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By Garth Gilmour

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13. Ibid. 14. ”’ Quoted in Kearney, The Wake of Imagination, p. 275. 15. Ibid. 16 Moreover, words cease to belong to the person of the author who is now accused of taking over the role of god from traditional metaphysics, and of occupying a privileged place as the new ‘transcendent reality’ to whom all meaning must refer. 18 It is the author as divinized presence that becomes such a problem for many of the literary theorists of this period (1960s), and this reaction to ‘metaphysics’ in its now veiled form as ‘humanism’ is part of the intellectual atmosphere in which Girard becomes a living critic.

27. Burke, The Death and Return of the Author, p. 27. About Barthes’s criticism Burke claims: ‘Two balls must be kept constantly in the air: the author will return but the death of the author must stand. The ingenious way in which Barthes Division and Unity in Literary Space 33 Girard, as we shall see, does not hide the reintroduction of the author. He announces the death of the author only in the context of literary space and the religious symbolism that brings new life. There is no evidence that he follows structuralism to the limits that Barthes explores.

We believe that ‘novelistic’ genius is won by a great struggle against these attitudes we have lumped together under the name ‘romantic’ because they all appear to us to maintain the illusion of spontaneous desire and of a subjectivity almost divine in its autonomy. Only slowly and with difficulty does the novelist go beyond the romantic he was at first and who refuses to die. 44 Only truly ‘great’ novels apprehend the triangular ‘essence’ that literary space yields. 46 To do so is to discover what the novelist discovers, which is, that our desires are not our own, but rather belong to the models we either consciously or unconsciously admire and imitate (and of course these models have in turn other models for their desires).

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An Iron Age II Pictorial Inscription from Jerusalem Illustrating Yahweh and Asherah by Garth Gilmour

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