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First published fifty years ago, Baldick's biography presents a narrative of Huysmans' life and work in all its various phases - from the Naturalism of the 1870s to the Decadence of the 1880s, and from the occult vogue of the 1890s to the Catholic Revival of the turn of the century - and it is written with such impeccable scholarship that it is still relied on today as regards matters of fact and detail. For this new edition - the first time the biography has been reprinted in English - Baldick's notes have been extensively revised and updated by Brendan King to take account of the new developments and publications in the field of Huysmansian studies.

Extrait: "A en juger par les quelques portraits conservés au château de Lourps, la famille des Floressas des Esseintes avait été, au temps jadis, composée d'athlétiques soudards, de rébarbatifs reîtres. Serrés, à l'étroit dans leurs vieux cadres qu'ils barraient de leurs fortes épaules, ils alarmaient avec leurs yeux fixes, leurs moustaches en yatagans, leur poitrine dont l'arc bombé remplissait l'énorme coquille des cuirasses"

Immediacy and Meaning seeks to approach the odd uneasiness at root in all metaphysical meaning; that the human knower attempts to mediate what cannot be mediated; that there is a pre-cognitive immemorial immediacy to Being that renders its participants irreducible, incommunicable and personal. The dilemma of metaphysics rests on the relationship between the spectator and the player, both as essential responses to the immediacy of Being. Immediacy and Meaning is an attempt to pause, but without retreat, to be a spectator within the game, to gain access into this immediate Presence, for a moment only perhaps, before the signatory failure into metaphysical language returns us to the mediated. J. K. Huysman's semi-autobiographical tetralogy anchors this book as a meditation, neither purely poetic nor only philosophical; it claims a unique territory when attempting to speak what cannot be spoken. The unnerving merits of nominalism, the difficulties of an honest appraisal of efficacious prayer, the mad sanity of the muse, the relationship between the uncreated and the created, and an originary ethics of antagonism, each serves to clarify the formation of a new epistemology.

Cette œuvre (édition relié) fait partie de la série TREDITION CLASSICS. La maison d'édition tredition, basée à Hambourg, a publié dans la série TREDITION CLASSICS des ouvrages anciens de plus de deux millénaires. Ils étaient pour la plupart épuisés ou uniquement disponible chez les bouquinistes. La série est destinée à préserver la littérature et à promouvoir la culture. Avec sa série TREDITION CLASSICS, tredition à comme but de mettre à disposition des milliers de classiques de la littérature mondiale dans différentes langues et de les diffuser dans le monde entier.

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The protagonist of "Becalmed" seeks spiritual shelter in the countryside. He finds not rest but a nightmare — a gruesome crumbling house, peasants both stupid and cunning, and the landscape — indeed the whole natural world — in a ghastly state of decay. "A hemorrhage of ordure," Huysmans calls it. His descriptions of Gothic intensity provide a total inversion of naturalism which is emphasized by the remarkable dream passages which intercut the novel. In many ways this is Huysmans’ most extraordinary book, and despite its immediately following "Against Nature," Zola called it "his most intense work" — later André Breton celebrated it in his "Anthology of Black Humour."

William Adolphe Bouguereau was a follower of classical art and had no wish for everything like novelty or the avant-garde. His sense of idealism was his guiding principle, regarding the ugly as worthless for representation. His views angered many, for example, J.K. Huysmans who called Bouguereau "a master in the hierarchy of mediocrity". He has left a large body of work and he is undoubtedly a key figure in 19th century French art. He remained a hard supporter of the academic training system at a time when it was criticized for stifling originality and nurturing mediocrity. With the advent of modernism he was scorned as one of the most prominent representatives of everything the new movement opposed: high technical finish, narrative content, sentimentality and a reliance on tradition. This hostility was further heightened by the perceived association of academic painting with the bourgeois values that had resulted in world war. However, recent more objective assessments have reinstated Bouguereau as an important 19th-century painter. William Bougeureau populated his lush fantasy world with an idealized array of mythological figures, angels, women and children. A consummate craftsman and master of human anatomy, he utilized a delicate palette and glorious light to sensitively capture nuances of personality and mood, vibrantly bringing the soul and spirit of his subjects to life.

A controversial, intelligent, and mordantly funny new novel from France's most famous living literary figureIt's 2022. François is bored. He's a middle-aged lecturer at the New Sorbonne University and an expert on J. K. Huysmans, the famous nineteenth-century Decadent author. But François's own decadence is considerably smaller in scale. He sleeps with his students, eats microwave dinners, rereads Huysmans, queues up YouPorn.Meanwhile, it's election season. And although Francois feels "about as political as a bath towel," things are getting pretty interesting. In an alliance with the Socialists, France's new Islamic party sweeps to power. Islamic law comes into force. Women are veiled, polygamy is encouraged, and François is offered an irresistible academic advancement--on the condition that he convert to Islam.Adam Gopnik in The New Yorker has said of Submission that "Houellebecq is not merely a satirist but--more unusually--a sincere satirist, genuinely saddened by the absurdities of history and the madnesses of mankind." Michel Houellebecq's new book may be satirical and melancholic, but it is also hilarious, a comic masterpiece by one of France's great novelists.

LA Bas (Folio (Gallimard)) (French Edition) [mass_market] Huysmans, Joris Karl,Huysmans, J [Oct 01, 1985] ... 2070376818

En Route continues the story of Durtal, a modern anti-hero; solitary, agonised and alienated. Robbed of religion and plunged into decadence by the pressures of modern life, Durtal discovers a new road to Rome. Art, architecture and music light his way back to God.En Route forms part of a sequence of novels by Huysmans which are in fact barely veiled autobiography. First published in 1895, En Route earned the hostility of the Catholic Church and was condemned for obscenity.

Bruges-La-Morte, originally published in 1892, was immediately acknowledged, by Huysmans and Mallarme among others, as one of the greatest achievements of the Decadent movement in French literature. Ostensibly it is the account of a doomed love affair which culminates in a bizarre murder. As important, however, is its dream-like evocation of the "dead city": Bruges, a city of silence, ennui and of desolation, whose "shadows lengthen across the text", and which dictates the inevitably fatal events of the narrative.A peerless poetic novel in a fine contemporary translation which has been carefully revised, this edition also reprints the photographs chosen by the author to illustrate the first edition.

A novel of satanic decadence in the tradition of J-K Huysmans, FANTAZIUS MALLARE is the tale of a deranged recluse who declares war on reality. In his world of hallucination and twisted eroticism, Mallare needs a woman to worship him as a god; aided by Goliath, his deformed dwarf servant he entices a submissive gypsy girl whom he strives to enthrall in chains of horror and ecstasy.First published in 1922, FANTAZIUS MALLARE is the second novel by famous American playwright and screenwriter Ben Hecht. The book was suppressed as obscene by the Federal Government on its initial publication, and artist Wallace Smith sent to jail. It is now published in an uncensored edition which includes all 10 original decadent/erotic illustrations by Smith.COUNT FANNY'S NUPTIALS, first published clandestinely in London in 1907, remains one of the most rare and elusive of all decadent texts. Its author "Simon Arrow” is sometimes identified as Ronald Firbank, although it seems more likely that the publisher, G. Hope Johnstone, also created it.This joint edition of FANTAZIUS MALLARE and COUNT FANNY'S NUPTIALS constitutes a volume of rare and unadulterated erotic decadence which stands as the final flourish of the genre.

In a near-future France, Francois, a middle-aged academic, is watching his life slowly dwindle to nothing. His sex drive is diminished, his parents are dead, and his lifelong obsession - the ideas and works of the nineteenth-century novelist Joris-Karl Huysmans - has led him nowhere. In a late-capitalist society where consumerism has become the new religion, Francois is spiritually barren, but seeking to fill the vacuum of his existence. And he is not alone. As the 2022 Presidential election approaches, two candidates emerge as favourites: Marine Le Pen of the Front National, and Muhammed Ben Abbes of the nascent Muslim Fraternity. Forming a controversial alliance with the mainstream parties, Ben Abbes sweeps to power, and overnight the country is transformed. Islamic law comes into force: women are veiled, polygamy is encouraged and, for Francois, life is set on a new course. Submission is both a devastating satire and a profound meditation on isolation, faith and love. It is a startl

Monsieur de Phocas (1901) has been ranked with Huysmans' À Rebours (1884) as the summation of the French Decadent Movement. In the novel, Jean Lorrain presents experiences of the darker side of his life in Paris as the adventures of the Duc de Fréneuse (Phocas) and his relationship with the svengaliesque English painter Claudius EthalThis book ranks with 'A Rebours' as the summation of the French Decadent Movement. Modelled on 'The Portrait of Dorian Gray, ' it drips with evil and certainly would have been unpublishable in fin de siecle England.“The madness of the eyes is the lure of the abyss. Sirens lurk in the dark depths of the pupils as they lurk at the bottom of the sea, that I know for sure - but I have never encountered them, and I am searching still for the profound and plaintive gazes in whose depths I might be able, like Hamlet redeemed, to drown the Ophelia of my desire.”― Jean Lorrain, Monsieur De Phocas

From Machen's introduction: Several papers, I remember, declared that "The Great God Pan" was simply a stupid and incompetent rehash of Huysmans' "Là-Bas" and "À Rebours." I had not read these books so I got them both. Thereon, I perceived that my critics had not read them either.

The work of rising Miami artist Hernan Bas indulges in the production of romantic, melancholic, old world imagery that makes reference to Wilde, Huysmans and other writers of the Aesthetic and Decadent period in literature. Reviewing Bas' "pictures of willowy young men filtered through screens of swipey, streaky acrylic and gouache," The New York Times' Holland Cotter once wrote, "To me, his paintings are elements in a larger, continuous conceptual-performance piece about being gay in twenty-first-century America. He understands that 'gay' is a larger and more interesting category than 'artist,' and one still embattled and historically underexplored. I value whatever he brings to that history." This volume presents 38 works produced over the last decade.

The fiction discussed in Gary Lachman's highly praised The Dedalus Book of the Occult. - Passages from Valery Bruisov, Andre Bely, William Beckford, Honore Balzac, William Beckford, Jacques Cazotte, J.K.Huysmans, Bulwer-Lytton, de Maupassant, de Nerval, Goethe, E.T.A. Hoffmann, Arthur Machen, Gustav Meyrink, Jan Potocki and Robert Irwin. - Wide-ranging publicity from The Guardian, Independent on Sunday to Fortean Times and occult magazines. - Author tour to promote the book. People have enjoyed stories of magic and the supernatural for ages, but in the late 18th century, tales of the occult became something more than a source of entertainment, or the means of enjoying the thrill of the strange and unknown. Drawing on the tradition of 'rejected knowledge', at the dawn of the modern age, numerous writers found in the occult a powerful antidote to the rising scientification of human experience. In these reports from the dark side, the weird, enigmatic and unexplainable became symbols of the human spirit's resistance to the new rational world. Dedalus Occult Reader brings together for the first time a unique collection of European fiction, offering some of the finest flowers and bizarr

The year 1884 saw the appearance in Paris of a fin de sicle cult novel that was celebrated as an altogether perverse sensation on the European cultural scene. The title of the book was A Rebours (translated both as Against the Grain and Against Nature). Its author Joris-Karl Huysmans wrote it as a seductive textbook of decadence, as an antidote to banal naturalism or realism. Symbolism, whose influence was felt well into the modernist era, was an artistic religion-substitute, a spiritually charged cult of beauty. A Symbolist picture or sculpture is mysterious on purpose. In place of intellectual comprehension, the work seeks to have the beholder experience its mysterious depth like a vision. It is no wonder that Symbolists created some of the most fascinating artworks of their age.

The work of rising Miami artist Hernan Bas indulges in the production of romantic, melancholic, old world imagery that makes reference to Wilde, Huysmans and other writers of the Aesthetic and Decadent period in literature. Reviewing Bas' "pictures of willowy young men filtered through screens of swipey, streaky acrylic and gouache," The New York Times' Holland Cotter once wrote, "To me, his paintings are elements in a larger, continuous conceptual-performance piece about being gay in twenty-first-century America. He understands that 'gay' is a larger and more interesting category than 'artist,' and one still embattled and historically underexplored. I value whatever he brings to that history." This volume presents 38 works produced over the last decade.

Resisting the traditional model of nineteenth-century fiction, Joris-Karl Huysman produced in 1884 a novel unlike any other of his time. Against Nature is the story of Des Esseintes, an aesthete who attempts to escape Paris and, along with it, the vulgarity of modern life. As Des Esseintes hides away in his museum of high taste, Huysman offers the reader a treasury of cultural delights and anticipates many aspects of twentieth century modernism. Supplemented by notes and a critical introduction, this new translation is sure to engage today's reader.