Summary Of Gallimard's With The Party

However, as the novel progresses, the soundness of his fantasy begins to unwind and undergo pressure. As seen in Scene Two of Act One, the party notes to be in present time, however it is still a projection of Gallimard’s imagination. It can be considered present time because he situates the scene in present time, but the conversations and proceedings are still a projection of Gallimard’s imagination and are therefore fictitious. Merely by reading the dialogue of the party members, it is evident how extensive Gallimard resides in his denial. The party goers mock his ridiculous status and position, and even question how Gallimard has not come to believe the truth, stating his fault is due to “simple ignorance” (page three). By addressing Gallimard’s

denial, the party goers reveal an internal conflict residing deep within Gallimard. With the party spawning entirely from Gallimard's own mind, his sincere delusional reception and reaction to their conversation is absurd due to it being a figment of his imagination.

It is assumed he should be able to control his own fantasies, yet they materialize as counteractive, self sabotaging and destructive independent entities. In this scene, Gallimard takes the role as more of an observer and audience member than narrative controller. The dialogue from the party goers represents the underlying current of Gallimard’s subconscious, or his id3, which is evidently at war with his ego4. Despite his partially subconscious defense mechanisms fighting against his reality, the manifestations of his mind seem to be involuntarily counteracting his state of denial. It is as if the deep subconscious mind of his id is acting on its own accord, which is common to the characteristics that identify this layer of the human psyche, with the “id” commonly being compared by Freud to a wild horse5. Therefore, Gallimard’s blatant disregard to the party goers insults are due to his ego, which is trying to regain control over his mind. He resides in a passive defensive position where he can only adapt and adjust to the barrages thrown against him from his own

mind. Another example of how Gallimard’s control over his own mind fails is during his scenes interacting with Song. As he tries to tell his version of events, Song from the present interjects and presents the reality of what actually occurred in the past. Gallimard tries to exclude chinese spy Comrade Chin from the procession of events, as well as trying to prevent Song from undressing into a man in order to erase any corruption associated with her. However, his efforts are usurped as Song acts on his own accord and infiltrates Gallimard’s fantasy with reality. Even though all the events on stage are a figment of his imagination, it is apparent Gallimard has no control over them. In Scene Eleven of Act Two, Gallimard unsuccessfully attempts to control Song as he exclaims to her “you have to do what I say! I’m conjuring you up in my mind!”. She responds, saying “Rene, I’ve never done what you said. Why should it be any different in your mind?” The reality of his situation being presented through his own imaginationー despite his best efforts to repress itー portrays how truth inevitably overpowers “the self-deceiving narratives human beings construct to comfort themselves” (Jensen). Song directly accosts Gallimard with this fact by stating “No matter what your eyes tell you, you can’t ignore the truth. You already know too much”. (page 78) This presents that subconscious knowledge of truth repressed by the desire to retain blissful ignorance will ultimately resurface despite the natural instinct to preserve happiness.