Translated and with an introduction and notes by Robin Buss. Includes explanatory footnotes, as well as suggestions for further reading of acclaimed literary criticisms and references.
"Raymond Mackenzie's elegant new translation of Émile Zola's Germinal captures the diction of the novel's colorful characters and the restrained voice of a naturalist narrator. David Baguley's introduction analyzes Zola’s personal background, his literary and scientific influences, and the historical circumstances of French workers in the 1860s as well as a spectrum of political acts and deeds in the 1880s when the novel was written. These features plus Zola’s notes on the town of Anzin that he studied prior to writing the novel, make this the edition of choice for course adoptions in history and literature." --Stephen Kern, Humanities Distinguished Professor, Department of History, Ohio State University
A moving document of decline, Rimbaud’s letters begin with the enthusiastic artistic pronouncements of a fifteen-year-old genius, and end with the bitter what-ifs of a man whose life has slipped disastrously away. But whether soapboxing on the essence of art, or struggling under the yoke of self-imposed exile in the desert of his later years, Rimbaud was incapable of writing an uninteresting sentence. As translator and editor Wyatt Mason makes clear in his engaging Introduction, the letters reveal a Rimbaud very different from our expectations. Rimbaud—presented by many biographers as a bohemian wild man—is unveiled as “diligent in his pursuit of his goals . . . wildly, soberly ambitious, in poetry, in everything.”
I Promise to Be Good: The Letters of Arthur Rimbaud is the second and final volume in Mason’s authoritative presentation of Rimbaud’s writings. Called by Edward Hirsch “the definitive translation for our time,” Mason’s first volume, Rimbaud Complete (Modern Library, 2002), brought Rimbaud’s poetry and prose into vivid focus. In I Promise to Be Good, Mason adds the missing epistolary pieces to our picture of Rimbaud. “These letters,” he writes, “are proofs in all their variety—of impudence and precocity, of tenderness and rage—for the existence of Arthur Rimbaud.” I Promise to Be Good allows English-language readers to see with new eyes one of the most extraordinary poets in history.
From the Hardcover edition.
This gripping, deeply thoughtful book considers future of civilization in the light of what we know about climate change and related threats. David Orr, an award-winning, internationally recognized leader in the field of sustainability and environmental education, pulls no punches: even with the Paris Agreement of 2015, Earth systems will not reach a new equilibrium for centuries. Earth is becoming a different planet—more threadbare and less biologically diverse, with more acidic oceans and a hotter, more capricious climate. Furthermore, technology will not solve complex problems of sustainability.
Yet we are not fated to destroy the Earth, Orr insists. He imagines sustainability as a quest and a transition built upon robust and durable democratic and economic institutions, as well as changes in heart and mindset. The transition, he writes, is beginning from the bottom up in communities and neighborhoods. He lays out specific principles and priorities to guide us toward enduring harmony between human and natural systems.
At seven volumes, three thousand pages, and more than four hundred characters, as well as a towering reputation as a literary classic, Proust’s novel can seem daunting. But though begun a century ago, in 1909, it is in fact as engaging and relevant to our times as ever. Patrick Alexander is passionate about Proust’s genius and appeal—he calls the work “outrageously bawdy and extremely funny”—and in his guide he makes it more accessible to the general reader through detailed plot summaries, historical and cultural background, a guide to the fifty most important characters, maps, family trees, illustrations, and a brief biography of Proust. Essential for readers and book groups currently reading Proust and who want help keeping track of the huge cast and intricate plot, this Reader’s Guide is also a wonderful introduction for students and new readers and a memory-refresher for long-time fans.
Rare Birds of North America provides unparalleled insights into vagrancy and avian migration, and will enrich the birding experience of anyone interested in finding and observing rare birds.Covers 262 species of vagrant birds found in the United States and Canada Features 275 stunning color plates that depict every species Explains patterns of occurrence by region and season Provides an invaluable overview of vagrancy patterns and migration Includes detailed species accounts and cutting-edge identification tips
It was this volume that won the Prix Goncourt in 1919, affirming Proust as a major literary figure and dramatically increasing his fame. Here the narrator whose childhood was reflected in Swann’s Way moves further through childhood and into adolescence, as the author brilliantly examines themes of love and youth, in settings in Paris and by the sea in Normandy. The reader again encounters Swann, now married to his former mistress and largely fallen from high society, and meets for the first time several of Proust’s most memorable characters: the handsome, dashing Robert de Saint-Loup, who will become the narrator’s best friend; the enigmatic Albertine, leader of the “little band” of adolescent girls; the profoundly artistic Elstir, believed to be Proust’s composite of Whistler, Monet, and other leading painters; and, making his unforgettable entrance near the end of the volume, the intense, indelible Baron de Charlus.
Permeated by the “bloom of youth” and its resonances in memories of love and friendship, In the Shadow of Young Girls in Flower takes readers into the heart of Proust’s comic and poetic genius. As with Swann’s Way, Carter uses C. K. Scott Moncrieff’s beloved translation as the basis for this annotated and fully revised edition. Carter corrects long-standing errors in Scott Moncrieff’s otherwise superlative translation, bringing it closer than ever to the spirit and style of Proust’s original text—and reaching English readers in a way that the PlÃ©iade annotations cannot. Insightful and accessible, Carter’s edition of Marcel Proust’s masterwork will be the go-to text for generations of readers seeking to understand Proust’s remarkable bygone world.
With extensive passages from In Search of Lost Time and other essential works, Proust For Beginners highlights the defining themes and unique literary style of a modern master whom many have heard about but few fully fathom. It portrays Proust and the milieu in which he wrote in vivid detail, bringing to life the “Proustian moments” at the heart of his greatest work—and our own everyday experience.
Proust’s masterpiece “begins in a series of rooms in which he unlocks themes, styles, references, and foreshadows,” writes Harold Augenbraum in the foreword. Proust For Beginners will provide the key.
Winner of the American Library in Paris Book Award, 2017
Les Misérables is among the most popular and enduring novels ever written. Like Inspector Javert’s dogged pursuit of Jean Valjean, its appeal has never waned, but only grown broader in its one-hundred-and-fifty-year life. Whether we encounter Victor Hugo’s story on the page, onstage, or on-screen, Les Misérables continues to captivate while also, perhaps unexpectedly, speaking to contemporary concerns. In The Novel of the Century, the acclaimed scholar and translator David Bellos tells us why.
This enchanting biography of a classic of world literature is written for “Les Mis” fanatics and novices alike. Casting decades of scholarship into accessible narrative form, Bellos brings to life the extraordinary story of how Victor Hugo managed to write his novel of the downtrodden despite a revolution, a coup d’état, and political exile; how he pulled off a pathbreaking deal to get it published; and how his approach to the “social question” would define his era’s moral imagination. More than an ode to Hugo’s masterpiece, The Novel of the Century also shows that what Les Misérables has to say about poverty, history, and revolution is full of meaning today.
Rousseau's great epistolary novel, Julie, or the New Heloise, has been virtually unavailable in English since 1810. In it, Rousseau reconceptualized the relationship of the individual to the collective and articulated a new moral paradigm. The story follows the fates and smoldering passions of Julie d'Etange and St. Preux, a one-time lover who re-enters Julie's life at the invitation of her unsuspecting husband, M. de Wolmar.
The complex tones of this work made it a commercial success and a continental sensation when it first appeared in 1761, and its embodiment of Rousseau's system of thought, in which feelings and intellect are intertwined, redefined the function and form of fiction for decades. As the characters negotiate a complex maze of passion and virtue, their purity of soul and honest morality reveal, as Rousseau writes in his preface, "the subtleties of heart of which this work is full."
A comprehensive introduction and careful annotations make this novel accessible to contemporary readers, both as an embodiment of Rousseau's philosophy and as a portrayal of the tension and power inherent in domestic life.
"No one who has read [Greenblatt's] accounts of More, Tyndale, Wyatt, and others can fail to be moved, as well as enlightened, by an interpretive mode which is as humane and sympathetic as it is analytical. These portraits are poignantly, subtly, and minutely rendered in a beautifully lucid prose alive in every sentence to the ambivalences and complexities of its subjects."—Harry Berger Jr., University of California, Santa Cruz
This book provides an engaging, accessible, and exciting new history of French literature from the Renaissance through the twentieth century, from Rabelais and Marguerite de Navarre to Samuel Beckett and Assia Djebar. Christopher Prendergast, one of today's most distinguished authorities on French literature, has gathered a transatlantic group of more than thirty leading scholars who provide original essays on carefully selected writers, works, and topics that open a window onto key chapters of French literary history. The book begins in the sixteenth century with the formation of a modern national literary consciousness, and ends in the late twentieth century with the idea of the "national" coming increasingly into question as inherited meanings of "French" and "Frenchness" expand beyond the geographical limits of mainland France.Provides an exciting new account of French literary history from the Renaissance to the end of the twentieth centuryFeatures more than thirty original essays on key writers, works, and topics, written by a distinguished transatlantic group of scholarsIncludes an introduction and index
The contributors include Etienne Beaulieu, Christopher Braider, Peter Brooks, Mary Ann Caws, David Coward, Nicholas Cronk, Edwin M. Duval, Mary Gallagher, Raymond Geuss, Timothy Hampton, Nicholas Harrison, Katherine Ibbett, Michael Lucey, Susan Maslan, Eric Méchoulan, Hassan Melehy, Larry F. Norman, Nicholas Paige, Roger Pearson, Christopher Prendergast, Jean-Michel Rabaté, Timothy J. Reiss, Sarah Rocheville, Pierre Saint-Amand, Clive Scott, Catriona Seth, Judith Sribnai, Joanna Stalnaker, Aleksandar Stević, Kate E. Tunstall, Steven Ungar, and Wes Williams.
Taking this contradiction as a starting point, Elizabeth Emery explores how the cathedral’s popularity stemmed from its semantic richness as well as its glorification in the works of such writers and artists as Emile Zola, J.-K. Huysmans, Marcel Proust, Paul Claudel, Claude Monet, Auguste Rodin, and others. Using their works as a springboard, Emery examines the ways in which they responded and contributed to prevailing discourses about the cathedral. Interdisciplinary in nature, Romancing the Cathedral will appeal to those interested in Gothic art and architecture, European cultural studies, medievalism, and French literature.
Following an analytical presentation of the concepts of ritual and performance generally applied, Mary Shaw shows that Mallarmé perceived music, dance, and theater as ideal languages of the body and therefore as ideal forms of ritual through which to supplement and celebrate poetic texts. She focuses on previously unexplored references to supplementary, extratextual performances in four of Mallarmé's major poetic texts—Herodiade, L'après-midi d'un faune, Igitur, and Un coup de des—revealing the consistent formal expression of his original conception of literature's relationship to the performing arts.
Shaw then discusses Mallarmé's monumental project, Le Livre, a metaphysical book designed to be performed in a series of ritual celebrations. She analyzes and describes the intrinsic structure and contents of this unfinished work as the fullest realization of the text-performance relationship elaborated throughout Mallarmé's corpus. Shaw offers Le Livre as a prototype of avant-garde performance, drawing important parallels between Mallarmé's literary experimentation and crucial developments in twentieth-century arts.
Raymond N. MacKenzie's new translation of Thérèse Desqueyroux, the first since 1947, captures the poetic lyricism of Mauriac's prose as well as the intensity of his stream-of-consciousness narrative. MacKenzie also provides notes and a biographical and interpretive introduction to help readers better appreciate the mastery of François Mauriac, who was awarded the Nobel Prize in Literature in 1952. This volume also includes a translation of "Conscience, The Divine Instinct," Mauriac's first draft of the story, never before available in English.
Locating Lacan's work in the context of contemporary French thought and the history of psychoanalysis, Sean Homer's Jacques Lacan is the ideal introduction to this influential theorist.
On October 16, 1957, Albert Camus was dining in a small restaurant on Paris's Left Bank when a waiter approached him with news: the radio had just announced that Camus had won the Nobel Prize for Literature. Camus insisted that a mistake had been made and that others were far more deserving of the honor than he. Yet Camus was already recognized around the world as the voice of a generation-a status he had achieved with dizzying speed. He published his first novel, The Stranger, in 1942 and emerged from the war as the spokesperson for the Resistance and, although he consistently rejected the label, for existentialism. Subsequent works of fiction (including the novels The Plague and The Fall), philosophy (notably, The Myth of Sisyphus and The Rebel), drama, and social criticism secured his literary and intellectual reputation. And then on January 4, 1960, three years after accepting the Nobel Prize, he was killed in a car accident.
In a book distinguished by clarity and passion, Robert Zaretsky considers why Albert Camus mattered in his own lifetime and continues to matter today, focusing on key moments that shaped Camus's development as a writer, a public intellectual, and a man. Each chapter is devoted to a specific event: Camus's visit to Kabylia in 1939 to report on the conditions of the local Berber tribes; his decision in 1945 to sign a petition to commute the death sentence of collaborationist writer Robert Brasillach; his famous quarrel with Jean-Paul Sartre in 1952 over the nature of communism; and his silence about the war in Algeria in 1956. Both engaged and engaging, Albert Camus: Elements of a Life is a searching companion to a profoundly moral and lucid writer whose works provide a guide for those perplexed by the absurdity of the human condition and the world's resistance to meaning.
How did a young man in his twenties who had never written a novel turn out a masterpiece that still grips readers more than seventy years later? With Looking for “The Stranger”, Alice Kaplan tells that story. In the process, she reveals Camus’s achievement to have been even more impressive—and more unlikely—than even his most devoted readers knew.
Born in poverty in colonial Algeria, Camus started out as a journalist covering the criminal courts. The murder trials he attended, Kaplan shows, would be a major influence on the development and themes of The Stranger. She follows Camus to France, and, making deft use of his diaries and letters, re-creates his lonely struggle with the novel in Montmartre, where he finally hit upon the unforgettable first-person voice that enabled him to break through and complete The Stranger.
Even then, the book’s publication was far from certain. France was straining under German occupation, Camus’s closest mentor was unsure of the book’s merit, and Camus himself was suffering from near-fatal tuberculosis. Yet the book did appear, thanks in part to a resourceful publisher, Gaston Gallimard, who was undeterred by paper shortages and Nazi censorship.
The initial critical reception of The Stranger was mixed, and it wasn’t until after liberation that The Stranger began its meteoric rise. As France and the rest of the world began to move out of the shadow of war, Kaplan shows, Camus’s book— with the help of an aggressive marketing campaign by Knopf for their 1946 publication of the first English translation—became a critical and commercial success, and Camus found himself one of the most famous writers in the world. Suddenly, his seemingly modest tale of alienation was being seen for what it really was: a powerful parable of the absurd, an existentialist masterpiece.
Few books inspire devotion and excitement the way The Stranger does. And it couldn’t have a better biographer than Alice Kaplan, whose books about twentieth-century French culture and history have won her legions of fans. No reader of Camus will want to miss this brilliant exploration.
Hugo, Vargas Llosa says, had at least two goals in Les Misérables--to create a complete fictional world and, through it, to change the real world. Despite the impossibility of these aims, Hugo makes them infectious, sweeping up the reader with his energy and linguistic and narrative skill. Les Misérables, Vargas Llosa argues, embodies a utopian vision of literature--the idea that literature can not only give us a supreme experience of beauty, but also make us more virtuous citizens, and even grant us a glimpse of the "afterlife, the immortal soul, God." If Hugo's aspiration to transform individual and social life through literature now seems innocent, Vargas Llosa says, it is still a powerful ideal that great novels like Les Misérables can persuade us is true.
With intellectual agility and command of cinema, literature and visual art, Daniele Rugo insists on the critical significance of Nancy's project for any future philosophy attempting to define itself beyond foundational acts, and according to the continuous crossings at the heart of existence. By discussing Nancy alongside Heidegger and Levinas, Rugo underlines the essential indecision between philosophy-as-literature and philosophy as the re-appropriation of the question of Being. Rugo offers unexpected associations which return thinking to the play of specificity, rather than restricting it to the passage of abstract formulations.
The French writer Colette (1873–1954) is best known in the United States for such classic novels as Gigi and Cheri, which were made into popular movies, but she was a prolific author. This meticulously translated collection offers some of her best fiction, personal essays, articles, and talks, all appearing in English for the first time. The pieces showcase Colette’s gifts as a writer: her deep wisdom about every age of human life, her skill as a storyteller, her wry humor, her persuasive powers, and her foresight as a social critic of issues such as gender roles.
The translators combed through journals and past editions of Colette’s work to cull these gems, which cover an enormous array of topics—from French wines and perfumes to her friendships with Marcel Proust and Maurice Chevalier to uncanny insight into the curious habits of cats and dogs. Selections from an advice column that Colette wrote for the French women’s magazine Marie Claire are also included, and her savvy suggestions for the lovelorn stand the test of time. Moving articles written during the two world wars, along with her memories of being an actor and playwright, reveal facets of her writing that are less often celebrated. The first new work by Colette to appear in English in half a century, it will delight devoted fans and new readers alike.
“Clearly the translators have poetic gifts themselves, a necessary quality to render Colette’s airy, evocative, protean shifts in tone and voice, from the flippant to the heartrending in the turn of a phrase. This book reveals in a single volume many luminous facets of Colette as a woman, a French woman, and a writer.” — Lynn Hoggard, translator of Marie d’Agoult’s Nelida
“Little gems indeed—this garland of hitherto untranslated short texts by Colette is expertly rendered into idiomatic English by Zack Rogow and Renée Morel, who succeed in retaining the flavor, piquancy, sensuousness, wit, and whimsy of the author’s poetic and chiseled prose. Colette, foremost French woman writer of the first half of the twentieth century, is here represented by a range of sketches, mini-essays, reminiscences, portraits, personal confessions, and journalistic pieces including some war articles. The selections, preceded by helpful notes, provide rapid insights into Colette’s sense of the human comedy, her love of nature and animals, and her enticing exuberance.” — Victor Brombert, author of Musings on Mortality: From Tolstoy to Primo Levi
CONTRIBUTORS: Walter James Miller, Stanford Luce, Arthur B. Evans.
This book considers portrayals of jealousy by major authors such as Balzac, Hugo, and Zola alongside a broad range of works by medical writers, journalists, and moralists who wrote for popular audiences.
Covering the years 1818 to 1898, the book shows how the subject of jealousy was used as a projection screen for social and cultural debates in the decades between the French Revolution's radical challenge to religious and political authority and the advent of psychoanalysis at the century's end.
By examining the many layers of meaning that underpan numerous and often dissonant representations of jealousy across a wide range of literary and historical texts, The Anxiety of Dispossession provides a new understanding of the society that made jealousy a central obsession.
Lucidly guiding readers through the labyrinth of Lacanian theory--unpacking such central notions as the Other, object a, the unconscious as structures like a language, alienation and separation, the paternal metaphor, jouissance, and sexual difference--Fink demonstrates in-depth knowledge of Lacan's theoretical and clinical work. Indeed, this is the first book to appear in English that displays a firm grasp of both theory and practice of Lacanian psychoanalysis, the author being one of the only Americans to have undergone full training with Lacan's school in Paris.
Fink Leads the reader step by step into Lacan's conceptual system to explain how one comes to be a subject--leading to psychosis. Presenting Lacan's theory in the context of his clinical preoccupations, Fink provides the most balanced, sophisticated, and penetrating view of Lacan's work to date--invaluable to the initiated and the uninitiated alike.
Beginning in the late nineteenth century, French visual artists began incorporating Japanese forms into their work. The style, known as Japonisme, spanned the arts.
Identifying a general critical move from a literal to a more metaphoric understanding and presentation of Japonisme, Pamela A. Genova applies a theory of "aesthetic translation" to a broad response to Japanese aesthetics within French culture. She crosses the borders of genre, field, and form to explore the relationship of Japanese visual art to French prose writing of the mid- to late 1800s. Writing Japonisme focuses on the work of Edmond de Goncourt, Joris-Karl Huysmans, Émile Zola, and Stéphane Mallarmé as they witnessed, incorporated, and participated in an unprecedented cultural exchange between France and Japan, as both creators and critics. Genova’s original research opens new perspectives on a fertile and influential period of intercultural dynamics.
Placing Rétif’s novels and short stories in dialogue with his autobiographical writings as well as with contemporary and modern critical commentaries, the various chapters of the book examine the author’s repeated testing of the limits of censorship to define and redefine the boundaries of obscenity; his advancement of the modern form and definition of pornography through a focus on intimacy and (female) pleasure; his detailed narrative explorations of foot and shoe fetishisms that were later appropriated by the sexologists; and his development of theories of eugenics and reproduction in his utopian science fiction.
The history of Rétif’s texts and their reception reveals an evolution in the criteria of what is considered to be “good” or “worthy” literature—a category once defined purely on moral grounds that is increasingly seen in cultural terms. Bad Books corroborates the recent resurgence of interest in the author by showing the import of his texts, which not only designate a number of firsts in the histories of sexuality and pornography, but which also illuminate some of the defining moments in the history of French literary studies.
Bestiaries present accounts of animals whose fantastic behaviors should be imitated or avoided, depending on the given trait. In a highly original argument, Kay suggests that the association of beasts with books is here both literal and material, as nearly all surviving bestiaries are copied on parchment made of animal skin, which also resembles human skin. Using a rich array of examples, she shows how the content and materiality of bestiaries are linked due to the continual references in the texts to the skins of other animals, as well as the ways in which the pages themselves repeatedly—and at times, it would seem, deliberately—intervene in the reading process. A vital contribution to animal studies and medieval manuscript studies, this book sheds new light on the European bestiary and its profound power to shape readers’ own identities.
Lejeune is a leading European critic and theorist of diary and autobiography. His landmark essay, The Autobiographical Pact, has shaped life writing studies for more than thirty years, and his many books and essays have repeatedly opened up new vistas for scholarship. As Michael Riffaterre notes, Lejeune s work on autobiography is the most original, powerful, effective approach to a difficult subject. . . . His style is very personal, lively. It grabs the reader as scholarship rarely does. Lejeune s erudition and methodology are impeccable.
Two substantial introductory essays by Jeremy Popkin and Julie Rak place Lejeune s work within its critical and theoretical traditions and comment on his central importance within the fields of life writing, literary genetic studies, and cultural studies."
Originally published in 1987.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.