Georges Perec (; 7 March 1936 – 3 March 1982) was a French novelist, filmmaker, documentalist, and essayist. He was a member of the Oulipo group. His father died as a soldier early in the Second World War and his mother was killed in the Holocaust. Many of his works deal with absence, loss, and identity, often through word play.
Early life
Born in a working-class district of Paris, Perec was the only son of Icek Judko and Cyrla (Schulewicz) Peretz, Polish Jews who had emigrated to France in the 1920s. He was a distant relative of the Yiddish writer Isaac Leib Peretz. Perec's father, who enlisted in the French Army during World War II, died in 1940 from untreated gunfire or shrapnel wounds, and his mother was killed in the Holocaust, probably in Auschwitz sometime after 1943. Perec was taken into the care of his paternal aunt and uncle in 1942, and in 1945, he was formally adopted by them.
Career
Perec started writing reviews and essays for La Nouvelle Revue française and , prominent literary publications, while studying history and sociology at the Sorbonne. In 1958/59 Perec served in the army as a paratrooper (XVIIIe Régiment de Chasseurs Parachutistes), and married Paulette Petras after being discharged. They spent one year (1960/1961) in Sfax, Tunisia, where Paulette worked as a teacher; these experiences are reflected in Things: A Story of the Sixties, which is about a young Parisian couple who also spend a year in Sfax.
In 1961 Perec began working at the Neurophysiological Research Laboratory in the unit's research library funded by the CNRS and attached to the Hôpital Saint-Antoine as an archivist, a low-paid position which he retained until 1978. A few reviewers have noted that the daily handling of records and varied data may have had an influence on his literary style. In any case, Perec's work on the reassessment of the academic journals under subscription was influenced by a talk about the handling of scientific information given by Eugene Garfield in Paris and he was introduced to Marshall McLuhan by Jean Duvignaud. Perec's other major influence was the Oulipo, which he joined in 1967, meeting Raymond Queneau, among others. Perec dedicated his masterpiece, La Vie mode d'emploi (Life: A User's Manual) to Queneau, who died before it was published.
Perec began working on a series of radio plays with his translator Eugen Helmle and the musician in the late 60s; less than a decade later, he was making films. His first work, based on his novel Un Homme qui dort, was co-directed by , and won him the Prix Jean Vigo in 1974. Perec also created crossword puzzles for Le Point from 1976 on.
La Vie mode d'emploi (1978) brought Perec some financial and critical success—it won the Prix Médicis—and allowed him to turn to writing full-time. He was a writer-in-residence at the University of Queensland, Australia, in 1981 during which time he worked on 53 Jours (53 Days), which he would not finish. Shortly after his return from Australia, his health deteriorated. A heavy smoker, he was diagnosed with lung cancer. He died the following year in Ivry-sur-Seine at age 45, four days shy of his 46th birthday; his ashes are held at the columbarium of the Père Lachaise Cemetery.
Work
Many of Perec's novels and essays abound with experimental word play, lists and attempts at classification, and they are usually tinged with melancholy.
Perec's first novel Les Choses (published in English as Things: A Story of the Sixties) (1965) was awarded the Prix Renaudot.
Perec's most famous novel La Vie mode d'emploi (Life A User's Manual) was published in 1978. Its title page describes it as "novels", in the plural, the reasons for which become apparent on reading. La Vie mode d'emploi is a tapestry of interwoven stories and ideas as well as literary and historical allusions, based on the lives of the inhabitants of a fictitious Parisian apartment block. It was written according to a complex plan of writing constraints, and is primarily constructed from several elements, each adding a layer of complexity. The 99 chapters of his 600-page novel move like a knight's tour of a chessboard around the room plan of the building, describing the rooms and stairwell and telling the stories of the inhabitants. At the end, it is revealed that the whole book actually takes place in a single moment, with a final twist that is an example of "cosmic irony". It was translated into English by David Bellos in 1987.