Afternoon Of A Faun

Taut, stylish, and psychologically acute, Afternoon of a Faun dramatizes the search for truth as an accusation of sexual assault plunges a journalist into a series of deepening crises. "The truth might be hard to bring to light, but that didn’t mean it didn’t exist, because it did exist: fixed in its moment, unalterable, and certainly not a matter of ‘belief.’ " When an old flame accuses him of sexual assault in her memoir, expat English journalist Marco Rosedale is brought rapidly and inexorably to the brink of ruin. His reputation and livelihood at stake, Marco confides in a close friend, who finds himself caught between the obligations of friendship and an increasingly urgent desire to uncover the truth. This unnamed friend is drawn, magnetized, into the orbit of the woman at the center of the accusation—and finds his position as the safely detached narrator turning into something more dangerous. Soon, the question of his own complicity becomes impossible to avoid. Set during the months leading up to Donald Trump’s election, with detours into the 1970s, this propulsive novel investigates the very meaning of truth at a time when it feels increasingly malleable. An atmospheric and unsettling drama from a novelist acclaimed as “the literary descendent of Dostoevsky and Patricia Highsmith” (Boston Globe), Afternoon of a Faun combines a sharply observed study of our shifting social mores with a meditation on what makes us believe, or disbelieve, the stories people tell about themselves.

(Amadeus). Claude Debussy was the father of the modern era in classical music. His innovations liberated Stravinsky, Schoenberg, and Bartok to write their iconoclastic works, and his harmonic inventions are still heard in American jazz. Though he was among the most compelling figures of the Belle Epoque, his life is little known to all but scholars; and of his considerable musical output, only Prelude to the Afternoon of a Faun , La mer , and Clair de lune are widely known. Harvey Lee Snyder addresses this cultural neglect by presenting the composer and his music, without jargon or biographical trivia, in a richly detailed, accurate narrative that reads like a novel. Here is the story of a poor, unschooled Parisian boy swept by odd coincidences to the Paris Conservatory at age ten. Here is a brilliant man struggling to invent a tonal language capable of expressing his unique musical vision, finding inspiration not in Bach and Beethoven but in Mallarme's poetry and the paintings of Whistler and Turner; a man determined to end two centuries of Germanic domination of European music. Here is a reclusive, gentle man whose misguided love affairs ended in scandal and scorn. His hard work failed to end decades of poverty and debt, but when he died in 1918, he was and has remained the foremost French composer of the twentieth century.

A gorgeous facsimile of the epochal collaboration between Mallarmé and Manet that inspired Nijinsky's most famous dance The second published collaboration between Stéphane Mallarmé and Édouard Manet (after Mallarmé's translation of Poe's "The Raven"), L'après-midi d'un faune is one of the poet's best-known works. It provided the basis for Debussy's Prélude à l'après-midi d'un faune (1894), which in turn inspired Nijinsky's ballet L'après-midi d'un faune, first performed in Paris in 1912, with Nijinsky famously dancing the title role. Mallarmé's poem unfolds in a sensual reverie as a Pan-like faun, arising from slumber, recollects his encounters with two forest nymphs in a monologue filled with pastoral and erotic allusions. For Mallarmé, such publications were total works, with attention paid to every detail of layout, typography, punctuation and artwork. For the original 1876 publication, Manet created four wood engravings: two drawings that open and close the poem, and a frontispiece and ex-libris sheet that the artist hand-tinted with pink wash. This volume reproduces that first edition at full size accompanied by a new translation.

'That great blue Sphinx', Debussy called the sea. Debussy himself was something of a Sphinx: in the early 1890s he was thinking of 'founding a society for musical esotericism', and although, on the surface, most of his music is instantly engaging and accessible, at a deeper level run currents that are dangerous, unpredictable, destructive. In this new biography, Roger Nichols considers the life and music of this seminal figure charting the currents and the whirlpools in which other humans were sometimes unlucky enough to get caught. Debussy's status is such that no modern composer has been able to ignore him, asking, as he does, any number of riddles to which late twentieth-century music is still searching answers.

Paul Dukas wrote about Debussy that the strongest influence he experienced was that of the poets, not that of the musicians. This book undertakes to demonstrate that thesis by studying Debussy's settings of songs by Banville, Verlaine, Baudelaire, Mallarmé, Louÿs, and Debussy himself. A particular insight may be gained in the comparison of six poems by Verlaine set to music by both Fauré and Debussy. The book includes a poetic/musical analysis of Debussy's Prelude to the Afternoon of a Faun, based on the poem by Mallarmé.

Claude Debussy's Paris was factionalised, politicised, and litigious. This text aims to capture the complexity of the composer's restless personal and artistic identity within the context of fin-de-siècle Paris.