Prisms and Rainbows: Michel Butor's Collaborations with Jacques Monory, Jiri Kolar, and Pierre Alechinsky
Elinor S. Miller

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More than any other contemporary writer, Butor has significantly transformed the idea of creative activity through his collaborations with artists from various fields of artistic expression. One of his lifelong goals has been to break down the artificial barriers and to show the interconnectivity of all modes of creative activity. Regrettably, the collaborative projects are not as well known as his fictional writings, due in part to the inaccessibility of the former. Initially printed in limited editions, some were later published in literary volumes without the accompanying artwork.

Miller is one of only a handful of Butor scholars who has studied hi collaborative works. Were it only for the logistics of combining many trips to museums abroad, countless interviews, conference presentations, and thousands of hours of work, Miller’s book would be worthy of praise. She has not only succeeded in bringing together the texts and the works of art in one volume, and in the process providing a detailed analysis of Butor’s writing, but has also shed light on the works o art themselves. In addition to being an excellent critical study of Butor’s texts, Prisms and Rainbows also offers a much broader analysis of each individual artist’s work and world view.

The book is essentially a close reading (for lack of a better word), an explication de texte of the poems and short texts written by Butor to accompany the artists’ work. The book is divided into three main chapters, treating Butor’s collaboration with Monory, Koar, and Alechinsky. In the introduction, Miller explains her title: “prisms” represent the works of the artists and “rainbows” represent Butor’s texts and identify the major “themes”: politics, harmony, humor, structure. She concludes by mentioning other studies on Butor’s collaborative work. The chapter on Monory concentrates on the Bicentennial Kit (serigraphs by Monory, poetry by Butor) given to Elinor Miller and Dean McWilliams by Butor. Butor’s poems serve as a commentary and explanation of each serigraph. In chapter 2, Miller examines several of Kolar’s collages and their accompanying texts by Butor. Then, in Chapter 3, she analyzes several of Alechinsky’s engravings and paiers trouvés works, and Butor’s writings.

Miller analysis of Butor’s texts is much more meaningful when one is able to see the artist’s work on the page. The two creative works are mutually and critically important to our understanding of the collaboration. One could say that Miller provides us with the tools for a new creation, one that can only result from the presence of both works on the same page. It is a revelation of sorts presenting a simultaneous explanation of both. It is the prisms that give the possibility of a rainbow and it is the rainbow in turn that defines the brilliance of the prism. They are inseparable. This perhaps is the greatest contribution of Miller’s book.

This book is not for everyone. The casual reader runs the risk of getting lost in the detail and the close reading of the poems, and is likely to give up. It is, however, a treasure box for those who have an eye for detail and are genuinely interested in collaborative works. Artists who do not know Butor will find in this book a breath of fresh air that brings a new perspective to the works of Monory, Kolar, and Alechinsky. Those who know only Butor’s work will gain a deeper insight into his creative mind and literary genius. And ultimately, for those who appreciate both, this book will serve as an excellent example of the interrelationship of all forms of artistic expression.

Seda Chavdarian, University of California, Berkeley, French Review, 79.3

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