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Guy de Maupassant was a prolific writer of short stories. He has articulately painted a fascinating picture of French life in the 19th century through his writings.He made his debut as a poet and later, went on write 300 short stories, six novels, three travel books, and one volume of verse. Maupassant was a passionate lover of the sea and rivers, which accounts for the setting of much of his fiction and the prevalence in it of nautical imagery. He presents his characters dispassionately, foregoing any personal moral judgment on them but always noting the word, the gesture, or even the reticence that betrays each one's essential personality, all the while enhancing the effect by describing the physical and social background against which his characters move. Concision, vigour, and the most rigorous economy are the characteristics of his art. This collection includes Guy de Maupassant's masterpiece Boule de Suif and his other famous stories like The Necklace, A Piece of String, Mademoiselle Fifi, Miss Harriet, My Uncle Jules, Found on a Drowned Man and The Wreck. Embassy Books proudly presents this book as part of the Embassy Classics Series, which comprises of some of the finest literary works of great authors.
Alien Hearts was the last book that Guy de Maupassant finished before his death at the early age of forty-three. It is the most original and psychologically penetrating of his several novels, and the one in which he attains a truly tragic perception of the wounded human heart. André Mariolle is a rich, handsome, gifted young man who cannot settle on what to do with himself. Madame de Burne, a glacially dazzling beauty, wants Mariolle to attend her exclusive salon for artists, composers, writers, and other intellectuals. At first Mariolle keeps his distance, but then he hits on the solution to all his problems: caring for nothing in particular, he will devote himself to being in love; Madame de Burne will be his everything. Soon lover and beloved are equally lost within a hall of mirrors of their common devising. Richard Howard’s new English translation of this complex and brooding novel—the first in more than a hundred years—reveals the final, unexpected flowering of a great French realist’s art.
The most celebrated French storyteller of the nineteenth century, Guy de Maupassant was a master of the modern short story. Offering an intriguing picture of French life, his stories derive their enduring appeal from understated artistry, extreme craftsmanship, and the universality of his characters and their aspirations and misfortunes. His career as a professional writer lasted only twelve years before it was brutally cut short by the dreadful consequences of untreatable syphilis: chronic sickness, a failed suicide attempt, insanity, paralysis, and death after eighteen months’ confinement in a clinic. In this insightful and compelling biography, the only one in English currently available, Christopher Lloyd situates Maupassant’s life and work in the literary and social context of nineteenth-century France. He skillfully introduces the reader to Maupassant’s most famous works, such as Boule de suif, Bel-Ami, and Pierre et Jean, as well as highlights the important stages and achievements of his life and legacy.
Maupassant and the American Short Story isolates and develops more fully than any previous study the impact of Maupassant's work on the writing of Ambrose Bierce, O. Henry, Kate Chopin, and Henry James. It introduces a new perspective to assess their canons, reviving the importance of many often-ignored stories and, in the cases of Maupassant and O. Henry, reasserting the necessity of studying such writers to understand the history of the genre. An important moment in the history of the short story occurred with the American misreading of Maupassant's use of story structure. At the turn of the century, writers such as Bierce and O. Henry seized upon the surprise-inversion form because Maupassant's translators promoted him as championing it. Only a few writers, such as James and Chopin, both of whom read Maupassant in French, appreciated his deft handling of form more fully. Their vision and the impact of Maupassant upon their fiction was largely ignored by later generations of writers who preferred to associate Maupassant and O. Henry with the &"trick ending&" story. This book details the origins and consequences of this misperception. The book further contributes to the study of the short-story genre. Through an adaptation of Aristotelian concepts, Richard Fusco proposes an original approach to short-story structure, defining and developing seven categories of textual formulas: linear, ironic coda, surprise-inversion, loop, descending helical, contrast, and sinusoidal. As a practitioner of all these forms, Maupassant established his mastery of the genre. By studying his use of form, the book asserts a major reason for his pivotal importance in the historical development of the short story.
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"We fancied each other and that's that. Now it's over." Georges Duroy (the protagonist of