The Return Of Martin Guerre

The clever peasant Arnaud du Tilh had almost won his case, when a man with a wooden leg swaggered into the French courtroom, denounced du TiIh, and reestablished his claim to the identity, property, and wife of Martin Guerre. This book, by the noted historian who served as a consultant for the film, adds new dimensions to this famous legend.

Tells the story of a sixteenth-century French imposter who convinced a peasant woman and her family that he was her missing husband

In this new edition of Janet Lewis’s classic short novel, The Wife of Martin Guerre, Swallow Press executive editor Kevin Haworth writes that Lewis’s story is “a short novel of astonishing depth and resonance, a sharply drawn historical tale that asks contemporary questions about identity and belonging, about men and women, and about an individual’s capacity to act within an inflexible system.” Originally published in 1941, The Wife of Martin Guerre has earned the respect and admiration of critics and readers for over sixty years. Based on a notorious trial in sixteenth-century France, this story of Bertrande de Rols is the first of three novels making up Lewis’s Cases of Circumstantial Evidence suite (the other two are The Trial of Sören Qvist and The Ghost of Monsieur Scarron). Swallow Press is delighted and honored to offer readers beautiful new editions of all three Cases of Circumstantial Evidence novels, each featuring a new introduction by Kevin Haworth.

People have been experimenting with different ways to write history for 2,500 years, yet we have experimented with film in the same way for only a century. Noted professor and historian Natalie Zemon Davis, consultant for the film The Return of Martin Guerre, argues that movies can do much more than recreate exciting events and the external look of the past in costumes and sets. Film can show millions of viewers the sentiments, experiences and practices of a group, a period and a place; it can suggest the hidden processes and conflicts of political and family life. And film has the potential to show the past accurately, wedding the concerns of the historian and the filmmaker. To explore the achievements and flaws of historical films in differing traditions, Davis uses two themes: slavery, and women in political power. She shows how slave resistance and the memory of slavery are represented through such films as Stanley Kubrick's Spartacus, Steven Spielberg's Amistad and Jonathan Demme's Beloved. Then she considers the portrayal of queens from John Ford's Mary of Scotland and Shekhar Kapur's Elizabeth to John Madden's Mrs. Brown and compares them with the cinematic treatments of Eva Peron and Golda Meir. This visionary book encourages readers to consider history films both appreciatively and critically, while calling historians and filmmakers to a new collaboration.

Maria Sibylla Merian, a German painter and naturalist, produced an innovative work on tropical insects based on lore she gathered from the Carib, Arawak, and African women of Suriname.

The pathbreaking work of renowned historian Natalie Zemon Davis has added profoundly to our understanding of early modern society and culture. She rescues men and women from oblivion using her unique combination of rich imagination, keen intelligence, and archival sleuthing to uncover the past. Davis brings to life a dazzling cast of extraordinary people, revealing their thoughts, emotions, and choices in the world in which they lived. Thanks to Davis we can meet the impostor Arnaud du Tilh in her classic, The Return of Martin Guerre, follow three remarkable lives in Women on the Margins, and journey alongside a traveler and scholar in Trickster Travels as he moves between the Muslim and Christian worlds. In these conversations with Denis Crouzet, professor of history at the Sorbonne and well-known specialist on the French Wars of Religion, Natalie Zemon Davis examines the practices of history and controversies in historical method. Their discussion reveals how Davis has always pursued the thrill and joy of discovery through historical research. Her quest is influenced by growing up Jewish in the Midwest as a descendant of emigrants from Eastern Europe. She recounts how her own life as a citizen, a woman, and a scholar compels her to ceaselessly examine and transcend received opinions and certitudes. Davis reminds the reader of the broad possibilities to be found by studying the lives of those who came before us, and teaches us how to give voice to what was once silent.

Must a gift be given freely? How can we tell a gift from a bribe? Are gifts always a part of human relations--or do they lose their power and importance once the market takes hold and puts a price on every exchange? These questions are central to our sense of social relations past and present, and they are at the heart of this book by one of our most intersting and renowned historians.

To receive a royal pardon in sixteenth-century France for certain kinds of homicide--unpremeditated, unintended, in self-defense, or otherwise excusable--a supplicant had to tell the king a story. These stories took the form of letters of remission, documents narrated to royal notaries by admitted offenders who, in effect, stated their case for pardon to the king. Thousands of such stories are found in French archives, providing precious evidence of the narrative skills and interpretive schemes of peasants and artisans as well as the well-born. This book, by one of the most acclaimed historians of our time, is a pioneering effort to us the tools of literary analysis to interpret archival texts: to show how people from different stations in life shaped the events of a crime into a story, and to compare their stories with those told by Renaissance authors not intended to judge the truth or falsity of the pardon narratives, but rather to refer to the techniques for crafting stories. A number of fascinating crime stories, often possessing Rabelaisian humor, are told in the course of the book, which consists of three long chapters. These chapters explore the French law of homicide, depictions of "hot anger" and self-defense, and the distinctive characteristics of women's stories of bloodshed. The book is illustrated with seven contemporary woodcuts and a facsimile of a letter of remission, with appendixes providing several other original documents. This volume is based on the Harry Camp Memorial Lectures given at Stanford University in 1986.