Kural falan yok, kural olsaydı kalem kağıt kullanımı yüzyıllar önce bırakılmıştı. Örneğin Celine, dediğini başarmak için uğraşıyordu ve kural kitap tanımamıştı. Yalnız 800 sayfa yazacaksa, 8000 sayfa yazıp, ayıklaması gerekiyordu. Yani zamanla yarışıyorsan işin zor. Aşağıda, bir röportajında, kuralları dayatan, Fransız eğitim sistemini yüzyıllarca yönetmiş Cizvitlerin dili nasıl öldürdüklerinden bahsediyor. ( Türkçe tercümesini bulamadım ) Senaryo çok önemli de olmayabilir. Godard, çekim günü yazıyordu mesela. Kendin yöneteceksen, vurgu ve nüansları zaten biliyorsundur. Önce duygular vardı, kelimeler ( fiiller yani ) sonra bulundu ve duyguları öldürdü. Birileri kabul edecek ya da yanlış bulacak diye kısıtlanmaya gerek yok. İmla, pedagoji ile ilgilidir ve sanat ile hiçbir alakası bulunmaz. Örneğin cep telefonlarında kısaltma kullanımı, ergenlerin, ana baba otoritesi ve denetiminden kurtulma çabası olarak doğmuştu. 18.Yüzyıl'dan önce sözlük diye bir şey yoktu bile. Aydınlanma ile ortaya çıkmaya başladı bunlar. Oxford bile sözlüklerinde varyantlardan dem vurur ve tek bir kullanımı dayatmaz.
INTERVIEWER
A fashion that caused a scandal with the appearance ofJourney. Your style shook a lot of habits.
CELINE
They call that inventing. Take the impressionists. They took their painting one fine day and went to paint outside. They saw how you really lunch on the grass. The musicians worked at it too. From Bach to Debussy there's a big difference. They've caused some revolutions. They've stirred the colors, the sounds. For me it's words, the positions of words. Where French literature's concerned, there I'm going to be the wise man, make no mistake. We're pupils of the religionsCatholic, Protestant, Jewish . . . Well, the Christian religions. Those who directed French education down through the centuries were the Jesuits. They taught us how to make sentences translated from the Latin, well balanced, with a verb, a subject, a complement, a rhythm. In shorthere a speech, there a preach, everywhere a sermon! They say of an author, He knits a nice sentence! Me, I say, It's unreadable. They say, What magnificent theatrical language! I look, I listen. It's flat, it's nothing, it's nil. Me, I've slipped the spoken word into print. In one sole shot.
INTERVIEWER
That's what you call your little music, isn't it?
CELINE
I call it little music because I'm modest, but it's a very hard transformation to achieve. It's work. It doesn't seem like anything the way it is, but it's quality. To do a novel like one of mine you have to write eighty thousand pages in order to get eight hundred. Some people say when talking about me, There's natural eloquence . . . He writes like he talks . . . Those are everyday words . . . They're practically identical . . . You recognize them. Well, there, that's transformation. That's just not the word you're expecting, not the situation you're expecting. A word used like that becomes at the same time more intimate and more exact than what you usually find there. You make up your style. It helps to get out what you want to show of yourself.
INTERVIEWER
What are you trying to show?
CELINE
Emotion. Savy, the biologist, said something appropriate: In the beginning there was emotion, and the verb wasn't there at all. When you tickle an amoeba she withdraws, she has emotion, she doesn't speak but she does have emotion. A baby cries, a horse gallops. Only us, they've given us the verb. That gives you the politician, the writer, the prophet. The verb's horrible. You can't smell it. But to get to the point where you can translate this emotion, that's a difficulty no one imagines . . . It's ugly . . . It's superhuman . . . It's a trick that'll kill a guy.