Hadland: I believe that’s the case with Bernstein’s book All the King’s Horses. And where she ended up in a system, in the world, at a certain moment in time. Now, maybe I’ve been able to write the book that investigates the shaping of this girl on a psychoanalytic level. It’s like a conceptual project in reverse. It can be seen as a joke in a way: coming of age, expatriate in Paris, etc. Memoir in the publishing world is like the cookbook: it’s what sells.
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In a way, my first book, An Extraordinary Theory of Objects, makes more sense in this context.
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Hadland: Stephanie, were these characters people you’ve been revisiting and exploring in other things you’ve written? Since Hedi El Kholti joined Semiotext(e) in 2004, we’ve co-edited the imprint and it’s a lot harder now to define.
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Initially, I felt like I had to create an intellectual justification for publishing, basically, my friends - and so I presented the series as a mirror world of French theory, of subjectivity-in-practice. The Native Agents series has changed a great deal since its inception in 1990. I immediately associated the book with a certain lineage that began (at least for us) with Michèle Bernstein’s All the King’s Horses, but that’s not why I wanted to publish it. There’s such a dramatic contrast between the sophisticated, light art world Mathilde moves in and the gaping hole left in her life by the loss of her mother. The Superrationals unfolds through a brisk narrative, but Stephanie makes all of these shrewd and knowing observations along the way. What drew you to this story and how did you see it fitting in with the Semiotext(e) publishing record, particularly the Native Agents series? Could you talk a little bit about the series’ inception?Ĭhris Kraus: I just think Stephanie is a wonderful writer. Some people would say that’s not a good thing, but I think if it has a purpose, and even when it’s disorienting, that can be really interesting. LaCava: Yeah, it’s this kind of thing where it could have started at the end. There weren’t always distinct styles that made them easy to tell apart rather, there was more overlap, as if they were interchangeable.
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When I first read it as a PDF there were no page numbers, so I would get confused about which narrator was speaking. Hadland: I think the first section and last section are untitled, whereas others are titled with the name of the narrator for that section, as if to suggest the central character could be any of them.
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Mathilde is stuck in a system trying to find her way out, haunted not only by her mother but by a legacy of storytelling that punishes women like her. This kind of Oulipian restraint fell away, but it’s still there in this idea of repeating our parents and reliving the same patterns. It would have been almost as if you could turn the book over and read it the opposite way or open it to any section and read the narrative in any order. I started off wanting to plot the story in the form of an anagram, so that you could fold it onto itself. Hoffman’s “The Sandman.” I knew I wanted to tell a fictional narrative that tackled questions of desire and the unconscious hidden in a creepily familiar superficial world. Stephanie LaCava: I started research for the book seven years ago with texts around Freud’s “Uncanny,” like E. What prompted you to write this story in this way? Had it taken on any other forms before the structure of a novel? What was important for you to be getting at in this book? The book is told through multiple characters perspectives and timelines are constantly shifting and overlapping. Gracie Hadland: The Superrationals is the story of a young woman, Mathilde de Saint-Evans, trying to identify herself, her desires, and her ambitions in and around the New York and European art worlds of the 2010s.