Sam Riviere's 'Doppelgänger' Explores Originality in Literature

The narrative opens with a shocking realization among students: despite their diverse projects, all work seems fundamentally the same, reflecting a shared set of assumptions and evading distinct meaning. This metaphorical crisis drives the plot, as students begin a trend called “twinning,” where they pair up to strive for originality through collaboration. However, as the story unfolds, it becomes clear that twinning itself is not a new concept.

Riviere mirrors this thematic exploration in the structure of *Doppelgänger*, dividing the story into three parts, each segmented into two chapters that bear the prefix “re-”: Recognition / Repetition, Recursion / Reversion, and Recision / Revision. This approach suggests a philosophical stance that art, like matter, cannot be created or destroyed but merely rearranged.

As a poet known for integrating found texts into his work and for his earlier novel about plagiarism, *Dead Souls*, Riviere has consistently critiqued the literary establishment. His distrust becomes even more pronounced in *Doppelgänger*, where systemic artistic practices inhibit true innovation. The novel's complex language and theoretical discussions may challenge general readers, but those familiar with the literary field might find it a bold academic satire.

The story is propelled by Philip Courier, a secondary character in the initial chapters, who endeavors to produce a “renunciation statement” about his past work. Unexpectedly, he finds that a takedown of his writing, almost identical to his own self-critique, has been published by Yonathan Moon, another NADA alumnus. The plot thickens when Philip receives cryptic warnings from a fictional character named Josiah Moon, later revealed to be an automation created by Yonathan, deepening the narrative’s surreal complexities.

Central to the story is Nathaniel Isoku, an elusive and influential figure at NADA whose shadow looms over the institution. Isoku manipulates literary trends and dynamics, exemplified through his establishment of HILT (House Isoku Literary Training), which produces a glut of works designed to devalue specific tropes. This approach illustrates Isoku's mastery of exploiting the art world to generate power and control.

Riviere explores themes of individual agency versus collective identity, highlighting the risks posed to originality. By the novel's conclusion, the conflict escalates as Philip and a fellow student attempt to subvert the automated storyteller, the Stanhope. Though they succeed in this endeavor, it becomes evident that the threat of duplication persists, represented by the emergence of Stanhope II.

Ultimately, *Doppelgänger* serves as a reflection on the nature of art in the face of artificiality, suggesting that the challenge of originality is not a new phenomenon exacerbated by AI but a longstanding issue inherent in literary creation. Riviere's work raises the unsettling possibility that machines may excel in the very craft that writers continue to struggle with, posing profound questions about the future of literature.