By Abraham Pais

ISBN-10: 2729604588

ISBN-13: 9782729604585

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Surely the most important thing about plagiarism hangs on whether the text taking off from another uses it as starting blocks or a trampoline, rather than a millstone. Both authors were blithe plagiarists, and true originals. Ironically, Diderot was among the upholders of the ‘natural rights’ of authors in the very polarized debate about intellectual property of the laughing philosopher: diderot  ideas, against the defenders (including Condorcet) of the utilitarian concept of the ‘public good’, or fair shares for all.

Repeating Montaigne, the narrator assertively defends the verb foutre: ‘Je vous passe l’action, passez-moi le mot’ (p. 294). Exploiting the French idiom, we could say he calls the pussy a pussy. 54 Sexuality in this novel is to be conceived in its widest, wide-openest sense. 55 Although its characters tend to go in for snap judgements, this novel in fact suggests the pitfalls in conclusively judging anyone or anything. The shapely anarchy, the wilful discontinuity, of its form is its message. The anecdotes are often more gripping than the central thread of the journey, and the journey, with its wayside halts, more vitally interesting than the ultimate destination.

It goes against the social norm of presenting oneself at one’s best and in a non-threatening manner. 2 Sartre junior was practising the art of gurning, self-monstrification, nowadays often presented as a comic competition as to who can pull the most grotesque faces. By extension, the word ‘gurning’ now modulates into ‘ham-acting’. We can naturally often grimace and groan because of physical pain, or, if we suffer from that knee-jerk malady, on hearing puns. This is ‘le rire jaune’, laughing on the other side of your face, the sickly grin.

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Albert Einstein, la vie et l'oeuvre by Abraham Pais


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