Algerian authors Quotes

“Peace wins over wealth.”

“Today everyone on our side knows that criminality is not the result of the Algerian's congenital nature nor the configuration of his nervous system. The war in Algeria and wars of national liberation bring out the true protagonists. We have demonstrated that in the colonial situation the colonized are confronted with themselves. They tend to use each other as a screen. Each prevents his neighbor from seeing the national enemy. And when exhausted after a sixteen-hour day of hard work the colonized subject collapses on his mat and a child on the other side of the canvas partition cries and prevents him from sleeping, it just so happens it's a little Algerian. When he goes to beg for a little semolina or a little oil from the shopkeeper to whom he already owes several hundred francs and his request is turned down, he is overwhelmed by an intense hatred and desire to kill—and the shopkeeper happens to be an Algerian. When, after weeks of keeping a low profile, he finds himself cornered one day by the kaid demanding "his taxes," he is not even allowed the opportunity to direct his hatred against the European administrator; before him stands the kaid who excites his hatred—and he happens to be an Algerian.”

“The Algerians were revolutionsists, they wanted land. France offered to let them be integrated into France. They told France, to hell with Fance, they wanted some land, not some France.”

“The Macedonian Endeavour Channel was screening live coverage of the world series of the Who’s Got the Stupidest Name (WGSN) competition. First prize had already gone to Brian Burdock, a French Algerian with a penchant for Longchamp.”

“Don't you think our society is designed to kill in that way? Of course, you've surely heard about those tiny fish in the rivers of Brazil which attack the swimmer by the thousands, eat him up in a few moments in quick little mouthfuls and leave only a perfectly clean skeleton behind? So, that's the way they're constituted. 'Do you want a clean life, like everyone else?' Of course the answer is yes. How could you not? 'Fine. We'll clean you up. Here's a job, here's a family, here's some organized leisure.' And the little teeth bite into the flesh, right down to the bone. But i'm being unfair. I shouldn't have said, 'the way they're constituted', because after all, it's our way, too: it's a case of who strips whom.”

“There is in Albert Camus’ literary craftsmanship a seductive intelligence that could almost make a reader dismiss his philosophical intentions if he had not insisted on making them so clear.”

“Some have speculated that the way [Albert] Camus died made his theories on absurdity a self-fulfilling prophecy. Others would say it was the triumphant meaningful way he lived that allowed him to rise heroically above absurdity.”

“It would seem that the author’s name, unlike other proper names, does not pass from the interior of a discourse to the real and exterior individual who produced it; instead, the name seems always to be present, marking off the edges of the text, revealing, or at least characterizing, its mode of being. The author’s name manifests the appearance of a certain discursive set and indicates the status of this discourse within a society and a culture. It has no legal status, nor is it located in the fiction of the work; rather, it is located in the break that founds a certain discursive construct and its very particular mode of being. As a result, we could say that in a civilization like our own there are a certain number of discourses that are endowed with the “author-function”, while others are deprived of it. A private letter may well have a signer_ it does not have an author; a contract may well have a guarantor_ it does not have an author. An anonymous text posted on a wall probably has a writer_ but not an author. The author-function is therefore characteristic of the mode of existence, circulation, and functioning of certain discourses within a society.”

“The truth is quite the contrary: the author is not an indefinite source of significations which fill a work; the author does not precede the works, he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. In fact, if we are accustomed to presenting the author as a genius, as a perpetual surging of invention, it is because, in reality, we make him function in exactly the opposite fashion. One can say that the author is an ideological product, since we represent him as the opposite of his historically real function. (When a historically given function is represented in a figure that inverse is, one has an ideological production). The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.In saying this, I seem to call for a form of culture in which fiction would not be limited by the figure of the author…”

“As a result, we must entirely reverse the traditional idea of the author. We are accustomed, as we have seen earlier, to saying that the author is the genial creator of a work in which he deposits, with infinite wealth and generosity, an inexhaustible world of significations. We are used to thinking that the author is so different from all other men, and so transcendent with regard to all languages that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely.”