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Additional resources for Michel Tournier and the Metaphor of Fiction (Modern French Writers)

Sample text

Often the use of a particular model may amount to nothing more than a strained and artificial description of a well-mapped domain. But on other occasions it may highlight what has previously been overlooked, or shift the relative emphasis attached to details; in general it may help us to see new connections. Recent thinkers such as Goodman (working specifically within the framework of pictorial art), Ortony and Kittay have wrestled with the difficulties involved in discriminating between the literal and the metaphorical use of language.

Literature records the triumph of metaphor. It is not about the way that texts deconstruct themselves. Instead it speaks of our fundamental desire to make connections, create categorical sets and design the world in the way that Ricardou says metaphor does. Ricardou’s conclusion that all is metaphor,68 and my reading of his experimental novel, that the ants show the unstoppable, perhaps ultimately futile instinct of humans constantly to organise and reorder their environment, funnels into the re-evaluation of metaphor in a nonliterary context conducted with a rare panache by American linguists George Lakoff and Mark Johnson.

However, Lakoff and Johnson are primarily interested in the sophisticated language games of an advanced society, and it is in this context that the ‘orientational’ metaphors serve paradoxically to draw a distinction between the metaphorical and the literal. Language which is literal, they say, speaks of how ‘we understand our experience directly when we see it as being structured directly from interaction with and in our environment’. 73 This definition is only possible, and therefore only relevant, as an overview, a conclusion to the progressive unfolding of truths and myths that has preceded it.

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