Expatriate Paris

Paris has long been a storied center of art and culture, and of romance, but in the 1920s its magnetism was especially irresistible. From around the world writers, artists, and composers steamed in, to visit or linger, some to reside. For travelers, Francophiles and the curious, this gossipy retrospective of expatriate life in Paris in the 1920s is a mosaic of quick glimpses—Sarah Bernhardt sleeping in a coffin to overcome her fear of death, Igor Stravinsky diving through a huge wreath at the premiere of his ballet Les Noces, Ford Madox Ford meeting Ernest Hemingway, Langston Hughes near starvation, Josephine Baker establishing her nightclub. The list of expatriates is long and luminous, and this book—a work of immense erudition spiced with anecdotes and gossip—documents their haunts and habits, their comings and goings, their relationships intimate and artistic. Structured in thirty-three geographical and very walkable sections, Expatriate Paris is cross-referenced by streets, names, and topics and equipped with nine maps to satisfy the most demanding traveler, whether real or armchair.

Paris has long been a storied center of art and culture, and of romance, but in the 1920s its magnetism was especially irresistible. From around the world writers, artists, and composers steamed in, to visit or linger, some to reside. For travelers, Francophiles and the curious, this gossipy retrospective of expatriate life in Paris in the 1920s is a mosaic of quick glimpses—Sarah Bernhardt sleeping in a coffin to overcome her fear of death, Igor Stravinsky diving through a huge wreath at the premiere of his ballet Les Noces, Ford Madox Ford meeting Ernest Hemingway, Langston Hughes near starvation, Josephine Baker establishing her nightclub. The list of expatriates is long and luminous, and this book—a work of immense erudition spiced with anecdotes and gossip—documents their haunts and habits, their comings and goings, their relationships intimate and artistic. Structured in thirty-three geographical and very walkable sections, Expatriate Paris is cross-referenced by streets, names, and topics and equipped with nine maps to satisfy the most demanding traveler, whether real or armchair.

Master's Thesis from the year 2001 in the subject American Studies - Literature, grade: 1.3 (A), University of Paderborn, 73 entries in the bibliography, language: English, abstract: Paris has traditionally called to the American heart, beginning with the arrival of Benjamin Franklin in 1776 in an effort to win the support of France for the colonies' War of Independence. Franklin would remain in Paris for nine years, returning to Philadelphia in 1785. Then, in the first great period of American literature before 1860, literary pioneers such as Washington Irving, James Fenimore Cooper, Henry Wadsworth Longfellow, Ralph Waldo Emerson, and Nathaniel Hawthorne were all to spend time in the French capital. Henry James, toward the close of the nineteenth century, was the first to create the image of a talented literary artist who was ready to foreswear his citizenship. From his adopted home in England he traveled widely through Italy and France, living in Paris for two years. There he became close friends with another literary expatriate, Edith Wharton, who made Paris her permanent home. Between them they gave the term "expatriate" a high literary polish at the turn of the century, and their prestige was undeniable. They were the 'in' cosmopolitans, sought out by traveling Americans, commented on in the press, the favored guests of scholars, as well as men and women of affairs. This thesis investigates the mass expatriation of Americans to Paris during the 1920s, and then focuses on selected works by two of the expatriates: Ernest Hemingway's The Sun Also Rises (1926) and F. Scott Fitzgerald's The Great Gatsby (1925). The specific emphasis is on disillusionment with the American lifestyle as reflected in these novels. The two books have been chosen because both are prominent examples of the literary criticism that Americans were directing at their homeland from abroad throughout the twenties.

Inhaltsangabe:Abstract: Paris has traditionally called to the American heart, beginning with the arrival of Benjamin Franklin in 1776 in an effort to win the support of France for the colonies War of Independence. Franklin would remain in Paris for nine years, returning to Philadelphia in 1785. Then, in the first great period of American literature before 1860, literary pioneers such as Washington Irving, James Fenimore Cooper, Henry Wadsworth Longfellow, Ralph Waldo Emerson, and Nathaniel Hawthorne were all to spend time in the French capital. Henry James, toward the close of the nineteenth century, was the first to create the image of a talented literary artist who was ready to foreswear his citizenship. From his adopted home in England he traveled widely through Italy and France, living in Paris for two years. There he became close friends with another literary expatriate, Edith Wharton, who made Paris her permanent home. Between them they gave the term expatriate a high literary polish at the turn of the century, and their prestige was undeniable. They were the in cosmopolitans, sought out by traveling Americans, commented on in the press, the favored guests of scholars, as well as men and women of affairs. This thesis investigates the mass expatriation of Americans to Paris during the 1920s, and then focuses on selected works by two of the expatriates: Ernest Hemingway s The Sun Also Rises (1926) and F. Scott Fitzgerald s The Great Gatsby (1925). The specific emphasis is on disillusionment with the American lifestyle as reflected in these novels. The two books have been chosen because both are prominent examples of the literary criticism that Americans were directing at their homeland from abroad throughout the twenties. In a first step, necessary historical background regarding the nature of the American lifestyle is provided in chapter two. This information is included in order to facilitate a better understanding of what Hemingway and Fitzgerald were actually disillusioned with. Furthermore, that lifestyle was a primary motivating factor behind the expatriation of many United States citizens. Attention is given to the extraordinary nature of the American migration to Paris in the twenties, as the sheer volume of exiles set it apart from any expatriation movement before or since in American history. Moreover, a vast majority of the participants were writers, artists, or intellectuals, a fact which suggests the United States during [...]

Although he was the first African American fighter pilot, Eugene J. Bullard is still a relative stranger in his homeland. An accomplished professional boxer, musician, club manager, and impresario of Parisian nightlife between the world wars, Bullard found in Europe a degree of respect and freedom unknown to blacks in America. There, for twenty-five years, he helped define the expatriate experience for countless other African American artists, writers, performers, and athletes. This is the first biography of Bullard in thirty years and the most complete ever. It follows Bullard's lifelong search for respect from his poor boyhood in Jim-Crow Georgia to his attainment of notoriety in Jazz-Age Paris and his exploits fighting for his adopted country, for which he was awarded the Croix de Guerre. Drawing on a vast amount of archival material in the United States, Great Britain, and France, Craig Lloyd unfolds the vibrant story of an African American who sought freedom overseas. Lloyd provides a new look at the black expatriate community in Paris, taking readers into the cabarets where Bullard rubbed elbows with Josephine Baker, Louis Armstrong, and even the Prince of Wales. Lloyd also uses Bullard's life as a lens through which to view the racism that continued to dog him even in Europe in his encounters with traveling Americans. When Hitler conquered France, Bullard was wounded in action and then escaped to America. There, his European successes counted for little: he spent his last years in obscurity and hardship but continued to work for racial justice. Eugene Bullard, Black Expatriate in Jazz-Age Paris offers a fascinating look at an extraordinary man who lived on his own terms and adds a new facet to our understanding of the black diaspora.

Montparnasse and its café life, the shabby working-class area of the place de la Contrescarpe and the Pantheon, the small restaurants and cafés along the Seine, and the Right Bank world of the well-to-do . . . for American writers self-exiled to Paris during the 1920s and 1930s, the French capital represented what their homeland could not: a milieu that, through the freedom of thought and action it permitted and the richness of life it offered, nurtured the full expression of the creative imagination. How these expatriates interpreted and gave modernist shape to the myth of “the Paris moment” in their writing is the altogether fresh focus of Donald Pizer’s study of seven of their major works. Pizer elucidates a striking difference between the genres of expatriate autobiography and fiction, and arranges his discussion accordingly. He first examines Ernest Hemingway’s A Moveable Feast, Gertrude Stein’s The Autobiography of Alice B. Toklas, and The Diary of Anaïs Nin, 1931–1934, all of which depict the emergence and triumph of the creative imagination within the Paris context. He then turns to Hemingway’s The Sun Also Rises, John Dos Passos’ Nineteen-Nineteen, and F. Scott Fitzgerald’s Tender Is the Night, which dramatize the tragic potential in seeking a richness and intensity of creative expression within the city’s setting. Henry Miller’s Tropic of Cancer, a relatively late example of American expatriate writing, constitutes a synthesis of the two tendencies, Pizer shows. Through careful readings of the texts, Pizer identifies both the common threads in the expatriates’ response to the Paris moment and the distinctive expression each work gives to their shared experience. Most important, he addresses the neglected question of how the portrayal of the Paris scene helps shape a specific work’s themes and form. He traces such experimental devices as fragmented or cubistic narrative forms, the dramatic representation of consciousness, and sexual explicitness, and explores the powerful and evocative tropes of mobility and feeding. As Pizer demonstrates, Paris between the two world wars was for the American expatriates more than a geographical entity. It was a state of mind, an experience, that engendered the formal expression of a personal aesthetic. The engaging and significant interplay between artist, place, and innovative self-reflexive forms composes, Pizer maintains, the most distinctive contribution of expatriate writing to the literary movement called high modernism.

From 1890 to 1960, some of Anglo-America's most heated cultural contests over books, sex, and censorship were staged not at home, but abroad in the City of Light. Paris, with its extraordinary liberties of expression, became a special place for interrogating the margins of sexual culture and literary censorship, and a wide variety of English language dirty books circulated through loose expatriate publishing and distribution networks. A Publisher's Paradise explores the political and literary dynamics that gave rise to this expatriate cultural flourishing, which included everything from Victorian pornography to the most daring and controversial modernist classics. Colette Colligan tracks the British and French politicians and diplomats who policed Paris editions of banned books and uncovers offshore networks of publishers, booksellers, authors, and readers. She looks closely at the stories the dirty books told about this publishing haven and the smut peddlers and literary giants it brought together in transnational cultural formations. The book profiles an eclectic group of expatriates living and publishing in Paris, from relatively obscure figures such as Charles Carrington, whose list included both The Picture of Dorian Gray and the pornographic novel Randiana, to bookshop owner Sylvia Beach, famous for publishing James Joyce's Ulysses in 1922. A Publisher's Paradise is a compelling exploration of the little-known history of foreign pornography in Paris and the central role it played in turning the city into a modernist outpost for literary and sexual vanguardism, a reputation that still lingers today in our cultural myths of midnight in Paris.

Woody Allen made the glamour of Paris in the twenties magical in Midnight In Paris--but was that really the case? The Lost Generation made up one of the most fascinating, eccentric, and diverse group of writers ever known--Ernest Hemmingway, James Joyce, F. Scott Fitzgerald, Ezra Pound, and so many more collectively made up this artistic period in time. In this book, you will learn how and why the movement started, what it was like to be a writer in Paris, and what led to its fall. A list of essential reading from the period is also included in the book.