The Works of Guillaume Dustan, Volume 1: In My Room; I'm Going Out Tonight; Stronger Than Me (Semiotext(E) / Native Agents)

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BH: . . . at Monoprix! I am curious about what Genet meant to Dustan. You sized up Dustan’s fatigue with the côté de Proust, but what of JG? And since we are both devoted fans, what if anything does that supreme writer-filmer Alain Guiraudie inherit from GD? Presentation to research workshop on 'The Renaissance of Psychedelic Therapies: Lessons from Switzerland', Fondation Brocher, Geneva, 19-20 June 2024. Dustan died of an accidental drug overdose on October 3, 2005. [9] He is buried in Montparnasse Cemetery (division 29). [10] Bibliography [ edit ]

Anne-Marie Ringenbach, Mayette Viltard, in Une perruque et un stylo. Légender Dustan, Unebévue éditeur, p.9-11. WK: You mentioned the Turin shroud. The bedsheets, outfilthing Wilde. But the apartments in the Tristan cycle of films are superclean and upscale. New Interdisciplinary Perspectives On and Beyond Autonomy, co-edited with Christopher Watkin (London: Routledge, 2023). Dustan's first three novels, In My Room, I'm Going Out Tonight, and Stronger Than Me, published in France between 1996 and 1998, were re-released in English by Semiotext(e) in 2021. Edited by Thomas Clerc and translated by Daniel Maroun, the novels follow the narrator's sexual journeys in Paris. [7]Eastwood reading Beauvoir reading Eastwood: combative self-assertion in Gran Torino (2008) and Old Age [1970]', in Existentialism and Contemporary Cinema: A Beauvoirian Perspective, ed. by Ursula Tidd and Jean-Pierre Boulé (Oxford: Berghahn, 2012), 135-148. Il fait quelques apparitions au cinéma [17 ], en 2001, dans le court-métrage Les Éléphants de la planète Mars, de Philippe Barassat, et en 2003, dans Process, de C.S. Leigh. Dustan wanted to mess with the hierarchies: of face and ass, of &8216;abstraction’ and ‘representation,’ of speech and sight, of ‘good’ and ‘bad,’ of main course and side.&8221;

WK: Because the ass, his ass, the partner’s ass, like Eugène Atget’s Paris, isn’t going to be around much longer. So film it. Film it right now. Stintless documentation. The narrator is lusty, depressive, and in his late 20s. Hungry and horny. The writing exists in that catalog of encounters realm, one that might make you think of "The Sexual Life of Catherine M" another French book of sexual compulsion that came out in 2001. This might be most easily attached to Dustan's "Stronger Than Me," which is an unsentimental education in forms of queer kink, experiences that are enumerated, not exactly written as erotica. The centerpiece of the book is a marathon of submission that the narrator engages, endures (?) on his mother's birthday, a fact mentioned a few times amongst various acts of water sports, fisting, and candle wax drippings onto and into the narrator's penis.Dustan, Guillaume (29 June 2021). The Works of Guillaume Dustan, Volume 1. The MIT Press. ISBN 9781635901429 . Retrieved 26 December 2020. BH: Foot-fisting seems to be the generic term, but I’ve had a hard time finding spicier slang. . . . Romain Charbon, « Guillaume Dustan, le sulfureux fantôme qui continue de hanter la littérature», Vanity Fair,‎ 28 juillet 2021 ( lire en ligne) BH: — Times Square Red, Times Square Blue (1999)! The stuffed animals: Guibert’s there, too, doucement. Lambikins. Jacques Rancière et l'art contemporain : un échange d'histoires d'amour et de tyrannicide / Jacques Rancière and Contemporary Art: Swapping Stories of Love and Tyrannicide', Critique d'art 41 (Spring-Summer 2013), 14-30.

Guillaume Dustan's "autopornobiographie": Is there room for trash in the queer subcultural archive?', in Alienation and Alterity: Otherness in Modern and Contemporary Francophone contexts, ed. by Helen Vassallo & Paul Cooke (Bern: Peter Lang, 2009), 59-76. Guillaume Dustan a inspiré l'un des personnages principaux du roman La Meilleure Part des hommes de Tristan Garcia. A biography published earlier this year, Raffael Enault’s Dustan Superstar, attempts to ‘save’ Dustan through hagiography: almost unsparing in its avalanche of minutiae, it replaces the myth of his own self-creation with plodding fact. The difficult truth may be that Dustan, with his energetic polemics, his disdain for the conventional, was necessarily at odds with anyone trying to contain or co-opt him. As his epitaph in Montparnasse Cemetery reads: ‘I was always for everything’. And, it seems clear today, absolutely nothing else.WK: I think Dustan was very anti-Pléiades, which is a big deal if you’re a French writer: to desire (concretely, not merely metaphorically) to saute ma ville. The importance of the foot-fisting is to show how not merely theoretical his anti-Pléiades stance is. Ahmed Haderbache, «Sexe, drogue, séropositivité: un leitmotiv de la fête chez Guillaume Dustan», Écrire, traduire et représenter la fête, Université de Valence, 2001 [82 ]. WK: I assume that what the films “express” is just how tired he was of being a judge. Not that I know anything about his judicial career. But of course he was tired of it. Wouldn’t you be tired?