''He told me this much...that he's met a woman in Paris and that they'd been writing to each other. That their letters had become increasingly erotic.'
'A man who can no longer talk to his wife. His brief encounter with another woman. The beginnings of a possible affair in letters. Letters which might be turned into a novel, or a confession. There are the facts.
'But the facts begin to shift. Fiction and reality become indistinguisable in one person's search for truth and another's realisation of desire. What I Have Written is a novel of sexual obsession, a literary puzzle in which what is written is far from what it seems.'
Source: Publisher's blurb.
What I Have Written
( dir. John Hughes
)
Melbourne
:
Early Works
,
1995
Z126531
1995
single work
film/TV
What I Have Written explores masculinity, spectatorship, and the pornographic imagination. After Christopher Houghton suffers a stroke from which he is not expected to recover, his wife Sorel Atherton receives the manuscript of a novella written by her husband and 'leaked' to her by her husband's friend and university colleague, Jeremy Fayrfax. Sorel finds in these pages evidence of a life betrayed. While Christopher Houghton stares speechless and uncomprehending from his death bed, Fayrfax seeks a moment of truth.
'In the literature of the last few decades depiction of sex have become commonplace. The old taboos which made any allusion to these matters something daring or transgressive have disappeared, to the extent that the reader is surprised, and perhaps a little disappointed, when he or she fails to find any sexual descriptions in the novel. It would appear that the characters have as few inhibitions when it comes to having sex as the writers when it comes to describing it.' (p. 119)
'In the arts generally and in literature in particular, depictions of sex are never a mere representation of life-they are more like a substitute for it, an alternative to it. They often express desires which cannot find fulfilment in reality, and thus are entrusted to the imagination by which, for all their 'baser' nature, they are turned, or sublimated, into something more acceptable to society, something that can appear on a canvas or a sheet of paper and relieve the artist's, as well as the viewer's frustration.' (p. 61)
'All serious art breaks the rules-there can be no innovation without some form of transgression. Yet the breaking of rules is not enough to produce serious art, and while the very focus of erotic writing seems to invite transgressions, these are not necessarily liberating or creative. When transgressions lie for the most part in the subject-matter, their translation into literary break-throughs is problematic, and they can in fact be undermined by writing that is bland, conventional and predictable. Literature, it bears perhaps repeating, is not the thing itself but a representation and thus a re-creation of it. Modes of representations are always ideologically loaded and, while the contemporary period has invented very little in terms of sexual practices, it has been able to innovate significantly in terms of representational practices. It remains to be seen what kind of articulation can be found between the two.' (p 39)
'All serious art breaks the rules-there can be no innovation without some form of transgression. Yet the breaking of rules is not enough to produce serious art, and while the very focus of erotic writing seems to invite transgressions, these are not necessarily liberating or creative. When transgressions lie for the most part in the subject-matter, their translation into literary break-throughs is problematic, and they can in fact be undermined by writing that is bland, conventional and predictable. Literature, it bears perhaps repeating, is not the thing itself but a representation and thus a re-creation of it. Modes of representations are always ideologically loaded and, while the contemporary period has invented very little in terms of sexual practices, it has been able to innovate significantly in terms of representational practices. It remains to be seen what kind of articulation can be found between the two.' (p 39)
'In the arts generally and in literature in particular, depictions of sex are never a mere representation of life-they are more like a substitute for it, an alternative to it. They often express desires which cannot find fulfilment in reality, and thus are entrusted to the imagination by which, for all their 'baser' nature, they are turned, or sublimated, into something more acceptable to society, something that can appear on a canvas or a sheet of paper and relieve the artist's, as well as the viewer's frustration.' (p. 61)
'In the literature of the last few decades depiction of sex have become commonplace. The old taboos which made any allusion to these matters something daring or transgressive have disappeared, to the extent that the reader is surprised, and perhaps a little disappointed, when he or she fails to find any sexual descriptions in the novel. It would appear that the characters have as few inhibitions when it comes to having sex as the writers when it comes to describing it.' (p. 119)
