Philippe Sollers, l'isolé absolu 1998

With Sollers, the absolute isolated, André S. Labarthe approached as closely as possible “the most recognized and the most fought, the most solicited and the most secretly hated, the most turbulent and the most embarrassing, the most uncontrollable and therefore the most intolerable, in short, the least localizable of contemporary writers.” A unique Sollers, deliberately spun outside the walls and against the grain. Far from the conventional, plethoric imagery of the spectacular Parisian scene, an inexhaustible field of social observation. Few archive elements, apart from a few photos and two significant extracts where Philippe Sollers displays his Paradise seized head-on by Jean-Paul Fargier in 1983.

With Sollers, the absolute isolated, André S. Labarthe approached as closely as possible “the most recognized and the most fought, the most solicited and the most secretly hated, the most turbulent and the most embarrassing, the most uncontrollable and therefore the most intolerable, in short, the least localizable of contemporary writers.” A unique Sollers, deliberately spun outside the walls and against the grain. Far from the conventional, plethoric imagery of the spectacular Parisian scene, an inexhaustible field of social observation. Few archive elements, apart from a few photos and two significant extracts where Philippe Sollers displays his Paradise seized head-on by Jean-Paul Fargier in 1983.