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Martin Turnell's The Rise of the French Novel is a successor to his highly praised earlier books, The Novel in France (1951) and The Art of French Fiction (1959). His aim now, however, is somewhat different, as can be seen from the title. It is well known that the reputations of many writers, novelists especially, diminish for a period following their deaths. Although in the eighteenth century Marivaux, Crébillon fils, and Rousseau all enjoyed a great deal of popularity during their lifetimes, it is only recently that they have been subject to truly searching studies. Yet they remain little read in English-speaking countries. Turnell emphasizes that in spite of the hostility of French critics and the fact that the novel did not reach its supremacy even in France until the nineteenth century, the beginning of its great rise was indeed with such writers as these. Their strong influence led such nineteenth-century novelists as Stendhal and Flaubert to all kinds of changes related to style, the enormous increase in the range of subject matter, and the marked development of language. Flaubert is the most striking example. It was pointed out some time ago by Eisenstein that Madame Bovary anticipates cinematic technique. One of Turnell's most interesting chapters explores the connections between the novel and film in general, and Madame Bovary in particular. In our own time, two of the most popular French novelists in both the United States and England are Alain-Fournier and Radiguet. They are given enthusiastic appreciations in Turnell's thoughtful book.
Until now, writings on the celebrated movements in literature and film that emerged in France in the mid-1950s - the New Novel and New Wave - have concentrated on their formal innovations, not on their engagement with history or politics. New Novel, New Wave, New Politics overturns this traditional approach. Lynn A. Higgins argues that the New Novelists (e.g., Alain Robbe-Grillet, Claude Simon, Marguerite Duras) and New Wave filmmakers (e.g., Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Alain Resnais) "engage in a kind of historiography.... They enact the conflicts, the double binds of postwar history and representation." Higgins claims that what art historian Serge Guilbaut has said of American Abstract Expressionism is equally true of the New Novel and New Wavethat its aesthetic innovations "provided a way for avant-garde artists to preserve their sense of social 'commitment'... while eschewing the art of propaganda and illustration. It was in a sense a political apoliticism." Higgins shows how the New Novel and New Wave are related developments. "While their individual styles and themes remain distinctive, " she writes, "they share an ecriture that can be described as alternately, or interconnectedly, filmic and novelistic." New Wave filmmakers borrowed novelistic devices and made frequent literary allusions, while the "vision of the novelists is distinctly cinematic." A lively account that takes us to the crossroads where culture and politics meet, New Novel, New Wave, New Politics dramatically revises our view of a whole generation of important, influential artists.
Disputing the claim that Algerian writing during the struggle against French colonial rule dealt almost exclusively with revolutionary themes, The Algerian New Novel shows how Algerian authors writing in French actively contributed to the experimental forms of the period, expressing a new age literarily as well as politically and culturally. Looking at canonical Algerian literature as part of the larger literary production in French during decolonization, Valérie K. Orlando considers how novels by Rachid Boudjedra, Mohammed Dib, Assia Djebar, Nabile Farès, Yamina Mechakra, and Kateb Yacine both influenced and were reflectors of the sociopolitical and cultural transformation that took place during this period in Algeria. Although their themes were rooted in Algeria, the avant-garde writing styles of these authors were influenced by early twentieth-century American modernists, the New Novelists of 1940s–50s France, and African American authors of the 1950s–60s. This complex mix of influences led Algerian writers to develop a unique modern literary aesthetic to express their world, a tradition of experimentation and fragmentation that still characterizes the work of contemporary Algerian francophone writers.
Best Book of 2020 New York Times |NPR | New York Post "This hushed suspense tale about thwarted dreams of escape may be her best one yet . . . Its own kind of masterpiece." --Maureen Corrigan, The Washington Post "A new Tana French is always cause for celebration . . . Read it once for the plot; read it again for the beauty and subtlety of French's writing." --Sarah Lyall, The New York Times Cal Hooper thought a fixer-upper in a bucolic Irish village would be the perfect escape. After twenty-five years in the Chicago police force and a bruising divorce, he just wants to build a new life in a pretty spot with a good pub where nothing much happens. But when a local kid whose brother has gone missing arm-twists him into investigating, Cal uncovers layers of darkness beneath his picturesque retreat, and starts to realize that even small towns shelter dangerous secrets. "One of the greatest crime novelists writing today" (Vox) weaves a masterful, atmospheric tale of suspense, asking how to tell right from wrong in a world where neither is simple, and what we stake on that decision.
A New York Times bestseller and a Best Book of 2018 by NPR, The New York Times Book Review, Amazon, The Boston Globe, LitHub, Vulture, Slate, Elle, Vox, and Electric Literature “Tana French’s best and most intricately nuanced novel yet.” —The New York Times An “extraordinary” (Stephen King) and “mesmerizing” (LA Times) standalone novel from the master of crime and suspense and author of the forthcoming novel The Hunter. From the writer who “inspires cultic devotion in readers” (The New Yorker) and has been called “incandescent” by Stephen King, “absolutely mesmerizing” by Gillian Flynn, and “unputdownable” (People) comes a gripping new novel that turns a crime story inside out. Toby is a happy-go-lucky charmer who’s dodged a scrape at work and is celebrating with friends when the night takes a turn that will change his life—he surprises two burglars who beat him and leave him for dead. Struggling to recover from his injuries, beginning to understand that he might never be the same man again, he takes refuge at his family’s ancestral home to care for his dying uncle Hugo. Then a skull is found in the trunk of an elm tree in the garden—and as detectives close in, Toby is forced to face the possibility that his past may not be what he has always believed. A spellbinding standalone from one of the best suspense writers working today, The Witch Elm asks what we become, and what we’re capable of, when we no longer know who we are.
This is a work by the French author Alain Robbe-Grillet, translated from the original French.
A New York Times bestseller and a "Best Thriller of the Year" Winner of the Goncourt Prize and now an international phenomenon, this dizzying, whip-smart novel blends crime, fantasy, sci-fi, and thriller as it plumbs the mysteries surrounding a Paris-New York flight. Who would we be if we had made different choices? Told that secret, left that relationship, written that book? We all wonder—the passengers of Air France 006 will find out. In their own way, they were all living double lives when they boarded the plane: Blake, a respectable family man who works as a contract killer. Slimboy, a Nigerian pop star who uses his womanizing image to hide that he’s gay. Joanna, a Black American lawyer pressured to play the good old boys’ game to succeed with her Big Pharma client. Victor Miesel, a critically acclaimed yet largely obscure writer suddenly on the precipice of global fame. About to start their descent to JFK, they hit a shockingly violent patch of turbulence, emerging on the other side to a reality both perfectly familiar and utterly strange. As it charts the fallout of this logic-defying event, The Anomaly takes us on a journey from Lagos and Mumbai to the White House and a top-secret hangar. In Hervé Le Tellier’s most ambitious work yet, high literature follows the lead of a bingeable Netflix series, drawing on the best of genre fiction from “chick lit” to mystery, while also playfully critiquing their hallmarks. An ingenious, timely variation on the doppelgänger theme, it taps into the parts of ourselves that elude us most.
Arrested for snorting cocaine off a car bonnet, award-winning author and quintessential dilettante Frederic Beigbeder reflects on his troubled childhood, while spending a night in the cells.
In 1798, Irish patriots, committed to freeing their country from England, landed with a company of French troops in County Mayo, in westernmost Ireland. They were supposed to be an advance guard, followed by other French ships with the leader of the rebellion, Wolfe Tone. Briefly they triumphed, raising hopes among the impoverished local peasantry and gathering a group of supporters. But before long the insurgency collapsed in the face of a brutal English counterattack. Very few books succeed in registering the sudden terrible impact of historical events; Thomas Flanagan's is one. Subtly conceived, masterfully paced, with a wide and memorable cast of characters, The Year of the French brings to life peasants and landlords, Protestants and Catholics, along with old and abiding questions of secular and religious commitments, empire, occupation, and rebellion. It is quite simply a great historical novel. Named the most distinguished work of fiction in 1979 by the National Book Critics' Circle.
While Detective Antoinette Conway and her partner Stephen Moran work a seemingly routine investigation of a lovers' quarrel gone bad, they discover the case isn't as by-the-numbers as they thought.