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This bone was accordingly removed from the body of every recently deceased person, carefully hollowed out, and affixed to a stake planted in a vast field, each rib facing into the east wind. Dewsbury was obsessed by the need to discover the precise location of the seat of the soul within the body, and spent many years travelling the world comparing the opinions of different peoples and cultures on this matter. The most complicated of these involves an apparatus capable of recording and reproducing the winds, a harp whose strings are made from wax tears shed by the wives of 15 brothers, Shakespeare’s hollowed-our rib, the cracked chime of a London clock and an engraved zinc flower. Her sudden death disrupted performances of his theatrical adaptation of Impressions d’Afrique – a typescript version of which has happily turned up among the rediscovered papers – and Roussel was so grief-stricken he had a glass pane inserted in her coffin so he could gaze on her beloved features up to the very moment of her interment. Nearly all the excised material is as lively and inventive as the episodes Roussel finally chose to retain. As a further embellishment the star of the group, an Angora cat named Tito, leafs through an atlas and puts his paw on any town or region the young impresario – here called Roger Danglés – asks him to find.
The intensively worked manuscripts of Impressions d’Afrique contain a number of events and characters missing from the published novel, but in general it is much less ruthlessly edited than its successor, Locus solus, from which Roussel removed a whole series of fully developed episodes. While waiting for the arrival of the ransom money demanded by King Talou VII, they form a club called Les Incomparables and prepare a gala to celebrate the day of their release. It was by extending the principle of such double meanings that Roussel evolved the word-games that generate the narratives of Impressions d’Afrique and Locus solus, both the baleine à ilot type, and the more complex deformations also described in ‘Comment j’ai écrit’ based on a random phrase or line of poetry broken down into discrete phonetic units. ‘A l’Ambigu’ (a now defunct Parisian theatre) describes a gruesome melodrama attended by Claude and Luce in which a gang of criminals attempt to blackmail the wife of a dissolute rake found murdered in the Bois de Boulogne by making public her son’s illegitimacy – or at least this seems to be the main narrative, but others proliferate around it with furious abandon. His final testament more modestly hopes that, ‘faute de mieux’, his books may one day gain some measure of posthumous recognition.
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Boudet accordingly makes a number of manuscript copies of the passage about the parchment-burning on different sizes of paper, while his friend Fra … Boudet happens to have purchased R …’s copy of the Vie de Constantin in the binding of which he finds an account of R …’s researches hastily written just before his arrest. Centuries later an intrepid alchemist, R …, retrieves this manuscript from the grave and cracks the code, only to be condemned to death at the stake as a sorcerer. Eusèbe includes this account in his Vie de Constantin, but he has the page-long parchment on which the formula is encrypted buried with him in a casket in his tomb. That evening he fell ill with a fierce fever and his lower lip became both enormous and terribly scarred. The horrified Emperor has the monk put instantly to death, but Eusèbe decides to preserve the dangerous secret through a cleverly encoded cryptogram, for which he employs the bizarre lower lip of a friend of his called Lao …
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• In all, the play offers over four hundred speaking parts and would take the best part of a day to perform.
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• This involved discarding the further adventures of characters, such as the sybil Felicity, who nonetheless appear in the final text, as well as a number of wholly new storylines.
• Dewsbury kept the rib, and a manuscript explaining his research, in a secret hiding place in the library of his castle on the banks of the Thames, where it remained buried until chanced on one day by the property’s current owner, the Italian tragedienne, Adinolfa.
• As a final flourish, he has the vowels projected against a flower which has grafted onto it the metal zinc, and on which a jeweller has engraved the three scenes which eventually appear as the bas-reliefs introducing the second story in the first chapter of Locus solus; the petals unfold in response to the syllables, and thus on a all three images are disclosed.
• Centuries later an intrepid alchemist, R …, retrieves this manuscript from the grave and cracks the code, only to be condemned to death at the stake as a sorcerer.

Roussel’s immense wealth enabled him to publish his writings in luxurious editions at his own expense, to hire the most prestigious theatres, actors, directors and set-designers for his plays, and to mount massive publicity campaigns for each new production or publication. During his lifetime, despite the howls of derision his work regularly inspired, Roussel steadfastly refused to offer either explanation or justification of his writings. This elaborate creation, we later find out, is the handiwork of Norbert Montalescot and his sister Louise; Louise has been imprisoned by the African King Talou VII for having had an affair with his chief enemy, Yaour, and her release depends on the Montalcscots’ completing this statue and a number of other appallingly difficult tasks. The opening chapter of Impressions d’Afrique, for instance, includes a description of a life-sized statue of a helot – a Spartan slave – clutching at a sword plunged into his heart. Boxed up and placed in storage in a furniture warehouse, these papers were only disinterred when the removal company itself moved premises in 1989.

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Though the essay reveals, with a multitude of examples, how Roussel wrote certain of his books, it doesn’t attempt to explain why he developed and adopted such singular procedures. For years a dedicated Rousselian, I finally decided to write a book exploring his life, work and influence on a variety of artists, from Marcel Duchamp to Michel Foucault, John Ashbery to Georges Perec. On occasions Roussel took active steps to preserve his own literary papers, depositing various manuscripts with his financial adviser, Eugène Leiris – father of Michel – not all of which have come to light. Probably one of the most tempting areas of to try out in the casinos on the internet is the type of bonuses and you will campaigns offered. Casinonic is actually purchased bringing advanced support service to enhance the fresh full playing sense. Get in on the aggressive adventure at the CasinoNic today and allow the games start!
The whole cycle consists of some 2900 pages of manuscript, not all of it easily legible. There follows an extended, densely written plot outline, and then a final plan detailing further narrative developments. Hundreds of pages of Acts II and III of its final section are only roughly drafted; many consist of a few scattered words per line, and some of not much more than rhyme words jotted down the right-hand side of the page. In all, the play offers over four hundred speaking parts and would take the best part of a day to perform. They are, however, by no means its sole concern; Roussel introduces character after character, and the act unfolds as a seemingly endless series of new people, new conversations, new stories, from grisly murders to mild flirtations, from aesthetic theories to unsettling dreams.

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• After five years’ intense labour Roussel renounced this project too, and began work on another poem also to be called Nouvelles impressions d’Afrique which – aside from eighteen months spent writing his two plays, of which no manuscripts exist – absorbed him for the remainder of his creative life.
• He hoped to become as popular as Pierre Loti or Jules Verne and was dismayed when his lavishly presented work encountered only ‘an almost totally hostile incomprehension’.
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• Impressions d’ Afrique greatly expands the narrative suggested by the billard/pillard rhyme of ‘Parmi les Noirs’.
• In ‘Comment j’ai écrit’ he rather dismisses the superb L’Allée aux lucioles, begun just after Locus solus but interrupted by mobilisation for World War One.

Though he tidied up many personal affairs, and drew up a new will, he left no instructions concerning the thousands of pages of rough drafts, fair copies, typescripts and proofs left behind in the apartment he occupied in the family house on the rue Quentin Bauchart. His theatrical extravaganzas, legendary generosity and eccentric lifestyle had consumed the bulk of his colossal fortune. The French Writer Raymond Roussel was 56 years old when he left Paris for Sicily in the early summer of 1933.

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Admirers of Roussel may be relieved to learn that he seems likely to remain as enigmatic and unassimilable as ever, a radiant paradigm of what Cocteau once called ‘genius in its pure state’. This mass of material exponentially augments our knowledge of Roussel’s social milieux and activities, his family, his travels and his finances, yet his life and work lose none of their power to intrigue and confound. In ‘Comment j’ai écrit’ he rather dismisses the superb L’Allée aux lucioles, begun just after Locus solus but interrupted by mobilisation for World War One.

After five years’ intense labour Roussel renounced this project too, and began work on another poem also to be called Nouvelles impressions d’Afrique which – aside from eighteen months spent writing his two plays, of which no manuscripts exist – absorbed him for the remainder of his creative life. The manuscript pages of the final Nouvelles impressions d’Afrique that have been preserved present an almost illegible morass of erasures and revisions; despite its bewildering disjunctions each canto rhymes perfectly throughout, and even the footnotes are in alexandrines. It is not clear why Roussel abandoned this enchanting prose work to begin the composition of a long poem to be called Nouvelles impressions d’Afrique in which he planned to describe a tourist’s souvenir of Egypt, a miniature pair of opera-glasses which, held up to the eye, show photographs of a Cairo bazaar on one side and of the Nile at Luxor on the other. Roussel’s writings are full of hidden treasures suddenly come to light, particularly discoveries of lost and unlikely manuscripts – a sonnet composed by the youthful Milton on an eggshell, in which he declares his love for the consumptive girl next door; a very peculiar version of Romeo and Juliet in Shakespeare’s own hand; a Racine letter describing a play he hopes to write about a third-century Corsican tight-rope walker.
His fanatically worked manuscripts demonstrate, rather, an intense, almost Flaubertian obsession with the mot juste, a wholly single-minded quest for those ‘sensations of art’ on which he felt his existence depended. Nothing in his recovered papers lends credence to this hypothesis, or points to the existence of some ultimate key to the Rousselian. Sets off for the desert, finds the tree, eats the fruit and develops the vast cicatrised lower lip which enables Boudet eventually to piece together the formula of ‘gaz évolutif’.