On vient de me faire une offre d'un million de dollars pour la publication d' un seul mois de ce journal. " – Richard Burton, 29 octobre 1968 " On vient de me faire une offre d'un million de dollars pour la publication d'un seul mois de ce journal ", écrit avec étonnement Richard Burton en 1968. L'acteur est alors un des monstres sacrés du 7e art et forme un couple mythique et scandaleux avec Elizabeth Taylor. Cette relation passionnée, leur train de vie babylonien, leur beauté, leurs excès et leurs succès : le journal intime de Burton nous y plonge " caméra à l'épaule ", comme si nous y étions. Mais il révèle aussi un homme insoupçonné, infiniment plus complexe que le commun des acteurs hollywoodiens. Sceptique et distant à l'égard du cinéma, il se montre en revanche fou de théâtre et de littérature. Doté d'un sens de l'humour irrésistible et d'une grande faculté d'observation, Richard Burton possédait les qualités rares et indispensables du diariste – pour notre plus grand bonheur. " Ce journal est, en un mot, fascinant. " – The Washington Times " Burton raconte sa vie à la manière d'un drame poignant où "demain est toujours une surprise'. Il en vient à nous manquer chaque fois que l'on pose le livre. Sa voix est de celles qui vous poursuivent longtemps. " – The Daily Telegraph " Il émerge de la lecture de ces carnets un Richard Burton comme même ses plus grands fans n'auraient jamais osé le rêvé. Il s'y montre si sensible, intelligent, profondément cultivé et éclairé qu'on se prendrait presque à se dire qu'on aurait aimé l'avoir à dîner. " – The Wall Street Journal " Ces écrits révèlent un homme porté à la réflexion et attentionné, engagé dans une approche intellectuelle du monde qui l'entoure. On est bien au-delà de la simple image du coureur de jupons avec un penchant pour la boisson [...]. Ses carnets témoignent d'un intérêt profond pour le passé, le présent et l'avenir. " – The Times " Un livre indispensable. " – The Financial Times " Un aperçu réjouissant de la vie de l'acteur, qui ne cherche pas à cacher ses aspérités. " – The Los Angeles Times " Même à notre époque où il semblerait que nous soyons menacés d'une overdose d'informations sur les célébrités, il y a dans ces pages quelque chose d'absolument fascinant. " – NBC Today Acclamé comme l'un des acteurs les plus marquants de sa génération, Richard Burton (1925-1984) eut le tort, pour certains, de négliger sa carrière. Parce qu'au cinéma et à ses intrigues, il préféra les livres... et surtout sa liberté.
In Holy Tears, Holy Blood, Richard D. E. Burton continues his investigation of Catholic France from Revolution to Liberation. From his focus in Blood in the City on public demonstrations of the cultural power of Catholicism, he now turns to more private rituals, those codes of conduct that shaped the interior lives of French Catholic women and determined their artistic and social presentation. "Here there is rather less blood, and considerably more weeping," Burton says. In portraits of eleven women, including Simone Weil and Sainte Thèrése, he traces the lasting power of particular expressions of suffering and sacrifice. How, Burton asks, does a rapidly modernizing society accommodate the cultural-historical legacy of religious belief, in particular the extreme conservative beliefs of ultramontane Catholicism? Burton pays particular attention to the doctrine of "vicarious suffering," whereby an individual suffers for the redemption of others, and to certain extreme forms of religious experience including stigmatization, self-starvation, visions, and apparitions.
The irresistible, candid diaries of Richard Burton, published in their entirety “Just great fun, and written out of an engaging, often comical bewilderment: How did a poor Welshman become not only a star, but a player on the world stage that was Elizabeth Taylor’s fame?”—Hilton Als, NewYorker.com “Of real interest is that Burton was almost as good a writer as an actor, read as many as three books a day, haunted bookstores in every city he set foot in, bought countless books on every conceivable subject and evaluated them rather shrewdly. . . . Apt writing abounds.”—John Simon, New York Times Book Review Irresistibly magnetic on stage, mesmerizing in movies, seven times an Academy Award nominee, Richard Burton rose from humble beginnings in Wales to become Hollywood's most highly paid actor and one of England's most admired Shakespearean performers. His epic romance with Elizabeth Taylor, his legendary drinking and story-telling, his dazzling purchases (enormous diamonds, a jet, homes on several continents), and his enormous talent kept him constantly in the public eye. Yet the man behind the celebrity façade carried a surprising burden of insecurity and struggled with the peculiar challenges of a life lived largely in the spotlight. This volume publishes Burton's extensive personal diaries in their entirety for the first time. His writings encompass many years—from 1939, when he was still a teenager, to 1983, the year before his death—and they reveal him in his most private moments, pondering his triumphs and demons, his loves and his heartbreaks. The diary entries appear in their original sequence, with annotations to clarify people, places, books, and events Burton mentions. From these hand-written pages emerges a multi-dimensional man, no mere flashy celebrity. While Burton touched shoulders with shining lights—among them Olivia de Havilland, John Gielgud, Claire Bloom, Laurence Olivier, John Huston, Dylan Thomas, and Edward Albee—he also played the real-life roles of supportive family man, father, husband, and highly intelligent observer. His diaries offer a rare and fresh perspective on his own life and career, and on the glamorous decades of the mid-twentieth century.
This wide-ranging book explores the origins, development, and character of Afro-Caribbean cultures from the slave period to the present day. Richard D. E. Burton focuses on ways in which African traditions—including those in religion, music, food, dress, and family structure—were transformed by interaction with European and indigenous forces to create the particular cultures of Jamaica, Trinidad, and Haiti. He demonstrates how the resulting Afro-Creole cultures have both challenged and reinforced the social, political, and economic status quo in these countries.Jamaican slaves opposed slavery in many ways and one of the most important, Burton suggests, was the development of Afro-Christianity. He pays particular attention to the African-derived Christmas celebration of Jonkonnu as an expression of opposition and then documents religion in the post-slavery period, with an emphasis on Rastafarianism in Jamaica and Vodou in Haiti. The element of play has always figured importantly in Afro-Caribbean life. Burton examines the evolution of carnival and calypso in Trinidad and describes the significance of cricket in defining Caribbean national identity. Based on ten years of research, Afro-Creole draws on historical, anthropological, sociological, and literary sources. Burton characterizes the emergence of Caribbean identity with three different national flavors and demonstrates how culture both reflects and impacts people's changing sense of their own political power.
The Terror of 1793-94, the Paris Commune of 1871, the Dreyfus Affair—explosions of violence punctuated French history from the start of the Revolution until the Liberation at the close of World War II. The distinguished scholar Richard D. E. Burton here offers a stunningly original account of these outbursts, concluding that recourse to political violence was not occasional and abnormal, but rather the usual pattern, in French history. Instead of adhering to conventional chronological lines, Blood in the City is structured topologically around a number of major Parisian "sites of memory," including Place de la Concorde, Sacré Coeur, and the Eiffel Tower. For thirty years Burton has visited and revisited Paris, criss-crossing the streets on foot, and lived with great nineteenth- and twentieth-century literary depictions of the city. Drawing on historical, literary, visual, anthropological, and psychological sources, he develops a wide-ranging account of violence in modern French politics. In so doing, he provides powerful insights into political violence, scapegoating, the idea of sacrifice, and the widespread French obsession with conspiracy. Burton demonstrates that time and again the same basic scenario has been acted out on the streets of Paris: one or more people would be singled out from the community and imprisoned, exiled, or, more often, subjected to violence by the crowd or the state. In particular, he explores how Catholicism—in its extreme, ultrareactionary form—shaped the worldviews of Parisians and how the killing of a sacrificial victim came to be seen as a reenactment of the crucifixion of Christ.
The Terror of 1793-94, the Paris Commune of 1871, the Dreyfus Affair—explosions of violence punctuated French history from the start of the Revolution until the Liberation at the close of World War II. The distinguished scholar Richard D. E. Burton here offers a stunningly original account of these outbursts, concluding that recourse to political violence was not occasional and abnormal, but rather the usual pattern, in French history. Instead of adhering to conventional chronological lines, Blood in the City is structured topologically around a number of major Parisian "sites of memory," including Place de la Concorde, Sacré Coeur, and the Eiffel Tower. For thirty years Burton has visited and revisited Paris, criss-crossing the streets on foot, and lived with great nineteenth- and twentieth-century literary depictions of the city. Drawing on historical, literary, visual, anthropological, and psychological sources, he develops a wide-ranging account of violence in modern French politics. In so doing, he provides powerful insights into political violence, scapegoating, the idea of sacrifice, and the widespread French obsession with conspiracy. Burton demonstrates that time and again the same basic scenario has been acted out on the streets of Paris: one or more people would be singled out from the community and imprisoned, exiled, or, more often, subjected to violence by the crowd or the state. In particular, he explores how Catholicism—in its extreme, ultrareactionary form—shaped the worldviews of Parisians and how the killing of a sacrificial victim came to be seen as a reenactment of the crucifixion of Christ.
The Little Prince is a work in French language, the most famous by Antoine de Saint-Exupéry. Published in 1943 in New York simultaneously in English and French, it’s a poetic and philosophical tale in the guise of a children's story. It has simple and uncluttered language, because it is intended to be understood by children, and, in fact, for the narrator, it is the preferred vehicle of a symbolic conception of life. Each chapter talks about a meeting of the little prince who leaves him perplexed about the absurd behavior of grown-ups. Each of these meetings can be read as an allegory. The watercolor paintings are part of the text and participate in this purity of language: simplicity and deepness are the key qualities of the work. You can read an invitation from the author to find the child in yourself, because all grown-ups were first children (but few of them remember). The book is dedicated to Léon Werth, but when he was a little boy.
California is a region of rich geographic and human diversity. The Elusive Eden charts the historical development of California, beginning with landscape and climate and the development of Native cultures, and continues through the election of Governor Gavin Newsom. It portrays a land of remarkable richness and complexity, settled by waves of people with diverse cultures from around the world. Now in its fifth edition, this up-to-date text provides an authoritative, original, and balanced survey of California history incorporating the latest scholarship. Coverage includes new material on political upheavals, the global banking crisis, changes in education and the economy, and California's shifting demographic profile. This edition of The Elusive Eden features expanded coverage of gender, class, race, and ethnicity, giving voice to the diverse individuals and groups who have shaped California. With its continued emphasis on geography and environment, the text also gives attention to regional issues, moving from the metropolitan areas to the state's rural and desert areas. Lively and readable, The Elusive Eden is organized in ten parts. Each chronological section begins with an in-depth narrative chapter that spotlights an individual or group at a critical moment of historical change, bringing California history to life.
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