First published in 1902 and immediately assailed for its themes of omnisexual abandon and perverse aestheticism, The Immoralist is the novel that launced André Gide's reputation as one of France's most audacious literary stylists, a groundbreaking work that opens the door onto a universe of unfettered impulse whose possibilities still seem exhilarating and shocking. Gide's protagonist is the frail, scholarly Michel, who shortly after his wedding nearly dies of tuberculosis. He recovers only through the ministrations of his wife, Marceline, and his sudden, ruthless determination to live a life unencumbered by God or values. What ensues is a wild flight into the realm of the senses that culminates in a reomote outpost in the Sahara--where Michel's hunger for new experiences at any cost bears lethal consequences. The Immoralist is a book with the power of an erotic fever dream--lush, prophetic, and eerily seductive.
Passing with cinematographic speed across the capitals of Europe, Nobel laureate André Gide’s Lafcadio’s Adventures is a brilliantly sly satire and one of the clearest articulations of his greatest theme: the unmotivated crime. When Lafcadio Wluiki, a street-smart nineteen-year-old in 1890s Paris, learns that he’s heir to an ailing French nobleman’s fortune, he’s seized by wanderlust. Traveling through Rome in expensive new threads, he becomes entangled in a Church extortion scandal involving an imprisoned Pope, a skittish purveyor of graveyard statuary, an atheist-turned-believer on the edge of insolvency, and all manner of wastrels, swindlers, aristocrats, adventurers, and pickpockets. With characteristic irony, Gide contrives a hilarious detective farce whereby the wrong man is apprehended, while the charmingly perverse Lafcadio—one of the most original creations in all modern fiction—goes free.
A slim but powerful work of metafiction by a Nobel Prize-winning French writer and intellectual. André Gide is the inventor of modern metafiction and of autofiction, and his short novel Marshlands shows him handling both forms with a deft and delightful touch. The protagonist of Marshlands is a writer who is writing a book called Marshlands, which is about a reclusive character who lives all alone in a stone tower. The narrator, by contrast, is anything but a recluse: He is an indefatigable social butterfly, flitting about the Paris literary world and always talking about, what else, the wonderful book he is writing, Marshlands. He tells his friends about the book, and they tell him what they think, which is not exactly flattering, and of course those responses become part of the book in the reader’s hand. Marshlands is both a poised satire of literary pretension and a superb literary invention, and Damion Searls’s new translation of this early masterwork by one of the key figures of twentieth-century literature brings out all the sparkle of the original.
A landmark in world literature, Strait is the Gait describes a love affair-between an acutely sensitive boy growing up in Paris and his cousin from the countryside-that erupts into a soul-endangering passion. Jeroime Palissier spends many summers in rural Normandy, where the whole world seems ''steeped in azure,'' at the house of his uncle. He falls in love with his uncle's daughter, Alissa, and she with him, but as his ardor ascends to precarious heights, Alissa decides that the only way to save Jerome is to suppress everything that is beautiful in herself-in both mind and body. A devastating exploration of aestheticism taken to extremes, Strait is the Gate is a novel of haunting beauty that stimulates the mind and the emotions.
Most of Andre Gide's richly-varied literary output has long been available to American readers. Only one aspect of his protean career has been lacking in translation: the essays, the publication of which will go far to explain why Gide holds in France such high rank as a critic. Many of the essays in Pretexts: Reflections on Literature and Morality were provoked by events in the cultural and political world of twentieth-century France, a turbulent setting that produced a lasting literature. These essays are vintage Gide, informed by his characteristic spirit his hard brilliance, pointed honesty, and the enduring relevance of his concerns.Readers of his Journals will be prepared for the style, intelligence, and marksmanship that Gide brings to bear in these forty-two articles on life as well as on letters. His range, as always, is broad: a long and moving memoir of his encounters with Oscar Wilde; a series of combats against reactionary nationalists and self-appointed purifiers of morals; estimates of Mallarme, Baudelaire, Proust, Gautier, and Valery, among others; letters to Jacques Riviere, Jean Cocteau, and Francis Jammes; and general essays on art, literature, the theater, and politics.Justin O'Brien, famous for his studies in modern French literature, has written that Gide is "related to La Fontaine and Racine by his essential conciseness and crystalline style, to Montaigne and Goethe by his inquiring mind which reconciled unrest and serenity, to Baudelaire by his lucid, prophetic criticism." O'Brien, who has done so much to bring contemporary French literature to America, supervised the translations in Pretexts: Reflections on Literature and Morality, prepared several of them himself, and contributes an informative general introduction and additional commentary to preface the various sections of this major book.
Gide, in this first English translation, defended a poet named Oscar Wilde when other poets threatened to wreck Wilde's life and attempted to show that Wilde was an honorable man. Gide's personal sketches are presented in this book that are in original form. This work was written during the prime of Oscar Wilde's life. André Gide (1869-1951), French writer, whose novels, plays, and autobiographical works are distinguished for their exhaustive analysis of individual efforts at self-realization and Protestant ethical concepts; together with his critical works they had a profound influence on French writing and philosophy. Gide was born November 22, 1869, in Paris into a strict Protestant family and educated at the École Alsacienne and the Lycée Henri IV. In his first book, Les cahiers d'Andre Walter (The Notebooks of Andre Walter, 1891), Gide described the religious and romantic idealism of an unhappy young man. He then became associated with the Symbolists, but in 1894 began to develop an individualistic approach and style. In Les nourritures terrestres (The Fruits of the Earth, 1897) he preached the doctrine of active hedonism. Thereafter his works were devoted to examining the problems of individual freedom and responsibility, from many points of view. The Immoralist (1902; trans. 1930) and Strait Is the Gate (1909; trans. 1924) are studies of individual ethical concepts in conflict with conventional morality. The Caves of the Vatican (trans. 1927 and also published in English as Lafcadio's Adventures), in which Gide ridiculed the possibility of complete personal independence, appeared in 1914. The idyll La symphonie pastorale (The Pastoral Symphony, 1919; produced as a motion picture, 1947) dealt with love and responsibility. Gide examined the problems of middle-class families and of adolescence in If It Die (1920; trans. 1935) and in the popular novel of youth in Paris, The Counterfeiters (1926; trans. 1928). Gide's preoccupation with individual moral responsibility led him to seek public office. After filling municipal positions in Normandy (Normandie), he became a special envoy of the colonial ministry in 1925-26 and wrote two books describing conditions in the French African colonies. These reports, Voyage au Congo (1927) and Retour du Tchad (1927), were instrumental in bringing about reforms in French colonial law. They were published together in English as Travels in the Congo (1929). In the early 1930s Gide had expressed his admiration and hope for the "experiment" in the USSR, but after a journey in the Soviet Union he reported his disillusionment in Return from the U.S.S.R. (1936; trans. 1937). Many of Gide's critical studies appeared in La Nouvelle Revue Française, a literary periodical that he helped to found in 1909 and that became a dominant influence in French intellectual circles. These essays are principally analyses of the psychology of creative artists.
During the 1930s, Gide briefly became a communist, or more precisely, a fellow traveller (he never formally joined the Communist Party). As a distinguished writer sympathising with the cause of communism, he was invited to tour the Soviet Union as a guest of the Soviet Union of writers. The tour disillusioned him and he subsequently became quite critical of Soviet Communism. This criticism of Communism caused him to lose socialist friends, especially when he made a clean break with it in this book Return From The USSR first published in the 1930's.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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