The narrator of Prehistoric Times might easily be taken for an inhabitant of Beckett’s world: a dreamer who in his savage and deductive folly tries to modify reality. The writing, with its burlesque variations, accelerations, and ruptures, takes us into a frightening and jubilant delirium, where the message is in the medium and digression gets straight to the point. In an entirely original voice, Eric Chevillard asks looming and luminous questions about who we are, the paths we’ve been traveling, and where we might be going – or not.
The daring, mischievous micro-essays of award-winning French humorist Éric Chevillard, published in English for the first time Éric Chevillard is one of France's leading stylists and thinkers, an endlessly inventive observer of the everyday whose erudition and imagination honor the legacy of Swift and Voltaire--with some good-natured postmodern twists. This ensemble of comic miniatures compiles reflections on chairs, stairs, stones, goldfish, objects found, strangers observed, scenarios imagined, reasonable premises taken to absurd conclusions, and vice versa. The author erects a mental museum for his favorite artworks, only to find it swarming with tourists. He attends a harpsichord recital and lets his passions flare. He happens upon a piece of paper and imagines its sordid back story. He wonders if Hegel's cap, on display in Stuttgart, is really worth the trip. Throughout, Chevillard's powers of observation chime with his verbal acrobatics. His gaze--initially superficial, then deeply attentive, then practically sociopathic--manages time and again to defamiliarize the familiar with a coherent and charismatic charm. Daniel Levin Becker's translation deftly renders the marvels of the original, and a foreword by Daniel Medin offers rich contextual commentary, making a vital wing of French literature and humor newly accessible in English.
A novel of the absurd about a man seeking to know who he is. As he sees it the problem is that he cannot remember his birth, so he cannot really be sure who he is.
The daring, mischievous micro-essays of award-winning French humorist Éric Chevillard, published in English for the first time Éric Chevillard is one of France's leading stylists and thinkers, an endlessly inventive observer of the everyday whose erudition and imagination honor the legacy of Swift and Voltaire--with some good-natured postmodern twists. This ensemble of comic miniatures compiles reflections on chairs, stairs, stones, goldfish, objects found, strangers observed, scenarios imagined, reasonable premises taken to absurd conclusions, and vice versa. The author erects a mental museum for his favorite artworks, only to find it swarming with tourists. He attends a harpsichord recital and lets his passions flare. He happens upon a piece of paper and imagines its sordid back story. He wonders if Hegel's cap, on display in Stuttgart, is really worth the trip. Throughout, Chevillard's powers of observation chime with his verbal acrobatics. His gaze--initially superficial, then deeply attentive, then practically sociopathic--manages time and again to defamiliarize the familiar with a coherent and charismatic charm. Daniel Levin Becker's translation deftly renders the marvels of the original, and a foreword by Daniel Medin offers rich contextual commentary, making a vital wing of French literature and humor newly accessible in English.
On the Ceiling tells the story of a young man who wears a chair upside down on his head. He falls in love with a young woman named Mäline, and soon he and his friends move in with her and her family. They are disappointed by the life they find at Mäline?s, however, and in search of something better they make the collective decision to move to the ceiling of her house, where they expect to find a more orderly, more rational, and less encumbered existence. _ric Chevillard?s trademark is inventing characters who have little choice but to dream up the most hopelessly outlandish and breathtakingly brilliant schemes if they are to survive the rigors of their existence. He is fascinated by the imperious need we all feel to make life bearable and by the lengths to which we are willing to go in that pursuit. The characters in On the Ceiling are prepared to go rather further than most of us. Chevillard, one of the most inventive young authors on the French literary scene, is the author of eight novels.
The narrator of Prehistoric Times might easily be taken for an inhabitant of Beckett’s world: a dreamer who in his savage and deductive folly tries to modify reality. The writing, with its burlesque variations, accelerations, and ruptures, takes us into a frightening and jubilant delirium, where the message is in the medium and digression gets straight to the point. In an entirely original voice, Eric Chevillard asks looming and luminous questions about who we are, the paths we’ve been traveling, and where we might be going – or not.
The classic Grimms' fairy tale of the valiant little tailor, as you’ve never heard it before Once upon a time, there lived a valiant little tailor who killed seven flies with one blow—but who is this narrator who has abruptly inserted himself into the story, claiming authorship? He’s indignant: the fairy tale, borne carelessly along by the popular imagination, subjected to the transformations of oral tradition, was collected in a lamentable state by the Brothers Grimm, and he intends to restore the tale and its giant-slaying, unicorn-fighting, boar-hunting star to their original magnificence. But the true hero of the story remains to be seen: Is it the tailor, the narrator, or someone else entirely? In this explosive retelling of the classic tale, Éric Chevillard enlists the reader in a dizzying game of crack-the-whip, with new directions and delights in every paragraph. At once irreverent and deeply sincere, this book is a mischievous, multifarious celebration of the power of stories and those who tell them.
Eric Chevillard’s visionary play of word and thought has been compared to the work of Beckett, Michaux, and Pinget, yet the universe he spins is utterly his own. Palafox (Editions de Minuit, 1990), Chevillard’s third novel of eleven, explores the ecosystem of an unclassifiable yet enchanting protean creature, Palafox. A team of experts armed with degrees of higher learning is determined to label, train, baptize, and realize the elusive creature, while Palafox effortlessly and wordlessly defies them all.
Nearly one hundred years after the death of its composer, the music of Claude Debussy has lost none of its breadth of appeal. With the rare ability to entice listeners on many levels, at its heart lies an engaging simplicity-one which defies traditional analysis and lends mystery to what ultimately is an extremely refined and highly personal approach to composition. Equally fascinating is Debussy's often contradictory personality--at times elusive, but always centered on his devotion to music and his ambition to create a name for himself unlike any other. Author Eric Frederick Jensen provides new insight to the man and the music in this authoritative biography. Although born into poverty, and a failure as a piano student at the Paris Conservatoire, Debussy became the most famous French composer of his day, known for his culture and refinement. His revolutionary music baffled critics but was embraced by audiences. Debussy's scandalous personal life stirred up as much controversy as his music, and his notoriety proved more harmful to his career than the unusual nature of his compositions. Jensen also explores Debussy's relationship to the arts and his career as a music critic. Debussy drew on all of the arts in his development as a composer, including poetry and painting, and his fascination with the arts has often led to his being classified as an Impressionist or Symbolist, two claims which Jensen debunks. One of the finest music critics of his time, Debussy's reviews reveal a great deal not only about his musical taste, but also about what he felt the role and function of music should be. Debussy brings together the most recent biographical research, including a revised catalogue of Debussy's compositions and the first complete edition of his correspondence. With separate, chronological sections on his life and music, Debussy is accessible to the general reader who wishes to focus on his life and personality, while providing detailed discussion of the music to musicians and students.
The New Grove Dictionary of Music and Musicians is the most comprehensive and up-to-date body of musical knowledge ever gathered together. The New Grove composer biographies have been selected from the dictionary to bring the finest of the biographies to a wider audience. Each has been expanded and updated for book publication and contains a comprehensive work-list, index, and fully revised bibliography, in addition to the definitive view of the subject's life and works.
In his magisterial two-volume work, Eric Gautier brings to life, with unerring historical precision, the constant struggle for maritime supremacy between the French and English during the second half of the eighteenth century. In so doing, he fuses the breadth of Dumas with the accuracy of O’Brian and the charm of Forester, creating his own distinct and trustworthy voice. His hero, a young French noble, orphaned in mysterious circumstances, enrols as a Navy cadet at Brest and so begins a long and painful odyssey of self-discovery. His journey takes him from the seedy back streets of Brest and Saint-Malo to the corridors of power at Versailles, from the Bastille to the coasts of Cornwall, the West Indies, America, South Africa and India. He participates in many of the major naval engagements of the time, suffering wounds and innumerable setbacks as he doggedly uncovers the dark truth behind his mother’s kidnap and murder. As the work’s translator, Roger D. Taylor, says in his foreword: ‘The enemy is of course the Royal Navy, and it is refreshing to have a different perspective on the great naval actions of the pre-Napoleonic era. There is nothing rose-tinted about this perspective; the author’s rigorous historical sense, backed up by painstaking research of contemporary documentation, tells it just as it was. Nothing is glorified or distorted for cheap effect. The overall impact of the writing is so much the greater because of this.’ This book is Volume One of a two-volume series.
Charles Sorel est un auteur prolifique, dont l'œuvre est tout autant pléthorique, au nom d'un combat qu'il jugeait juste, que protéiforme du fait d'un réel talent. Encyclopédiste ! Certes, il n'aurait pas renié le qualificatif puisqu'il a tenu pour sa maîtresse œuvre une vaste compilation des savoirs scientifiques passés au crible de la raison moderne - celle de Francis Bacon et de son souci de l'expérience. Mais il est avant tout un prosateur polygraphe, alors qu'il a traqué les faussetés de la poésie de son temps et du legs gréco-latin et humaniste, en même temps qu'il aura dévalué les romans épiques et pastoraux. Polygraphe, voire polyphoniste, il l'a été en divers genres, de l'historiographie royale à la critique littéraire, du roman comique à l'utopie allégorique, de la somme scientifique aux pièces galantes. On en oublierait un détail : Charles Sorel est un auteur du XVIIe siècle, mais il n'a rien de classique, dans toutes les connotations que le mot traîne après lui. C'est un polygraphe donc qui survient comme un coin porté dans l'image roide que suppose le simple terme de classicisme. Cet auteur, décalé et incongru - sans doute oublié longtemps pour cela - au milieu des fastes glacés de la raison et de la clarté prétendument louis-quatorziennes, jouit à présent d'une réelle notoriété reconquise sur le discrédit et les anathèmes faciles, parmi les spécialistes des lettres de l'âge classique. C'est un juste retour d'intérêt. Les actes ici rassemblés participent de cette réévaluation, mais surtout ils sont de toute évidence fondateurs des études à venir sur l'une des figures les plus originales et complexes du XVIIe siècle français, ne serait-ce que pour l'avoir saisie à l'aune du schème qui en fait toute sa variété et toute sa richesse. Charles Sorel a modulé des vérités difficiles à entendre, des impertinences inacceptables, des dysphonies irritantes dans le concert classique des Muses et des savoirs de son temps, au travers de tous les genres prosaïques ; il a réussi à faire percer cette leçon trop injustement enfouie qu'il y a une vraie raison à vouloir être toujours jeune, rieur, curieux et critique ; c'était ce que l'on appelait le libertinage érudit : toutefois cette appellation un tantinet neutralisante de vraies et encombrantes audaces risquait de faire oublier combien l'histoire entendait endormir, sinon étouffer, de telles enfances qui la condamnerait, si elles devaient dominer, à se penser autrement que comme un cénotaphe d'autorités marmoréennes et écrasantes.
2005 : William « Bull » Preece, quarante-cinq ans, est découvert mort dans son mobile home rouillé d’une overdose à l’oxycodone, un opioïde puissant délivré sur ordonnance. Debbie Preece, sa sœur, se l’est juré : Bull ne sera pas un autre chiffre dans le bilan humain désastreux des Appalaches. Bébés nés dépendants, familles détruites... Le taux de décès par overdoses aux opioïdes a quadruplé en quelques années. 2013 : Eric Eyre travaille depuis quinze ans à la Charleston Gazette, dont la devise est « s’indigner sans relâche ». Il a reçu un coup de téléphone : des liens suspects existent entre le procureur général de l’État et l’industrie pharmaceutique. Comment sept cent quatre-vingt millions de comprimés d’oxycodone et d’hydrocodone ont-ils pu être déversés en Virginie-Occidentale sans que personne ne dise un mot ? Comment une pharmacie, celle où Bull se procurait ses comprimés, a-t-elle pu vendre plus de deux millions d’analgésiques, autrement dit d’antidouleurs, dans une ville qui ne compte que trois cent quatre-vingt-deux âmes ? Et si Bull avait été la victime, parmi tant d’autres, d’un vaste trafic, juteux pour les uns, mortel pour les autres ? Pablo Escobar et El Chapo n’auraient pas mieux organisé les choses. Eric le pugnace entreprend de remonter le fil, et ce qu’il découvre dépasse l’entendement.
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