Against Nature: A New Translation of 'a Rebours' (Penguin Classics)

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Lloyd, Christopher (1988). "French Naturalism and the Monstrous: J.-K. Huysmans and A Rebours," Durham University Journal, Vol. 81 (1), pp. 111–121. Dry curaçao, for instance, was like the clarinet with its shrill, velvety note: kümmel like the oboe, whose timbre is sonorous and nasal; crème de menthe and anisette like the flute, at one and the same time sweet and poignant, whining and soft. Then to complete the orchestra, comes kirsch, blowing a wild trumpet blast; gin and whisky, deafening the palate with their harsh outbursts of cornets and trombones:liqueur brandy, blaring with the overwhelming crash of the tubas." [14] E quindi, si ritira, “via dalla pazza folla”, va a vivere in una magione agreste che diventa il suo eremo (compagnia della servitù a parte), e che man mano trasforma secondo i suoi canoni estetici.

Tersine, nihayet bitti dediğim kitaplardan biri oldu, bir daha da cebir ve şiddet altında dahi olsam dönüp yüzüne bakmam. Tersine ile aynı günlerde Karatani’nin Transkritik: Kant ve Marx üzerine adlı kallavi bir kitabına başlamıştım. Benim iki kitabı aynı anda okurken rutinim şudur; kuramsal eserden yorulduğumda romanın sıcak kollarına sığanır, orada dinlenirim biraz. Ancak bu sefer Tersine’den kaçıp kurama sığındım varın sıkıcılığı siz düşünün. Bu sıkıcılığın üstüne bir de Tahsin Yücel çevirememesini ekleyin. Bu öztürkçeci abimiz mesaisini kitap okunmasın diye harcamış sanki, sinirce kelimesini okurken bir yerden sonra buhranlar geçirmedim değil. Umarım bir gün başka bir çevirmen el atar da bu kitaba sıkılacak okur sadece yazarın derdiyle sıkılır, burjuvanın öztürkçe karşılığının kenter sınıfı olmasıyla falan uğraşmaz.

Chapter 7

He becomes an eccentric dandy. Huysmans writes about the sensuous with a style that has both an economy and a sensuality of its own: Locmant, Patrice (2007). J.-K. Huysmans, le forçat de la vie. Paris: Bartillat (Goncourt Prize for Biography). By careful and persistent experimentation, Esseintes learned to "execute on his tongue a succession of voiceless melodies; noiseless funeral marches, solemn and stately; could hear in his mouth solos of crème de menthe, duets of vespertro and rum." [15] For those who deem it a masterpiece, that's understandable, for those who think it's nothing more than nonsense, I could agree. as it's always a read to divide opinion, but I will sit on the fence, comfortable. Addleshaw, S. (1931). "French Novel and the Catholic Church," Church Quarterly Review, Vol. CXII, pp.65–87.

Perché prima, andare e essere controcorrente era considerato cosa buona e giusta. Era considerato fico. Whistler rushed to congratulate Huysmans the next day on his 'marvellous' book. Bourget, at that time a close friend of Huysmans as of Wilde, admired it greatly; Paul Valéry called it his 'Bible and his bedside book' and this is what it became for Wilde. He said to the Morning News: 'This last book of Huysmans is one of the best I have ever seen'. It was being reviewed everywhere as the guidebook of decadence. At the very moment that Wilde was falling in with social patterns, he was confronted with a book which even in its title defied them. [11] Did I really read this book forty years ago? Or did I just read the passages about the "perfume organ" and the jewel encrusted turtle and later assumed I had read the rest? If I did read it, I was completely wrong in my evaluation of this as a static, effete precursor to Dorian Gray, a work marooned in the vanished aesthetic of the late nineteenth century. No, no. "Against the Grain" is much, much richer than that.

Vrlo viješto odmjeren i isklesan roman. Veliku prisnost sam imao dok sam čitao ovo Uismansovo dijelo. Uismans ima tako suptilan senzibilitet da pred čitaoca izvodi jednu pisanu majstoriju koja jemči čist vazduh kontemplativnog života. Svjedočeći u duhu dokolice, pisac nam pruža i neke slike života svoga vremena. Možda ćete se tokom čitanja pitati kakvu to sposobnost Uismans posjeduje pa da sve tako jednostavno prija tokom čitanja. Koje li ga struje vode da određenim stvarima na takav način daje važnost. Kod njega je sve nekako blago a istovremeno bode svojom oštrinom. Kakva samo delikatnost rečenica, kakva uzvišena otmjenost, kakav prefinjen način izražavanja! Roman ima takvo bogastvo jezika i njegova estetika samo budi zadivljenost. Author Tract: Much of the novel is made up of des Esseintes' thoughts and opinions about art, culture, religion, and life, many of which are also Huysmans'. It's no coincidence; he had a strong tendency to do this in all of his novels. Huysmans was made a Chevalier de la Légion d'honneur in 1892, for his work with the civil service. In 1905, his admirers persuaded the French government to promote him to Officier de la Légion d'honneur for his literary achievements.

The secret lies in knowing how to proceed, how to concentrate deeply enough to produce the hallucination and succeed in substituting the dream reality for the reality itself. Artifice, besides, seemed to Des Esseintes the final distinctive mark of man's genius...Nature had had her day...Really, what dullness!...There is not one of her inventions, no matter how subtle or imposing it may be, which human genius cannot create..." Although my own life and level of wealth differs greatly from Des Esseintes, I can see part of myself in his immersion in the worlds of art and literature and his absolute revulsion for much of the general run of society and its coarse values (as I write this I have a mental picture of a smirking potbellied husband and his obese wife in their white pants and gold chains waddling into a Las Vegas casino). So, in a way, I am laughing at myself as much as I am laughing at Des Esseintes. Ama ve lakin sezarın hakkı Sezara; Tersine Avrupa edebiyatı içinde büyük ve önemli bir roman, bu öneme vurgu yapmamak haksızlık olacaktır.

Brophy, Liam (1956). "J.–K. Huysmans, Aesthete Turned Ascetic," Irish Ecclesiastical Review, Vol. LXXXVI, pp.43–51. Commemorative plaque in 31 rue Saint-Placide, Paris, 6e A caricature of Huysmans, by Félix Vallotton, c. 1898 One consequence of Des E's lifestyle is that, the more he discriminates, the more he moves away from other people, until eventually he lives an almost hermit-like existence on the outskirts of Paris, surrounded only by the objets of his own immaculate taste and artifice. It's almost as if his subjectivism has become a form of solipsism.