Two hundred of his creatures inhabit his fictional world, and sixty writers hover over them. These writers--among them various classical authors of the seventeenth century such as Mme de Sévigné the letter-writer, Racine the playwright, Saint-Simon the memoirist, and novelists and poets of the nineteenth century, including Balzac, Baudelaire and Dostoevsky--are not there for show; their works play an active role in the construction of In Search of Lost Time. A life without books was inconceivable for Proust. Not surprisingly, he made literary taste and reading habits a primary means of defining his characters. Everybody in the novel reads: servants and masters, children, parents and grandparents, artists and physicians, and even generals. Conversations at dinner tables and among friends are mostly literary. The more sophisticated characters find it natural to speak in quotations, and quoting from memory is much appreciated in the narrator's family--his grandmother, grandfather, and mother all excel at this pastime.Literature is omnipresent in Proust's work but takes many different forms. It may be straightforward when it comes to the books read by the narrator and other characters; it may be a tool used to define the personality of a personage, a clue to hidden traits of character, or a comical ploy when quotations are taken out of context or when turns of speech are directly inspired by classical writers.In this wonderfully entertaining book, scholar and biographer Anka Muhlstein, the author of Balzac's Omelette, draws out these themes in Proust's work and life, thus providing an indispensable introduction to his long and intricate novel.More Praise for Balzac's Omelette:"Original, delectable, and entirely readable." --Washington Post"Scholarly yet escapist . . . irresistible." --Daily Beast"Balzac's Omelette . . . is a charming and modest little book." --New York Review of Books

    The first great works of this repertory were written in the twelfth century in northern France, and now, at the beginning of the twenty-first century, this literature includes authors writing in many parts of the world, ranging from the Caribbean to Western Africa. This Very Short Introduction gives the reader a basic orientation to this lively literary world by focusing on texts (epics, novels, plays, poems, screenplays) that concern protagonists whose adventures and conflicts reveal shifts in literary and social practices. From the hero of the medieval Song of Roland to the Caribbean heroines of I, Tituba, Black Witch of Salem or the European expatriate in Japan in Fear and Trembling, these problematic protagonists allow us to understand what interests writers and readers across the wide world of French literature.

    “It is guilty and should admit itself so.” The word, the flesh, and the devil are explored by this extraordinary intellect in the work of eight outstanding authors: Emily Bronte, Baudelaire, Blake, Michelet, Kafka, Proust, Genet and De Sade.Born in France in 1897, Georges Bataille was a radical philosopher, novelist, and critic whose writings continue to exert a vital influence on today's literature and thought.

    During that one blustery winter solstice day, between the railway station and the church where a funeral mass is underway, he meets old villagers, forgotten neighbours, and characters who are either imagined or real. But there's only one person he seeks: the von Croft twin he taught to read music and to whom he wants to atone.Soucy creates a world where nothing is left to chance and the line between dream and reality is always shifting.

    A new generation of writers has appeared in Paris, among them Camus, Genet, Startre, and Cocteau, and every day, they can be seen writing at the marble-topped of the Cafe de Flore. Already in her thirties at the time. Leduc burns with hero-worship and an obsession to become a celebrated writer herself. When she finds a mentor in none other than Simone de Beauvoir, she is pulled into the center of Parisian literary life -- "a beehive gone mad. "In the no-holds-barred style that made her a legend, Leduc paints a vibrant picture of the brilliant minds around her -- and the dark passions and insecurities that drove her to write.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    Jarry's equally revolutionary novels form the cornerstones of a science he named "Pataphysics," a method for the rational disordering of rationality that has influenced countless subsequent artists and writers, from Marcel Duchamp to Wim Delvoye, Andr� Breton to J.G. Ballard. The Supermale elaborates a carnal Pataphysics: Andr� Marcueil, gentleman and scientist, believes that human energy has no limits, and demonstrates his belief by undertaking a 10,000-mile bicycle race with a locomotive, followed by an indefinite bout of lovemaking. After 82 acts of intercourse, doctors finally hook him up to a machine, with whom he merges in the book's--and the Supermale's--final climax. Like a mock Jules Verne, Jarry describes these deranged proceedings in a calm prose, crisply rendered here by Barbara Wright, one of French literature's finest translators.

    Exploring the tension between body and spirit, Crevel’s meditation is a vivid personal journey through illusion and disillusion, secret desire, memory, the possibility and impossibility of life, sensuality and sexuality, poetry, truth, and the wilderness of the imagination. The narrator’s Romantic mind moves from evocative tales and sensations to frank confessions, making the reader a confidant to this great soul trapped in an awkward-fitting body. A Surrealist Proust.

    But who was Figaro? He was quickly appropriated by Mozart and Rossini who tamed the original impertinent, bustling servant for their own purposes. On the eve of the French Revolution Figaro was seen as a threat to the establishment and Louis XIV even banned The Marriage of Figaro.Was the barber of Seville really a threat to aristocratic heads, or a bourgeois individualist like his creator? The three plays in which he plots and schemes chronicle the slide of the ancien r�gime into revolution but they also chart the growth of Beaumarchais' humanitarianism. They are exuberant theatrical entertainments, masterpieces of skill, invention, and social satire which helped shape the direction of French theater for a hundred years. This lively new translation catches all the zest and energy of the most famous valet in French literature.

    It strikes a powerful, closing chord to the formidable theatrical work that began with Deathwatch and continued, with even bolder variations, in The Maids, The Balcony, and The Blacks.Explicitly political, The Screens is set within the context of the Algerian War. The play’s cast of over fifty characters moves through seventeen scenes, the world of the living breaching the world of the dead by means of shifting the screens—the only scenery—in a brilliant tour de force of spectacle and drama.

    This revealing new biography of Simone de Beauvoir and Jean-Paul Sartre, based in part on recently discovered letters written by de Beauvoir, tells how these two brilliant free-thinkers came to share a relationship that was to last over fifty years.

    At twenty-seven, Claire is still under the sway of a domineering father, the acclaimed author François Mauriac. With the Second World War raging, her desire for freedom prompts her to join the Red Cross in southern France, where she faces the horrors of war with a youthful naïveté and audacity. When, having survived the months of bombing and bloodied patients, Claire realizes that rather than quelling her spirit her experiences have left her thirsting for more, she sets out for the heart of the fallen enemy: war-torn Berlin. Claire pities the German citizens in their desperation and is moved by the desolation of the once thriving metropolis. Yet, despite the devastation of war, there is life and love to be found there, as the ruined city becomes a magical and emotionally charged backdrop for a passionate romance.

    First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil’s whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II—calling it “her method of facing the war”—and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff’s account of the Iliad brings out Homer’s novelistic approach to character and the existential drama of his characters’ choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war.This edition brings together these two influential essays for the first time, accompanied by Benfey’s scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.

    In the service of Mlle de Varandeuil, Germinie realizes that if she wishes to remain employed, she faces an unmarried life. Such a frustration of her maternal instincts engenders a deep devotion to her niece; Germinie is crushed when the girl is removed by her parents. Many relationships of the same mold ensue, the heroine each time forging loving bonds that are broken. In the face of such drudgery, the Goncourt brothers reveal the value of such simple pleasures as a walk in the countryside; and through the story of Germinie Lacerteux’s life, they examine questions of the individual’s power—or powerlessness—to control his or her own fate.

    At the Cafe Chez Francis, a group of promoters plot to tear up Paris in order to unearth the oil which a prospector believes he has located in the neighborhood. These grandiose plans come to the attention of The Madwoman of Chaillot who is ostensibly not normal in her mind but who is soon shown to be the very essence of practical worldly goodness and common sense. She sees through the crookedness of the prospector and insists that the world is being turned into an unhappy place by the thieves and those who are greedy for worldly goods and power. At a tea party attended by other "mad" women of Paris, she has brought together representatives of the despoilers of the earth and wreckers of its happiness, and has them tried and condemned to extermination. In a scene which mounts into the realms of high poetic comedy, she sends the culprits one by one, lured by the scent of oil and undreamed-of riches, into a bottomless pit which opens out of her cellar. The exodus of the wicked is accompanied by another and more beautiful miracle: Joy, justice and love return to the world again. "