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'He had become the dandy of the unpredictable.'
A quest for new sensations, and an avowed desire to shock possessed the Decadent writers of fin-de-siècle Paris. The years 1880-1900 saw an extraordinary, hothouse flowering of talent, that produced some of the most exotic, stylized, and cerebral literature in the French language. While 'Decadence' was a European movement, its epicentre was the French capital. On the eve of Freud's early discoveries, writers such as Gourmont, Lorrain, Maupassant, Mirbeau, Richepin, Schwob, and
Villiers engaged in a species of wild analysis of their own, perfecting the art of short fiction as they did so. Death and Eros haunt these pages, and a polymorphous perversity by turns hilarious and horrifying. Their stories teem with addicts, maniacs, and murderers as they strive to outdo each other.
This newly translated selection brings together the very best writing of the period, from lesser known figures as well as famous names. Provocative and unsettling, these extraordinary, corrosive little tales continue to cast a cold eye on the modern world.
ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
- Sales Rank: #344898 in eBooks
- Published on: 2013-05-09
- Released on: 2013-05-09
- Format: Kindle eBook
Review
[A] beautifully translated anthology Graham Robb, TLS
About the Author
Stephen Romer is a specialist of French and British Modernism. He has published four collections of poetry, the most recent of which, Yellow Studio (Carcanet/Oxford Poets, 2008) was shortlisted for the T. S. Eliot prizze. He has edited and co-translated Twentieth-Century French Poems (Faber, 2002), and has served as judge for the Tower poetry prize, the Popescu Prize for European Translation, and the Geoffrey Faber Memorial Prize. He reviews regularly for the Guardian and the TLS.
Most helpful customer reviews
19 of 19 people found the following review helpful.
Death, Eros & Maniae
By P. McCauley
This newly translated collection of thirty-six tales by fourteen authors captures a very eclectic and psychoanalytical time in French Literature. Seducers, seers, psychopaths, suicides, sadists and sybarites run rampant in these tales, not of the fantastic, but of the everyday. Monsters lurk behind human masks. Lovers lie and die. Eccentrics look up from their own world for a moment to find that only death awaits them outside of it.
The years 1880-1900 saw a great shift in ideas and literary thought, shown through the progression of these stories. They are very much in the spirit of 'À rebours' by Joris-Karl Huysmans, and help to bridge the gap between such literary giants as Victor Hugo and Marcel Proust.
Included in this collection are stories by Jules Barbey D'Aurevilly, Villiers de l'Isle-Adam, Catulle Mendès, Léon Bloy, Octave Mirbeau, Jean Richepin, Guy de Maupassant, Gustavo Geffroy, Jean Lorrain, Georges Rodenbach, Remy de Gourmont, Jules Laforgue, Marcel Schwob and Pierre Louÿs.
12 of 12 people found the following review helpful.
Pure Absinthe
By Charlus
This large collection of very short stories from late nineteenth century France is a charming revelation. After an erudite and informative introduction to the recurrent themes of Decadence, Romer briefly introduces each of the tales and their authors, many of whom were once popular and most of whom are now sadly forgotten, at least by the English speaking population. Maupassant is the most famous of the group and he is well represented by four tales. The tales themselves revolve around the themes of sex, addiction, madness, and murder and vary in quality as is the case in most anthologies. What does not vary is the rather superb translation they get from Romer which makes this volume a continual pleasure to read. He has caught the Decadent stylistic tone perfectly and one keeps turning the pages with admiration at the job he's done. If his goal was to reclaim these stories for future generations and shine a light on a delightfully perverse genre, he has accomplished that as well as made one want to seek out more of his translational work. A fine book to read over your opium and chartreuse.
13 of 15 people found the following review helpful.
I couldn't imagine a more informative and more enjoyable book to read for anyone interested in the literature of this period
By Glenn Russell
This book is a collection 36 French decadent tales written by 14 different authors where most of the authors, with the exception of Guy de Maupassant, will probably be unfamiliar to many readers. But don't be put off by your unfamiliarity. Why? Because poet/scholar Stephen Romer has written a clear, insightful 27 page introduction providing the historical/cultural/literary context as well as a detailed bibliography, a chronology of the major events and literary publications of the French Fin de siècle, and, lastly, extensive explanatory notes on each of the tales. Thank you Stephen Romer and Oxford Press! I couldn't imagine a more informative and more enjoyable book to read for anyone interested in the literature of this period.
So what can we expect to find in a turn-of-the-century French decadent tale? In a nutshell, a tale usually set in Paris, told with an acid bite, focusing on the morbid, macabre, perverse, unclean, unnatural side of life, all told without a hint or suggestion of moral instruction. One way to look at these stories is how the decadent authors, outlined by Stephen Romer in his introduction, follow Baudelaire when "he broke apart the perennial parings: virtue--reward, vice--punishment, God--goodness, crime--remorse, effort--reward, future--progress , artifice--ugliness, nature--beauty." Think about it: these pairing are the very glue holding conventional society together. And that is exactly the point: the decadents wanted to turn conventional society upside down and shake vigorously.
And why, you may ask, would the decadent writers want to engage in such turning and shaking? Because these authors saw themselves as outsiders set apart from the uncultured, unrefined mass of bourgeois (what we call nowadays `middle-class' or `middle-brow') society, as men capable of intense, refined aesthetic pleasure and literary cultivation. Stephen Romer points out how an aristocrat/aesthete from a Huysmans novel served as a model for the decadent writers when this aristocrat/aesthete travels to a nearby town and sees a group of pot-bellied bourgeois with sideburns and recoils in horror. Keep in mind these decadent writers greatly admired pessimistic German philosopher Arthur Schopenhauer, a thinker who highly valued aesthetic experience and urged people to turn away from the murky turmoil of everyday life to reach a kind of nirvana. Schopenhauer even went so far as to say how one's character is stamped on one's face, and subsequently finds it remarkable how most people can walk the streets without a bag over their heads. ------- Cynicism and disdain, anyone?
With all this in mind, here is a sampling of three tales and how they each break apart a perennial parings:
The Desire to be a Man by Villiers de I'Isle-Adam (crime--remorse)
Walking down a Paris street alone at night, the main character, an old actor, realizes his acting days are over. He will no longer be able to play the role of other men and will be forced by age to live his own life as a man. But what is a man? He reflects that to be a man one needs strong feelings. But, aghast, he recognizes right there on the Paris street he has no such feelings! He surmises he will have to commit a heinous crime to feel the powerful sensations of remorse and be haunted by the ghosts of the souls he murdered. So, resolving on-the-spot action is required, that night he sets a residential section of the city on fire, resulting in the death of many men, women and children and creating great tragedy for multiple families. The old actor see the aftermath of the fire as he rides by in his coach and retires to a remote lighthouse to experience his remorse and be haunted by ghosts. But, alas, to his amazement and disappointment, no ghosts, no remorse, not even the slightest feeling of regret.
Constant Guignard by Jean Richepin (virtue--reward)
After experiencing repeated bouts of bad luck as a boy, the author tells us, "Such inauspicious beginnings in life would have turned a lesser nature vicious. But Constant Guignard had a soul of the higher type, and convinced that happiness is the reward of virtue, he resolved to conquer his ill-fortune by sheer force of heroism." Although this young man holds the values and world-view most dear to conventional society, alas, his tale is told by a decadent. The more decent and honorable and charitable he becomes, the more fate drags him down until he faces his last dark days. Can his equally decent, honorable, charitable friend save Constant Guignard's reputation and let the world know what a fine man Constant Guignard truly was by having his tombstone inscribed with an honorable epitaph? Well . . . let me just say Jean Richepin is a decadent with a lively sense of humor.
Danaette by Remy de Gourmont (God--goodness)
Is Danaette thinking holy thoughts as she is surrounded by angels taking the form of snowflakes? Not quite - for she is a complete sensualist and seasoned adulteress. When on one evening Danaette falls into a semi-trance, we read, "Deliciously icy, the snow kisses passed through her clothes, and in spite of all her defenses they found her skin and gathered in declivities: it was wonderfully gentle, and procured her a voluptuous pleasure she had most certainly never felt before." Remy de Gourmont combines the language and imagery of sensuality and perversion with images of religious holiness. Quite a combination! Ah, the decadents.
These tales of the French decadent writers not only turn the values of conventional society upside down but also give their tales a bit more spice with a twist at the end. After all, these writers are French. If you are a fan of short-stories, you will not find a collection more entertaining and engaging - each story is a delicious treat. This is fine literature told in a highly polished language. This book has inspired me to order and read other story collections by these French authors, especially Jean Richepin and Marcel Schwob.
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