Abstract

In his preface to Human, Too Human Nietzsche wrote: ‘My books have been labelled the school of suspicion … ‘ Predicted and desired by Nietzsche, the age of suspicion does seem to be one of the labels that best characterize the century that has just closed. And symptomatically it was used a few decades later in France to describe writers’ interrogations about the novel as a literary genre, its facilities and conventions, its easy determinisms, as well as the exorbitant power of the novelist-demiurge. Is it necessary to recall that the forerunner to the nouveau roman, written by Nathalie Sarraute in the 1930s, was in fact entitled L’Ère du soupçon? It is impossible to emphasize enough this close concordance between philosophical questioning and aesthetic interrogations, particularly in the notion of avant-garde, which is indispensable for thinking about intellectual and political renewal. It is true that the 20th century was the century of the universal declaration of human rights, but also the century of rejection of norms inherited from philosophical, literary, cultural, religious or scientific traditions, which came to be suspected of providing only off-the-peg elements for thought and action at a time when the world was changing and required new forms of thinking.