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At Play in the Archive: Reading Sophie Calle's Double Game As At Play in the Archive: Reading Sophie Calle’s Double Game as Autofictional Remains by Anna Khimasia A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree Doctor Of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2015 Anna Khimasia ABSTRACT In 1992 author Paul Auster borrowed eight projects from French artist Sophie Calle for Maria, a fictional character in his novel Leviathan; Auster also included two projects of his own invention. Calle, in return, enacted and documented these projects created by Auster and included them, along with her initial projects, in her book Double Game. Double Game begins with these words: “Intrigued by this double, I decided to turn Auster’s novel into a game and to make my own particular mix of reality and fiction.”1 Calle’s autofictional projects seemingly describe events in her life: a job as a chambermaid, a job as a striptease artist, a day spent being followed by a detective. Calle’s use of autofiction, a self-conscious play between autobiography and the novel, emphasizes the impossibility of a coherent and unified subject. I argue that Calle’s book plays with structures and forms usually associated with truth telling (autobiography, archives, photography, the report, the diary) by constructing evidence that relies on these structures for legitimacy, only to expose gaps, inconsistencies, and fictions as a space for play and critique. The French version of Double Game, a series of seven separate books, has the title Doubles-jeux. Jeu in French is understood to mean both game and play, while also a homonym for ‘I’ [je]. Doubles-jeux is a double-cross—to deceive and betray, in the sense of a red herring. Thus the title, Double Game, 1 Sophie Calle with the participation of Paul Auster, Double Game (Paris: Violette Editions, 1999), 1. ii already speaks to Calle’s autofictional accounts in which the narrating “I” is always unreliable and the events described always undecideable. My dissertation focuses on the contingency of Calle’s documents by highlighting the spaces between what is said to have happened, what we are shown, and what may have taken place. Aligning Calle’s work with performance, and recent discussions about performance documentation, enables a more focused interrogation of the relationship between the event and its representation. My dissertation argues that as a collection of autofictional traces, Double Game performs the autofictional subject at play in the archive. iii ACKNOWLEDGEMENTS I would like to express a sincere thank you to all those who have supported me in the process of completing this thesis. First and foremost I would like to thank my supervisors Professor Chris Faulkner and Professor Ming Tiampo whose guidance enabled me to complete this work. I would also like to express my appreciation to my readers Professor Carol Payne and Professor Jodie Medd for their support and generosity. Thank you to my outside readers, Professor Jayne Wark and Professor Laura Horak, for their insightful comments and questions. I would also like to thank the Institute for Comparative Studies in Literature, Art and Culture (ICSLAC) at Carleton University where I completed my degree, particularly its Director Mitchell Frank who showed me unwavering support and encouragement. Thanks also to Dawn Schmidt at ICSLAC who guided me through the bureaucracy of being in school. My studies would not have been possible without the generous support of grants and scholarships. I thank Carleton University, Ontario Graduate Scholarship, S. F. Wise Graduate Bursary and the David and Rachel Epstein Foundation Scholarship. I also thank the Art History Department at Carleton who employed me throughout my PhD. There are so many people without whom this journey would not have been possible. I thank my classmates and friends Thom Everrett, Kyle Devine and Pamela Barber who stimulated my intellectual growth and taught me all about Bruno Latour! I feel lucky to have had the support from so many friends. I thank Sandra Dyck, Anne De Stecher, Kate Barry, Bianca Briciu, Emma Lind, Bethany Gibson, Courtney Holmes, Sue Lofthouse, and Melissa Thompson who iv listened to me, offered advice, read through my work, and helped when things got too hectic or unruly. A massive thanks also to those friends who provided well-needed craziness in times of stasis: Action Jackson and Coleman, Missy and Peter, Scottie and France, Erik and Tania, Cork and Nyah, Juju, Bud and Natalie, Scott and Jas, So and Marcus, Bethany and Glenn, and SD and PC! A professor once told me that at the end of this process I would not have any friends remaining, so I feel especially lucky to have such close, supportive and fun friends! I thank my mum, Therese Khimasia who always found time to listen to me and provided words of encouragement throughout this process and my brothers, Dan and Dave, who found the levity in it all. To Pauline, Don and Cameron, I really could not have done this without you. I thank you from the bottom of my heart. Finally I thank my family, my daughters Maeve and Eva, and my partner Sean Lynch, whose patience, love, and humour enabled me to complete this dissertation. v TABLE OF CONTENTS Abstract…………………………………………………………………………………..ii Acknowledgements…………………………………………………………………….iv Table of Contents………………………………………………………………………vi List of Figures………………………………………………………………………….viii INTRODUCTION: LIKE IN A THESIS .................................................................. 1 Double Game .................................................................................................... 1 Autofiction ......................................................................................................... 6 Autofiction and Theory (poststructuralism) ..................................................... 10 Roland Barthes ............................................................................................... 12 Paul Auster ..................................................................................................... 15 Autofiction and Performance Archive (the event and its traces) ..................... 16 Literature Review ............................................................................................ 19 Chapter Outline ............................................................................................... 26 CHAPTER ONE: LIKE A CHARACTER OUT OF A NOVEL .............................. 29 Calle’s Annotated Pages of Auster’s Leviathan .............................................. 30 The Desire for Origin ....................................................................................... 39 The Chromatic Diet ......................................................................................... 42 As Artifice ........................................................................................................ 52 Conclusion ...................................................................................................... 53 CHAPTER TWO: LIKE IN A PHOTOGRAPH ..................................................... 54 The Photograph and The Performance .......................................................... 63 Suite vénitienne .............................................................................................. 67 The Double ..................................................................................................... 75 Performative Realism ..................................................................................... 81 The Detective .................................................................................................. 87 Conclusion ...................................................................................................... 96 CHAPTER THREE: LIKE IN AN ARCHIVE ........................................................ 98 The Birthday Ceremony .................................................................................. 98 Days Under The Sign of B, C and W ............................................................ 110 Archival Absence .......................................................................................... 117 The Mystery Guest ....................................................................................... 118 The Hotel ...................................................................................................... 123 Archives and Archeology .............................................................................. 131 The Address Book ........................................................................................ 133 Conclusion .................................................................................................... 137 CHAPTER FOUR: LIKE THE FEMALE SUBJECT .......................................... 138 The Striptease .............................................................................................. 138 Roland Barthes and “Striptease” .................................................................. 146 As Masquerade ............................................................................................. 149 As Failure ...................................................................................................... 151 vi Proximity and Distance ................................................................................. 152 As Fetish ....................................................................................................... 153 As Vocation ..................................................................................................
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