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The masterpiece of one of the greatest modern Catholic writers A novel told in the form of a confessional letter, this is the story of Monsieur Louis, an embittered, aging lawyer who has spread his misery to his entire estranged family. Louis writes to explain to them, and to himself, why his soul has been deformed, why his heart seems like a foul nest of twisted serpents. Mauriac's novel masterfully explores the corruption caused by pride, avarice, and hatred, and its opposite—the divine grace that remains available to each of us until the very moment of our deaths. It is the unforgettable tale of the battle for one man's soul.
"The Life of Jesus is Nobel Prize-winning author François Mauriac's character study of Jesus Christ. As a novelist, Mauriac is aptly suited to accomplish his mission: to show the meaning of Christ for an ordinary Christian, strongly bound up with the things of the world. In his other writings, Mauriac depicted the sadness and suffering of ordinary human existence; here, he shows the light that illuminates the darkness--the light that is the Christ, the Son of God. Pairing the solid foundation of Scripture with his distinctive visceral style, Mauriac leads the reader through Christ's early years, his public ministry and miracles, and his passion, death, and resurrection. The episodic structure of the book makes it a powerful aid for meditation, especially during Holy Week."--from back cover.
In this translation of two seminal works by Mauriac, the 1930 novel What Was Lost and its theoretical basis, the 1929 essay God and Mammon, Raymond MacKenzie re-introduces Mauriac to the English speaking world.
ln these pages, with simple piety and a novelist's mastery of language, Francois Mauriac carries the reader to Jesus in the tabernacle of the local Catholic church, enabling Christians to the tenderness found by all believers. As Mauriac says the sentiments in these pages, "These are the feelings of one Christian among a thousand others. Such is the invisible God he sees, the hidden God he discerns."
Who has not, in a favored moment, ‘stolen the limelight’, whether inadvertently or by design? The implications of such an act of display – its illicitness, its verve, its vertiginous reversal of power, its subversiveness – are explored in this book. Narrative crafting and management of such scenarios are studied across canonical novels by Gide, Colette, Mauriac, and Duras, as well as by African Francophone writer Oyono and detective novelist Japrisot. As manipulated within narrative, acts of display position a viewer or reader from whom response (from veneration or desire to repugnance or horror) is solicited; but this study demonstrates that display can also work subversively, destabilising and displacing such a privileged spectator. As strategies of displacement, these scenarios ultimately neutralise and even occult the very subject they so energetically appear to solicit. Powered by gendered tensions, this dynamic of display as displacement works toward purposes of struggle, resistance or repression.
A young priest, caught in a web of scandal, receives a confession that sets the stage for murder.
Set in Paris in the mid-1960s, Lucile, a young, rootless woman, finds herself torn between a fifty-year-old businessman and a thirty-year-old hot-blooded, impulsive editor; and, in a companion to the novel, the translator describes the process of rewritin
"For twenty-eight years, Pamela Paul has been keeping a diary that records the books she reads, rather than the life she leads. Or does it? Over time, it's become clear that this Book of Books, or Bob, as she calls him, tells a much bigger story. For Paul, as for many readers, books reflect her inner life--her fantasies and hopes, her dreams and ideas. And her life, in turn, influences which books she chooses, whether for solace or escape, diversion or self-reflection, information or entertainment. My Life with Bob isn't about what's in those books; it's about the relationship between books and readers"--