The Death of the Author
less transparent allegory of fiction, it was always finally the voice of one and the same
person, the author, which delivered his “confidence.”
—
2
The Death of the Author
Though the Author’s empire is still very powerful (recent criticism has often merely
consolidated it), it is evident that for a long time now certain writers have attempted to
topple it. In France, Mallarme was doubtless the first to see and foresee in its full extent
the necessity of substituting language itself for the man who hitherto was supposed to
own it; for Mallarme, as for us, it is language which speaks, not the author: to write is to
reach, through a preexisting impersonality — never to be confused with the castrating
objectivity of the realistic novelist — that point where language alone acts, “performs,”