, and is directed against literature itself. His novels resist their own status as literature, but can only do so by confronting it and taking it as their inescapable subject matter. This is not quite the playfulness of postmodern metafiction, though it is certainly metafictional and in some ways playful. Instead of postmodernism we might instead call it post-literature. The trope of the funeral for literature employed in Dublinesque is one that might be applied to Vila-Matas’s work as a whole, underpinned by an irony that is closer to the gallows humor of Samuel Beckett or Thomas Bernhard than it is to the exuberance of John Barth or Thomas Pynchon. Modernism was always among other things the pursuit of forms of expression that stand outside of and contradict the logic of an increasingly commodified culture, which packages experience into easily assimilated units of meaning. If postmodernism is in some sense a liberation from the prohibitions of modernism and an embrace of commodity culture, Vila-Matas’s work is a tragicomic confrontation with modernism’s dwindling conditions of possibility in the era of postmodernity.
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