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In the Labyrinth
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In the Labyrinth

3.85 of 5 stars 3.85  ·  rating details  ·  305 ratings  ·  28 reviews
In the Labyrinth is the story of a soldier who, after a lost battle, tramps endlessly through a strange city on a mission entrusted him by a dying comrade. Wounded, suffering from exhaustion, prey to an ever-worsening fever, and aware that the enemy is about to enter the city, the soldier must find his way among the maze-like streets to deliver a package whose contents he ...more
Paperback, 160 pages
Published December 1st 1960 by Random House Trade (first published January 1st 1386)
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(showing 1-30 of 584)
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Jeffrey Keeten
"Then there is the electric bulb swaying at the end of the long wire and the man's shadow swaying across the closed door like a slow metronome."

The man walks out of the house, shutting and locking the door behind him. He steps down the three stairs to the sidewalk, first his right foot, then his left foot and then his right foot again. The serpentine of concrete takes him to the wide, gray expanse of the driveway. He is carrying a travel coffee mug, blue with London emblazoned in script on the s
Scribble Orca
Sep 29, 2013 Scribble Orca rated it 5 of 5 stars  ·  review of another edition
Recommended to Scribble by: Christine Brooke-Rose
Shelves: defies-a-shelf
Excellent translation; close attention and flawless (as the Observer observed) rendering of Robbe-Grillet's aesthetics and aims: Poundian repetition, the leitmotif of a labyrinth depicted in the glance of the camera and the selected metaphors, surreal landscapes in sepia tones (colours used are mostly associated with uniforms) creating a dream sense, the development of the speakerless (no omniscient author intrusion) narrative (here not perfectly realised, but evident as intent) via the paradoxi ...more
The best way I can describe In The Labyrinth is by saying that reading it is like trying to read a Klein bottle. Or an Escher drawing. And that's both good and bad in every way you'd expect it to be.

It takes a good long time to figure out precisely what's going on (not that you can ever be exactly sure) and the prose (or the translation) is uninspiring. There's a lot of what seems like unnecessary description of physical objects and locations, to the exclusion of descriptions of, say, the main
En el laberinto tiene traducción al español por M.A. Asturias y, consecuentemente, posee una sonoridad y un control rítmico exquisitos en nuestra misma lengua —privilegio al que pocas veces accedemos en textos traducidos. Sin embargo, el fuerte del libro no está allí.
Robbe-Grillet maneja una técnica difícilmente comprable: los juegos de repeticiones en los que introduce —o no— cambios dentro de la estructura mayor de la novela recuerda un rondó sonata. A su vez, la posición del narrador le permi
Nov 10, 2013 Yani rated it 5 of 5 stars  ·  review of another edition
Recommends it for: personas pacientes
Para entrar en el laberinto que traza Robbe- Grillet hay que olvidarse de la fórmula que nos enseñaron en la escuela sobre las partes constitutivas de un libro: introducción, nudo y desenlace. Puede que sirva para la mayoría de las novelas, pero en esta no. Y cuesta un poco despegarse de ella, mucho más si uno viene leyendo libros que la respetan al pie de la letra.

De todos modos, se puede recolectar un argumento que sufre variaciones y es, por lo tanto, bastante fragmentario. Hay un soldado, h
Masoome Ya
بارزترین اتفاق این رمان ، توجه نویسنده به جزئیات است.چیزی که دقت و حوصله ی پر رنگ مخاطب را می طلبد .خاننده ای که می بایست تا به سرانجام رسیدن مأموریت ، پا به پای سرباز ِ نقش اول داستان درهزارتوی شهر،کوچه ها ،خانه ها،کافه و...راه بیاُفتد و همراه باشد.در این اثر با نامها جز در یک مورد ،سر و کار نداریم،دیالوگها بسیار کوتاه است ،با جمله های به یادماندنی برخورد نمی کنیم در بیشتر موارد درگیر نگاه کردن به توصیفات نویسنده از اشیاء و فضاها،حرکت و تکرار هستیم ،
میشود گفت «در هزارتو» از آن جنس آثاریست که ک
Robbe-Grillet uses the same technique here as in Jealousy. Most of the novel is taken up by exacting, detailed descriptions of various physical objects in the main characters' vicinity, rapidly (and with no indication) shifting back and forth in chronological time. So rather than giving a strict narrative, the reader has to infer one from these descriptions, which is a bit easier than it sounds, but still requires very active reading. It's a very unique narrative technique, and one that on the s ...more
Feb 27, 2015 Jeff rated it 4 of 5 stars  ·  review of another edition
Recommends it for: litcritters
Recommended to Jeff by: KDP
Shelves: 2011
I don't blame anyone for disliking this book. There are a lot of things reasonably expectable from novels and stories in general; most of those things seem to be or actually are missing.

A simplistic plot(less) summary. Events are told and things are described. Most everything involves a soldier carrying a box. He jumpcuts from nexus to nexus within a city with plenty of buildings but without landmarks. Streets are identical. This must be shown on a screen. Animated. Like with crayons. No. Or st
John Franco
Sorprendente. Lleva el lenguaje narrativo hasta un límite donde se anulan los narradores, el tiempo, es un presente que observa los objetos, sin profundidad psicológica. Buen viaje narrativo.
Ignė Sutemos
i saw a brilliant movie and astonishing fragments of letters.
The ubiquitous 3 1/2 stars. Better than a three but not quite a 4. It took a little while to get in to it as it is repetitive and there's no traditional plot. It was very much mood driven and about conveying a feeling, which I think does very well once you get in to it.

Don't exactly know how you would classify it or the exact nuances for differentiating classification, but this work is something like dada, surrealist, or existentialist, i.e. a bad dream where everything is dark, oppressive, con

" در هزار تو " تصویرگر هزارتوی ذهن شخصیت مرکزی داستان است . حوادث در داستان , توالی زمانی منطقی ندارند و گاهی به هذیان های بیمارگونه انسانی تبدار شبیه می شوند . چیزی که در داستان تعلیق شدیدی ایجاد می کند و خواننده را پا به پای شخصیت های داستان برای کشف خود پیش می برد , جعبه ای است قهوه ای رنگ در دستان شخصیت مرکزی داستان که باعث می شود با کنجکاوی بیشتری به خواندن ادامه دهد . شخصیت ها اسمی ندارند و خیابان ها همه شبیه هم هستند . بازهم هزارتویی که هرچه بیشتر در آن به جلو می روی انگار به همان جایی بر
Ce que j'ai aimé: Je ne sais pas pourquoi, mais j'adore la littérature absurde, comme Ionesco, Dali et Robbe-Grillet. Donc j'ai bien aimé ce livre, où le protagoniste se trouve dans une situation sans objet, et il fait des actions sans signification.

Ce que je n'ai pas aimé: Bien que je préfère la fiction absurdiste, il est aussi vrai que j'aime les histoires où on a un peu de sens de la vie interne d'un personage. Mais ici, on a simplement une description de ses actions, dans les moindres détail
Geoff Wyss
Not as good as 'Jealousy,' I think, but still pretty remarkable.
Geoff Sebesta
I read the Howard translation, I understand there are major differences between translators here.

Extremely dull, but I guess that's the point. I can't discuss the ending without giving it away, because to a modern reader the ending is quite obvious about a third of the way through.

I wouldn't bother with this book, unless you want to understand PTSD or read incredibly intricate descriptions of wallpaper.
Dizzying and often beautiful, more accessible on first reading than Jealousy, but maybe that's because I read Jealousy first. Some unforgettable scenes (people behind a curtain in a high window) and haunting portrayal of paranoia, suspicion, and perpetual search for identity, selfness, and the truth as it is. IMO, reading for the imagery itself is enough for the first time.
It is a mystery with no crime and no detective. It is unsolvable. Or is it. Lucky for me the person who previously owned this copy figured it all out and wrote the five-word solution on the last page. I shall use my Ouija board to interface with the specter of Chief Inspector R-G immediately and report the findings.
James Coon
While I can understand why many people would dislike this novel, I have always found it inspiring. Like the rest of Robbe-Grillet's work, rather than simply telling a story, or telling a story at all, he creates an atmosphere that stimulates the reader's imagination. For that reason, I have described it as inspiring.
دستی در هوا مانده, دهانی باز مانده, سری یک وری مانده, اما تنش جای حرکت را گرفته چهره ها کج و معوج شده, دست و پاها خشک شده, لبخند بدل شده به شکلک, هوس ها قصد و معنایشان را از دست داده اند. به جای شان, دیگر چیزی باقی نیست, هیچ چیز جز افراط, و غرابت, و مرگ
If there is anyone out there who has studied or thought about the relationship between this author and Virginia Woolf, the existentialists and rap please contact me. This is greatly to be enjoyed.
One of the best books I've read. Is a refreshing tone/style of story-telling. (Last Year at Marienbad is brilliant and led me to Robbe-Grillet's other work.)
William West
I'm a big Robbe-Grillet supporter. More fond of his writing than his film-making.
i didnt care for this, made me realize i hate descriptions of objects/settings/things
The hardest read you'll ever love. Sigh. Why can't they all be this good?
Edgar Samar
My thoughts on the book are posted here:
Shima Masoumi
کتابی که همه بـــــایــــــد بخوانند !
Aug 27, 2012 M. marked it as to-read  ·  review of another edition
Christine Brooke-Rose translation
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Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Alain Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.

He was married to Catherine Robbe-Grillet (née Rstakian) .

Alain Robbe-Grillet wa
More about Alain Robbe-Grillet...
Jealousy The Erasers The Voyeur Jealousy & In the Labyrinth For a New Novel: Essays on Fiction

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