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The author recounts his experiences in building collections of rare books and manuscripts of French literature, and reveals little-known facts about French artists, composers, and writers.
Gertrude Stein's "Composition as Explanation" delves into the intricate relationship between language and artistic expression. Published in 1926, the essay explores Stein's unique approach to writing and challenges conventional perceptions of composition. With a distinctive prose style, she reflects on the nature of creativity, emphasizing the significance of repetition and abstraction. Stein's work serves as both an exploration of her own artistic process and a broader commentary on the essence of language in shaping our understanding of art.
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In Guignol's Band, first published in France in 1943, Céline explores the horror of a disordered world.
Beckett's first 'literary landmark' ( St Petersburg Times) is a wonderfully savoury introduction to the Nobel Prize-winning author. Written in 1932, when the twenty-six-year-old Beckett was struggling to make ends meet, the novel offers a rare and revealing portrait of the artist as a young man. When submitted to several publishers, all of them found it too literary, too scandalous or too risky; it was only published posthumously in 1992. As the story begins, Belacqua - a young version of Molloy, whose love is divided between two women, Smeraldina-Rima and the little Alba - 'wrestles with his lusts and learning across vocabularies and continents, before a final "relapse into Dublin"' ( New Yorker). Youthfully exuberant and Joycean in tone, Dream is a work of extraordinary virtuosity.
The most blackly humorous and disenchanted voice in all of French literature. London Review of Books
A long-time companion of Picasso describes the artistic and personal friendship between two giants of twentieth-century art, capturing the affection, rivalry, and creative interaction of the two geniuses, along with examples of their works
Franse en Engelse gedichten.
"Deathwatch," Jean Genet's earliest, shortest and most formally straightforward play, was first performed in Paris in 1949. It retains an intense power and makes an excellent introduction to his later dramas - "The Maids," "The Balcony," "The Blacks," "The Screens." The French text of "Deathwatch," published by Gallimard, was extensively altered by Genet during rehearsal; and Bernard Frechtman's translation is of the final 'performance' version, which supersedes the original published text. Three convicts share a cramped prison cell. There is no question as to which of them is the dominant dog in the pack: Green Eyes (Yeux-Verts) has brutally murdered a woman and is to be executed. Lefranc and the younger novice-like Maurice are inside for less grave crimes. But both of them covet Green Eyes' attention, baiting each other in the process, a duel that drives inexorably toward violence.
Maiden Voyage is Denton Welch's debut novel, a frankly autobiographical account of a short period in his life when - at the age of 16 - he ran away from his English boarding school, before being sent back to Shanghai to live with his businessman father. "Trembling with sex", is how Alan Bennett wonderfully describes Maiden Voyage; and as well as portraying so acutely the passions and nameless longings of a teenage boy, and the strange quirks and brutalities of public school life, it is also a novel that deals with the agony of childhood bereavement - the suffering of a boy who has only recently lost his mother. When Maiden Voyage was first published in 1943 it was an overnight sensation, and so graphic in its depiction of adolescence and the schooling system that Welch's publisher - Herbert Read - was forced to seek legal advice. Seventy years on, there is little to shock the modern reader - but more than enough to earn a new generation of fans and admirers. William Burroughs said, "If ever there was a writer who was neglected, it was Denton. He makes you aware of the magic that is right beneath your eyes."