Living And Dying With Marcel Proust

A Publisher's Weekly Most Anticipated Book of 2022 Living and Dying with Marcel Proust is the result of a lifetime's reading of, reflection on, and love for Proust's masterpiece, In Search of Lost Time. One of the masterpieces of twentieth-century fiction, Proust's In Search of Lost Time describes a unique journey, combining elements drawn from the timeless narratives of great expectations and lost illusions. In this lively and entertaining book, Christopher Prendergast traces that journey as it unfolds on an arc defined by the polarities in his title: living and dying. At once a careful contemplation Proust's masterwork and an exploration of the rich sensory and impressionistic tapestry of a lived world, Living and Dying with Marcel Proust addresses such disparate Proustian obsessions as insomnia, food, digestion, color, addiction, memory, breath and breathing, breasts, snobbism, music, and humor. Entertaining and erudite, Prendergast's book will surely become the companion for all readers either about to reembark on Proust's three-million-word journey or setting out for the first time.

A LIFETIME'S READING OF PROUST'S MASTERPIECE "A work buzzing with appetite and curiosity."—Andrew Marr, author and broadcaster " Living and Dying with Marcel Proust is a feast."—Lydia Davis, winner of the Man Booker International Prize One of the masterpieces of twentieth-century fiction, A la recherche du temps perdu belongs in the tradition of the Initiation Story, the journey it describes combining elements drawn from the earlier narratives of great expectations and lost illusions, while recasting them in ways that are distinctively Proust's. On the year that marks the centenary of Marcel Proust's death, the eminent literary scholar, Christopher Prendergast, traces that journey as it unfolds on an arc defined by the polarity of his title, living and dying. His book offers a chapter by chapter exploration of the rich sensory and impressionistic tapestry of a lived world, woven by the pulse of desire, the hauntings of memory and an ever alert responsiveness to tastes, perfumes, sounds, and colours. It also traces the construction of a unique architecture of narrative time and a corresponding mode of story-telling, marked by all manner of loops, swerves, detours, regressions and returns, from the macro level of the novel's plot to the micro level of the famously elaborate Proustian sentence. The lives of his characters, both major and minor, are shown as criss-crossing and converging in ways that often take the reader by surprise, before descending the arc on an irreversible trajectory of decline, as the body starts to fail and the grave beckons.

Marcel Proust, Virginia Woolf, and Vladimir Nabokov transformed the art of the novel in order to convey the experience of time. Nevertheless, their works have been read as expressions of a desire to transcend time—whether through an epiphany of memory, an immanent moment of being, or a transcendent afterlife. Martin Hägglund takes on these themes but gives them another reading entirely. The fear of time and death does not stem from a desire to transcend time, he argues. On the contrary, it is generated by the investment in temporal life. From this vantage point, Hägglund offers in-depth analyses of Proust’s Recherche, Woolf’s Mrs. Dalloway, and Nabokov’s Ada. Through his readings of literary works, Hägglund also sheds new light on topics of broad concern in the humanities, including time consciousness and memory, trauma and survival, the technology of writing and the aesthetic power of art. Finally, he develops an original theory of the relation between time and desire through an engagement with Freud and Lacan, addressing mourning and melancholia, pleasure and pain, attachment and loss. Dying for Time opens a new way of reading the dramas of desire as they are staged in both philosophy and literature.

Presents a study of the final days of the seminal author and discusses his upbringing, themes in his works, his rise as a famous writer, and the final months before his death.

From the author of the acclaimed Queen of Fashion--a brilliant look at the glittering world of turn-of-the-century Paris through the first in-depth study of the three women Proust used to create his supreme fictional character, the Duchesse de Guermantes. Geneviève Halévy Bizet Straus; Laure de Sade, Comtesse de Adhéaume de Chevigné; and Élisabeth de Riquet de Caraman-Chimay, the Comtesse Greffulhe--these were the three superstars of fin-de-siècle Parisian high society who, as Caroline Weber says, "transformed themselves, and were transformed by those around them, into living legends: paragons of elegance, nobility, and style." All well but unhappily married, these women sought freedom and fulfillment by reinventing themselves, between the 1870s and 1890s, as icons. At their fabled salons, they inspired the creativity of several generations of writers, visual artists, composers, designers, and journalists. Against a rich historical backdrop, Weber takes the reader into these women's daily lives of masked balls, hunts, dinners, court visits, nights at the opera or theater. But we see as well the loneliness, rigid social rules, and loveless, arranged marriages that constricted these women's lives. Proust, as a twenty-year-old law student in 1892, would worship them from afar, and later meet them and create his celebrated composite character for The Remembrance of Things Past.

Self --Time --Art --Politics --Morality --Sex --Death.

For decades, Elisabeth Ladenson says, critics have misread or ignored a crucial element in Marcel Proust's fiction--his representation of lesbians. Her challenging new book definitively establishes the centrality of lesbianism as sexual obsession and aesthetic model in Proust's vast novel A la recherche du temps perdu. Traditional readings of the Recherche have dismissed Proust's "Gomorrah"--his term for women who love other women--as a veiled portrayal of the novelist's own homosexuality. More recently, "queer-positive" rereadings have viewed the novel's treatment of female sexuality as ancillary to its accounts of Sodom and its meditations on time and memory. Ladenson instead demonstrates the primacy of lesbianism to the novel, showing that Proust's lesbians are the only characters to achieve a plenitude of reciprocated desire. The example of Sodom, by contrast, is characterized by frustrated longing and self-loathing. She locates the work's paradigm of hermetic relations between women in the self-sufficient bond between the narrator's mother and grandmother. Ladenson traces Proust's depictions of male and female homosexuality from his early work onward, and contextualizes his account of lesbianism in late-nineteenth-century sexology and early twentieth-century thought. A vital contribution to the fields of queer theory and of French literature and culture, Ladenson's book marks a new stage in Proust studies and provides a fascinating chapter in the history of a literary masterpiece's reception.