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VERNE's JOURNEY to the CENTRE of the SELF Verne's Journey to the Centre of the Self VERNE'S JOURNEY TO THE CENTRE OF THE SELF Verne's Journey to the Centre of the Self Space and Time in the Voyages extraordinaires William Butcher, Ph.D. Lecturer in French, University of Buckingham Foreword by Ray Bradbury Palgrave Macmillan ISBN 978-1-349-20826-5 ISBN 978-1-349-20824-1 (eBook) DOI 10.1007/978-1-349-20824-1 ©William Butcher 1990 Softcover reprint of the hardcover 1st edition 1990 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc. 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1991 Phototypeset by Input Typesetting Ltd, London ISBN 978-0-312-05345-1 Library of Congress Cataloging-in-Publication Data Butcher, William, 1951- Verne's journey to the centre of the self: space and time in the 'voyages extraordinaires' I William Butcher : foreword by Ray Bradbury. P· em. Includes bibliographical references and index. ISBN 978-0-312-05345-1 1. Verne, Jules. 1828-1905-Criticism and interpretations. 2. Science fiction, French-History and criticism. 3. Space and time in literature. 4. Self in literature. 5. Voyages. Imaginary. I. Title. PQ2469.Z5B88 1991 843'. 8-dc20 90--8899 CIP To the memory of my Father and Grandfather Contents List of Figures xi Foreword by Ray Bradbury xiii Acknowledgements xvii Reference System xix 1 The Warrior of the Unknown 1 2 In Search of Lost Structure 7 Lost Between Two Shores 7 The Strogoff Syndrome 11 Le Verbe et Ia Terre 17 Go Anywhere, Do Anything 20 Splitting the Difference 22 The Pleasure and the Pain 25 3 The Shape's the Thing 29 Plots and Intrigues 29 In and Out 34 Diversions or 'Divertissements' 36 Putting it All Back Together Again 40 4 The Past is a Place 42 Past Masters 42 Man and Less-than-Man 48 The New Country 54 Going Back 58 viii Contents 5 The Shape of Things Gone By 60 Living in the Past 60 A Strange Dream 67 How to Travel in Time 69 6 Starting and Stopping 75 Straight and Round 75 Return to Sender 77 Getting Things Going 82 Posthumous Cycles 88 Time Will Have a Stop? 91 7 One and All 94 The Body Metaphoric 94 Violence and Sex 97 Friends and Relatives 104 The Terminal System 109 Knowledge and the Lone Individual 114 8 Past Reflexions 118 Past Present 118 Self-Conscious Narration 121 It Was Tomorrow 123 Will There Be a Reply? 126 Breaking Out 130 9 Now or Never 132 Things Going By 132 Supporting Role 141 Narration Impossible 144 Towards a New Novel 149 10 'So Unliterary a Writer as Verne'? 156 The Closing Down of History 156 Michel Meets Jules 160 Why Him? 163 Appendix A: The Time of the Novel 168 Contents ix Appendix B: Michel Verne 172 Notes 174 Bibliography 190 Primary Works 190 Critical Studies 194 Index 202 List of Figures Note: Because of the geometrical nature of some of the argu­ ments of this study, a number of figures are introduced. Their functioning and meaning are fully explained in the accompany­ ing text. Graphs of Narrative Time versus Fictional Time 3.1 Global Forms 31 (a) 'Un Drame au Mexique' (b) Voyage au centre de la Terre (c) Le Chancellor (d) 'In the Year 2889' (e) Mistress Branican (f) 'L'Etemel Adam' 3.2 The Beginnings 33 (a) Le Tour du monde en quatre-vingts jours (b) L'Ile mysterieuse (c) Le Chateau des Carpathes (d) Mistress Branican 3.3 The Endings 35 (a) De la Terre a la Lune (b) Le Tour du monde en quatre-vingts jours xi xii List of Figures (c) Le Chateau des Carpathes (d) L'Ile a he1ice 3.4 Synthesis 41 The General Structure of a Verne Novel 6.1 Cyclical Structures 80 (a) Water Evaporation and Condensation (b) The Life of an Iceberg (c) Man-Eider-Bird Symbiosis (d) Vertical Movements in a Fluid (e) Security System for Ships (f) Self-Compensating Aircraft (g) The Cycle of History 9.1 Variations in Tense with Nature of Transposition and Degree of Narratorial Intervention 139 A.1 Ricardou's Diagrams and an Alternative Presentation 169 (a), (b) Variations in Speed of Narration (c), (d) Jumps in Narrative and Fictional Time (e), (f) 'Normal' Segment, Anticipation, and Flashback (g), (h) L'Emploi du temps A.2 The Two Presentations Compared 170 (a), (b) Standard Speed of Narration (c), (d) Fictional Time that has 'Fallen Behind' Narrative Time (e), (f) Text in One Segment (g), (h) Same Text in Two Segments Foreword Ray Bradbury William Butcher proves in this book that we are all, in one way or another, the children of Jules Verne. His name never stops. At Aerospace or NASA gatherings, Verne is the verb that moves us to Space. He was born in the future we inhabit as our present. Once born he ricochetted back to the 19th century to dream our dreams and cause us to realise his possible improbabilities. In one way or another Butcher shows us how Verne has structured our ideas and reared up the architectures of our lives even as Walt Disney, an equally improbable god, has blue­ printed new cities from old ruins, and taught us how to run them, amidst doubts and derision. Back in the early sixties when Veme was the unacknowledged ghost writer for President Kennedy, I described Verne along with his influence, Herman Melville, as the Ardent Blasphemers. Melville struck God's sun because it insulted him. Verne very quietly suggested that the sun should not be struck, but plugged into, utilized, its energies borrowed to move and light the world. Melville's maniac Captain ran forth to kill a whale. Nemo, with a more serene madness, said no, do not kill but build a whale. Run up a steel skeleton, skin it with iron, illumi­ nate its interior and swim forth as Nautilus to be mistaken for and dubbed Moby Dick, in tribute to the American master. Melville had a most sad ending. In a poem based on a terrible regret, a few years ago, I advised Herman, much too late, to 'stay away from land, it's not your stuff'. Instead like an old god, its energies reversed, he made perma­ nent landfall where gravity seized him. Instead of rejuvenation from contact with the earth, Melville was stake-driven down xiii xiv Foreword and walked with tons instead of pounds of invisible flesh. He died not knowing his fame beyond century's end, stamping and stamping and stamping the United States customs in. Verne, contrarily, as Butcher proves in chapter after chapter, died in the midst of families. His own, with its lights and darks, but more important the world's and all those young locomotive, diving-bell, cloud-staring men who would almost rather stoke engines in lieu of exasperated fiancees and wives. Resultantly, he has never died. His family on his last day, was immense, and remains so. We young romantics who once read Tarzan have found that Burroughs was for our boyhood jungle years and can not be revisited. Verne, when we sit at his feet, remains our technological St. Nicholas, dispensing old gifts made freshly new on turning a page. When I made a brief appearance on APOSTROPHES the lead­ ing intellectual French television hour, 11 years ago, I found myself in a squabbling hen-yard of pontiffs mewing and mutter­ ing about Verne's this, that, and t'other, with some homosexual innuendos tossed in to spoil the hour. In the midst of the exchange I advised everyone to be quiet. 'Gentlemen', I said, 'you want to talk about the ants. I wish to talk about the Elephant'. I went on to say what I have said early on in this preface. Without Verne there is a strong possibility we would never have romanced ourselves to the Moon. His immortal dust should be divided in separate and equal parts to be lodged in that first footprint on the Moon, and tossed to the winds that blow across that great Martian ravine that can hide our continental United States and swallow our imaginations. It is only appropriate then that William Butcher comes at Jules Verne from just about every angle one can image. There are ants aplenty at his picnic. But in the main he skins and mounts the pachyderm without making it resemble the nine different kinds of animal described by those blind men of India. It is just about the most complete work on Verne I have seen, and I saw a plenteous lot when the New York Times, more than 30 years ago, asked me to celebrate his life. Since then, Verne has been rediscovered by Hollywood, and on several occasions by TV, not always to his advantage. Butcher is here to set the Foreword XV record straight and do some housekeeping in the rummage left behind by one-eyed screenwriters. Butcher's journey to, around, back and away from the pachy­ derm approaches the literary beast from as many directions as a well-meaning analyst can conjure. And if we do not in the end completely find the animal, that is good. For Verne turns out to be less creature and more unexplored territory. The meta­ phor of the elephant is insufficient. The fun and the mystery of Verne is the fact that after you have traversed great distances across his time, he always runs ahead. Like other novelist­ explore!s before and after him he could not resist going in a­ journey.
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