Kilmartin wrote a highly amusing and illuminating account of his experience as a Proust revisionist, which appeared in the first issue of Ben Sonnenberg's quarterly Grand Street in the autumn of 1981. The essay opened with a kind of encouragement: 'There used to be a story that discerning Frenchmen preferred to read Marcel Proust in English on the grounds that the prose of A la recherche du temps perdu was deeply un-French and heavily influenced by English writers such as Ruskin.' I cling to this even though Kilmartin thought it to be ridiculous Parisian snobbery; I shall never be able to read Proust in French, and one's opportunities for outfacing Gallic self-regard are relatively scarce.
Christopher HitchensMots clés french paris english snobbery revisionism marcel-proust essays 1981 ben-sonnenberg french-people grand-street-magazine in-search-of-lost-time john-ruskin terence-kilmartin
An hour or so later he received a note from Odette. Swann had left his cigarette case at her house. "If only," she wrote, "you had also forgotten your heart! I should never have let you have it back.
Marcel ProustMots clés in-search-of-lost-time
The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We’re increasingly adrift in a grey void of aesthetic relativism.
Lev GrossmanMots clés literature subjectivity value proust relativism objectivity in-search-of-lost-time a-shore-thing snooki
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