The strange M. Proust - the narrator, the author, and the embodiment of A la Recherche du Temps perdu - is now so canonical a writer that his very strangeness is easily overlooked. His book made of other books, his epic composed of extraordinary miniatures, his orderly structure where every law is subverted, his chronology where time can be undone and his geography where places can superimpose: in these, and many other ways, Proust continues to astonish even readers who have engaged with him for their entire careers. In this book, arising from the Princeton symposium of 2006, major critics come together to offer provocative readings of a work which is at the same time classical and unusual, French and foreign, familiar and strange. The book is dedicated to the memory of Malcolm Bowie (1943-2007), whose keynote address was one of his last major lectures. Other contributors include David Ellison, Anne Simon, Eugene Nicole, Joseph Brami, Raymonde Coudert, Christie McDonald, Michael Wood and Antoine Compagnon.
The strange M. Proust - the narrator, the author, and the embodiment of A la Recherche du Temps perdu - is now so canonical a writer that his very strangeness is easily overlooked. His book made of other books, his epic composed of extraordinary miniatures, his orderly structure where every law is subverted, his chronology where time can be undone and his geography where places can superimpose: in these, and many other ways, Proust continues to astonish even readers who have engaged with him for their entire careers. In this book, arising from the Princeton symposium of 2006, major critics come together to offer provocative readings of a work which is at the same time classical and unusual, French and foreign, familiar and strange. The book is dedicated to the memory of Malcolm Bowie (1943-2007), whose keynote address was one of his last major lectures. Other contributors include David Ellison, Anne Simon, Eugene Nicole, Joseph Brami, Raymonde Coudert, Christie McDonald, Michael Wood and Antoine Compagnon.
"The gentlest of renegades, the most tender of the French avant-garde poets, the co-author of the first literary work of automatic writing (The Magnetic Fields, 1919), Philippe Soupault was a central figure in both the Dada and Surrealist movements but throughout his long life walked under no banner except the one of artistic freedom. In this previously untranslated book, he gives us a collection of richly remembered portraits of some of his best-loved friends from the old days of the new modernism. A young disciple of the short-lived Apollinaire, the translator of Joyce's Anna Livia Plurabelle, the son of one of Proust's jeunes filles en fleurs, Soupault crossed paths with nearly everyone from that time whose name is still remembered today. As a glimpse into that time, these lost portraits are invaluable--and often deeply moving. The chapter about Proust alone is worth the price of admission, and then there is more, much more packed into the pages of this small, indelible book. Bravo to Alan Bernheimer for having given it to us."--Paul Auster, author of Report from the Interior "Poets must encourage each other because time is indifferent to the lives that flow through it. Time is what we are made of, but we are a rare school of fish that can see, in Rimbaud's sense, the substance that everyone disregards even as it dissolves them. We have to be young because we are the only force that can slow time down to reveal the beauty of its devastation. Reading Alan Bernheimer's splendid translation of Soupault's memoir, I forgot that it was a translation, that it was Soupault writing or talking about another time, about his friends of one century past. I read myself into these vivid and virile (so, sue me ) assaults on time, and Time stopped."--Andrei Condrescu, author of The Posthuman Dada Guide: Tzara and Lenin Play Chess "First published in 1963, this charming collection of reminiscences by surrealist poet Philippe Soupault offers warm, generous, appreciative profiles of some of his famous contemporaries. ... Sharp, stylish, and anecdotal, the book offers a fresh glimpse into a fertile artistic world."--Kirkus Reviews "In Alan] Bernheimer's graceful translations, Soupault's little reflections on many of his contemporaries give readers the poet's own insights into a host of literary giants ... For anyone interested in early 20th-century literary and artistic movements, Bernheimer's translation is a worthy event."--Publishers Weekly "Soupault's lively, up-close account underlines the astonishing vitality and versatility of the avant-garde he helped to create and shape. ... Despite his preference for poetry, Soupault writes prose with gusto and lan. He beautifully conveys the passage of time and its impact on individuals and their relationships. ... Lost Profiles captures the restlessness and aspiration of a generation of writers for whom received wisdom was cant, but who could never shake their own self-doubt and propensity for disenchantment."--Paul Maziar, Los Angeles Review of Books "Lost Profiles offers witty and unexpurgated views of a daring era in the Arts when the world became shatteringly altered. These are the memories shared some forty odd years later by one actively involved with multiple fellow players in various scenes of the time. It's a delightful, thought-provoking read that will have those who are already familiar with the material returning to favorite books, while those who are unfamiliar will be busy becoming acquainted with marvelous characters from a key period in world literary history. Even more importantly, Lost Profiles signals a necessary reminder of how much joy there is to be found in discovering terrific, epochal texts freshly translated."--Patrick Dunagan, The Northwest Review of Books " C]harming ... a brief account by a perceptive writer who was on
This set comprises 40 volumes covering 19th and 20th century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.
Proust's A la recherche du temps perdu (In Search of Lost Time, 1913–27) changed the course of modern narrative fiction. This Introduction provides an account of Proust's life, the socio-historical and cultural contexts of his work and an assessment of his early works. At its core is a volume-by-volume study of In Search of Lost Time, which attends to its remarkable superstructure, as well as to individual images and the intricacies of Proust's finely-stitched prose. The book reaches beyond stale commonplaces of madeleines and memory, alerting readers to Proust's verbal virtuosity, his preoccupations with the fleeting and the unforeseeable, with desire, jealousy and the nature of reality. Lively, informative chapters on Proust criticism and the work's afterlives in contemporary culture provide a multitude of paths to follow. The book charges readers with the energy and confidence to move beyond anecdote and hearsay and to read Proust's novel for themselves.
Céleste Albaret was Marcel Proust's housekeeper in his last years, when he retreated from the world to devote himself to In Search of Lost Time. She could imitate his voice to perfection, and Proust himself said to her, "You know everything about me." Her reminiscences of her employer present an intimate picture of the daily life of a great writer who was also a deeply peculiar man, while Madame Albaret herself proves to be a shrewd and engaging companion.
This study explores Proust’s answers to some of the fundamental challenges of the inevitable human experience of mourning. Thinking mourning and creativity together allows for a fresh approach to the modernist novel at large, but also calls for a reassessment of the particular historical and social challenges faced by mourners at the beginning of the twentieth century. The book enables the reader to acknowledge loss and forgetting as an essential part of memory, and it proposes that this literary topos has seminal implications for an understanding of the ethics, aesthetics, and erotic in Proust’s A la recherche du temps perdu. Drawing on the works of Sigmund Freud and Jacques Derrida, Anna Magdalena Elsner develops an original theory of how mourning and creativity are linked by emphasizing that ethical dilemmas are central to an understanding of the novel’s final aesthetic apotheosis. This sheds new light on the enigmatic and versatile nature of mourning but also pays tribute to those fertile tensions and paradoxes that have made Proust’s novel captivating for readers since its publication.
This collection of essays is aiming at capturing the rich and complex category of the 'visual' both in Proust's novel itself (in its philosophical and stylistic implications) and beyond it, in other visual practices (cinema, painting, dance) inspired by the novel.
The importance of vision and visual arts such as painting, theatre, and sculpture in Marcel Proust's A la recherche du temps perdu has long been affirmed; another significant system of visual representation in the novel is photography. Proust appropriated photography as a practice with its own distinctive characteristics which could inform his writing about the processes of perception and memory. Through close textual analysis of scenes where photography is experienced or observed as a practice, and scenes where photography is written into the body of the text, Aine Larkin offers an invigorating new study that sheds genuinely new light on the presence of photographic motifs in Proust's novel, and the subtlety of Proust's engagement with this modern imaging system in his work.
