Casually on rereading Deleuzo-Guattarian Kafka, I was reminded of their opinion on Céline:
Céline's syntactic evolution went from VOYAGES to DEATH ON THE CREDIT PLAN, then from DEATH ON THE CREDIT PLAN to GUIGNOL'S BAND. (After that, Céline had nothing more to talk about except his own misfortunes; in other words, he had no longer any desire to write, only the need to make money. And it always ends like that, language's lines of escape: silence, the interrupted, the interminable, or even worse. But until that point, what a crazy creation, what a writing machine!
Deleuze & Guattari, Kafka (Dana Polan trans. 1986 [original 1975]).
Hey, don't be si méchants, Gilles and Félix, there must be more good works from him. I don't think it's a good idea to limit people's perspective in this way. It's all in the way you talk, you know.
