Sartre's second century

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Contemporary Perspectives 189 We exist here and now, without any particular reason or cause" —words that might be taken verbatim from any one of Roquentin's perorations on the subject, or indeed from UExistentialisme est un humanisme (Existentialism is a Humanism, 1946). Finally (but not exhaustively), Murakami evokes what we might call the "nauseous worldview" in a story whose very title—"Crabs"—resonates with Sartrean obsessions about crustaceans and all the menacing underworld of the submarine biosphere: "The world felt out of kilter. He could hear as it creaked through this new orbit. Something had happened, he thought, and the world had changed." 50 Compare this with Roquentin's anxiety at the outset of his journal, the document that will be both the record of his anguish and the vehicle of his enquiry into it: "It's an abstract change that settles on nothing. Is it I that have changed? If not me, then it's this room, this town, this nature; I have to choose." 51 It goes without saying that Sartre had no monopoly of reflection upon appearance, image and reality; upon individual limitations and our sense of futility; or upon existential contingency and the unnameable vertigo entailed by our apprehension of it. Nor does it follow that any contemporary writer who alludes to or meditates upon such things is either deliberately paying tribute to Sartre or inadvertently disclosing his influence. Nevertheless, initially intrigued by Haruki Murakami's provocative plagiarism of one of the best-known titles in twentieth-century world literature, I contend that there is sufficient prima facie evidence in Blind Willow, Sleeping Woman to justify further investigation into the Sartrean influence that the author tacitly avows. This claim is yet another indicator, therefore, that Sartre's thought and work remain sufficiently vibrant and dynamic to be brought into dialogue with early twenty-firstcentury artists in different genres—here, the cinema of George Clooney or the prose fiction of Haruki Murakami—with mutual illumination and profit. 49 "A Toor Aunt' Story", in Blind Willow, Sleeping Woman, 125-42 (136). 50 "Crabs", in ibid., 209-14 (213). 51 "C'est un changement abstrait qui ne se pose sur rien. Est-ce moi qui ai changd? Si ce n'est pas moi, alors c'est cette chambre, cette ville, cette nature; il faut choisir" (La Nausee, 9).
190 Chapter Twelve Works Cited Anon. "Death of an Idealist", Time, 24 November 1952, accessed 28/08/2006 @ www.time.com/time/magazine/printout/0,8816,817355,00.html. Asabuki Tomiko. Vingt-huit Jours au Japon avec Jean-Paul Sartre et Simone de Beauvoir (trans. Claude Peronny and Tanaka Chiharu). Paris: Langues et Mondes / L'Asiatheque, 1996. Flynn, Thomas R. "Introduction: Sartre at One Hundred—a Man of the Nineteenth Century Addressing the Twenty-First?", in Leak and van den Hoven (eds), Sartre Today: A Centenary Celebration, 1-14. Hill, Tobias. "A Hole in the Middle of the Pacific: Haruki Murakami's latest collection of short stories, Blind Willow, Sleeping Woman, is a delight." The Guardian Review, Saturday 8 July 2006. Leak, Andrew and Adrian van den Hoven (eds). Sartre Today: A Centenary Celebration. Oxford: Berghahn Books, 2005. (Also published as Sartre Studies International, vol. 11, no. 1/2, 2005.) McBride, William L. "Sartre at the Twilight of Liberal Democracy as We Have Known It", in Leak and van den Hoven (eds), Sartre Today: A Centenary Celebration, 311-18. Murakami Haruki. "Nausea 1979", in Blind Willow, Sleeping Woman (trans. Philip Gabriel and Jay Rubin). London: Harvill Seeker, 2006. O'Donohoe, Benedict. Sartre's Theatre: Acts for Life. Bern: Peter Lang, Modern French Identities, 34,2005. Pdju, Marcel. "Abraham Feller, ou 'son propre bourreau'" ["Abraham Feller, or 'his own executioner'"], Les Temps modernes, March 1953. Rowley, Hazel. Tete-a-tete: The Lives and Loves of Simone de Beauvoir and Jean-Paul Sartre. London: Vintage Books, 2007. Sartre, Jean-Paul. Les Mots. Paris: Gallimard, 1964. —. La Nausee (1938), in (Euvres romanesques (Edition &ablie par Michel Contat et Michel Rybalka), 1-210. Paris: Gallimard, Bibliotheque de la Pleiade, 1981. —. Les Jeux sont faits (ed. B. P. O'Donohoe). London: Routledge, Twentieth Century French Texts, 1990. —. La Part dufeu, in Theatre complet (edition publiee sous la direction de Michel Contat), 1183-1214. Paris: Gallimard, Bibliotheque de la Pleiade, 2005.
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Sartre's Second Century Edited by B
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viii Table of Contents CHAPTER NINE
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X Introduction unique in embracing
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Xll Introduction but throughout wes
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CHAPTER ONE SARTRE: A BIOGRAPHICAL
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Sartre: A Biographical Sketch 3 Par
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Sartre: A Biographical Sketch 5 By
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Sartre: A Biographical Sketch 7 The
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CHAPTER TWO AUTOBIOGRAPHY, ONTOLOGY
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Autobiography, Ontology and Respons
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CHAPTER THREE LITERATURE AND PHILOS
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Literature and Philosophy in Sartre
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Temporality and the Death of Lucien
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Sartre and Nietzsche: Brothers in A
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CHAPTER SIX 1945-2005: EXISTENTIALI
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1945-2005: Existentialism and Human
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Sartre, Intentionality and Praxis 8
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The New Sartre: A Postmodern Progen
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CHAPTER NINE A SURREPTITIOUS ROMANT
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Reading Sartre with Victor Hugo 125
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Page 156 and 157: Hidden Wordplay in the Works of Jea
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Page 170 and 171: The Literary-Philosophical Experien
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Page 204 and 205: CHAPTER THIRTEEN EXISTENTIALIST IMP
Page 206 and 207: Existentialist Impact on 6shima Nag
Page 216 and 217: Sartre's Legacy in an Era of Obscur
Page 228 and 229: CONTRIBUTORS CAM CLAYTON Cam Clayto
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Sartre's second century

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