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Drawing on newly available papers and letters, this biography shows how Proust's experiences were transformed into art, deftly tracing his love for his mother, his social climbing, and his love affairs

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The acclaimed Proust biographer William Carter portrays Proust's amorous adventures and misadventures from adolescence through his adult years, supplying where appropriate Proust's own sensitive, intelligent, and often disillusioned observations about love and sexuality. Proust is revealed as a man agonizingly caught between the constant fear of public exposure as a homosexual and the need to find and express love. In telling the story of Proust in love, Carter also shows how the author's experiences became major themes in his novel In Search of Lost Time. Carter discusses Proust's adolescent sexual experiences, his disastrous brothel visit to cure homosexual inclinations, and his first great loves. He also addresses the duel Proust fought with the journalist Jean Lorrain after he alluded to Proust's homosexuality in print, his flirtations with respectable women and high-class prostitutes, and his affairs with young men of the servant class. With new revelations about Proust's love life and a gallery of photographs, the book provides an unprecedented glimpse of Proust's gay Paris.

One of the most original and memorable photographers of the twentieth century, Brassaï was also a journalist, sculptor, and writer. He took great pride in his writing, and he loved literature and language-French most of all. When he arrived in Paris in 1924, Brassaï began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassaï soon became convinced that he had discovered a kindred spirit. Brassaï wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also born of an age-old longing to halt the moment, to wrest it from the flux of duration in order to 'fix' it forever in a semblance of eternity, that Proust found his best ally." He quoted Proust in his own writing, and from the annotated books in his library, we know that he spent a lifetime studying and dissecting Proust's prose, often line by line.Drawing on his own experience as a photographer and author, Brassaï discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassaï shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassaï's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds.

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.

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Beckett wrote Proust in response to a commission precipitated by Thomas MacGreevy, Charles Prentice,& Richard Aldington. In retrospect, Beckett dismissed it as written in "cheap flashy philosophical jargon."The essay served double duty as its author's aesthetic and epistemological manifesto, proclaiming on behalf of its ostensible subject: "We cannot know and we cannot be known." In dense and allusive language, Beckett credited his current influences (notably Schopenhauer and Calderón) and forecast his future preoccupations, reading them into the prose of Marcel Proust: The laws of memory are subject to the more general laws of habit. Habit is a compromise effected between the individual and his environment, or between the individual and his own organic eccentricities, the guarantee of a dull inviolability, the lightning-conductor of his existence. Habit is the ballast that chains the dog to his vomit. Breathing is habit. Life is habit. Or rather life is a succession of habits, since the individual is a succession of individuals; the world being a projection of the individual's consciousness. Beckett went on to pinpoint his moral focus on the fundamental quandaries of human existence, disclaiming any involvement in social issues: Here, as always, Proust is completely detached from all moral considerations. There is no right and wrong in Proust nor in his world. (Except possibly in those passages dealing with the war, when for a space he ceases to be an artist and raises his voice with the plebs, mob, rabble, canaille.) Tragedy is not concerned with human justice. Tragedy is the statement of an expiation, but not the miserable expiation of a codified breach of a local arrangement, organised by the knaves for the fools. The tragic figure represents the expiation of original sin, of the original and eternal sin of him and all his 'soci malorum,' the sin of having been born.

In a remarkable instance of literary and philosophical interpretation, the incomparable Gilles Deleuze reads Marcel Proust's work as a narrative of an apprenticeship-more precisely, the apprenticeship of a man of letters. Considering the search to be one directed by an experience of signs, in which the protagonist learns to interpret and decode the kinds and types of symbols that surround him, Deleuze conducts us on a corollary search-one that leads to a new understanding of the signs that constitute A la recherche du temps perdu. In Richard Howard's graceful translation, augmented with an essay that Deleuze added to a later French edition, Proust and Signs is the complete English version of this work. Admired as an imaginative and innovative study of Proust and as one of Deleuze's more accessible works, Proust and Signs stands as the writer's most sustained attempt to understand and explain the work of art. Gilles Deleuze (1925-1995) was professor of philosophy at the University of Paris, Vincennes-St. Denis. With Félix Guattari, he coauthored Anti-Oedipus (1983) and A Thousand Plateaus (1987). Among his other works are Cinema 1 (1986), Cinema 2 (1989), Foucault (1988), The Fold (1992), Essays Critical and Clinical (1997), and Francis Bacon (2003), all published by the University of Minnesota Press. Richard Howard has received the American Book Award and the PEN Translation Medal. He teaches in the School of the Arts at Columbia University.

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Proust and the Arts brings together expert Proustians and renowned interdisciplinary scholars in a major reconsideration of the novelist's relation to the arts. Going beyond the classic question of the models used by Proust for his fictional artists, the essays collected here explore how he learned from and integrated, in highly personal ways, the work of such creators as Wagner or Carpaccio. This volume reveals the breadth of Proust's engagement with varied art forms from different eras: from "primitive" arts to sound recordings, from medieval sculpture to Art Nouveau glassmaking, and from portrait photography to the private art of doodling. Chapters bring into focus issues of perception and detail in examining how Proust encountered and responded to works of art, and attend to the ways art shaped his complex relationship to identity, sexuality, humor, and the craft of writing.

Noted literary critic, psychoanalyst, and theorist Julia Kristeva presents a thoroughly original and compelling reading of Proust's Remembrance of Things Past, just delivered at the 1992 T.S. Eliot Memorial Lectures at Canterbury. Kristeva's first essay, "Proust and Time Embodied," takes a broadly psychoanalytical, linguistically sensitive approach to Proust's exploration of time and the operation of memory. Next in "In Search of Madeline," she delves into Proust's concept of the little cake that flooded him with the taste of childhood regained, providing an explanation for Proust's search for the deeper levels of childhood grounded in her psychoanalytic experience. Throughout Proust and the Sense of Time, Kristeva draws on Proust's notebooks and manuscripts, pointing out significant variations in the different versions of his work. She examines his early philosophical training and the philosophical trends in Paris at the turn of the century, seeking to explain how he his concept of the primacy of memory and sensation.

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An arresting new study of the life, times, and achievement of one of the most influential writers of the twentieth century “Taylor’s endeavor is not to explain the life by the novel or the novel by the life but to show how different events, different emotional upheavals, fired Proust’s imagination and, albeit sometimes completely transformed, appeared in his work. The result is a very subtle, thought-provoking book.”—Anka Muhlstein, author of Balzac’s Omelette and Monsieur Proust’s Library   Marcel Proust came into his own as a novelist comparatively late in life, yet only Shakespeare, Balzac, Dickens, Tolstoy, and Dostoyevsky were his equals when it came to creating characters as memorably human. As biographer Benjamin Taylor suggests, Proust was a literary lightweight before writing his multivolume masterwork In Search of Lost Time, but following a series of momentous historical and personal events, he became—against all expectations—one of the greatest writers of his, and indeed any, era.   This insightful, beautifully written biography examines Proust’s artistic struggles—the “search” of the subtitle—and stunning metamorphosis in the context of his times. Taylor provides an in-depth study of the author’s life while exploring how Proust’s personal correspondence and published works were greatly informed by his mother’s Judaism, his homosexuality, and such dramatic events as the Dreyfus Affair and, above all, World War I. As Taylor writes in his prologue, “Proust’s Search is the most encyclopedic of novels, encompassing the essentials of human nature. . . . His account, running from the early years of the Third Republic to the aftermath of World War I, becomes the inclusive story of all lives, a colossal mimesis. To read the entire Search is to find oneself transfigured and victorious at journey’s end, at home in time and in eternity too.”

English is the "second language" of A la recherche du temps perdu. Although much has been written about Proust's debt to English literature, especially Ruskin, Daniel Karlin is the first critic to focus on his knowledge of the language itself--on vocabulary, idiom, and etymology. He uncovers an "English world" in Proust's work, a world whose social comedy and artistic values reveal surprising connections to some of the novel's central preoccupations with sexuality and art. Anglomanie--the fashion for all things English--has been as powerful a presence in French culture as hostility to perfide Albion; Proust was both subject to its influence, and a brilliant critic of its excesses. French resistance to imported English words remains fierce to this day; but Proust's attitude to this most contentious aspect of Anglo-French relations was marked by his rejection of concepts of national and racial "purity," and his profound understanding of the necessary "impurity" of artistic creation.

Designed to look like the original, the Proust Questionnaire is a recording of Proust's questions about life and outlook. Contains Proust's handwritten answers photographed and other memorabilia and thoughts, as well as the questionnaire filled out by many famous people of the past and present, and room for the owner of the book to write their own answers. Gilt edged papers, red cloth boards with gilt lettering and edges. Printed in Italy.

This opus gathers the answers given by senior epilepsy specialists from all over the world to a standard questionnaire. The interviewees were chosen according to their longstanding international reputation and comprehensive practice of epileptology, in most cases covering periods of four decades and more. This undertaking was a sort of challenge: would it be possible to persuade these famous, experienced individuals to answer questions on epilepsy that at first sight might seem partly serious and partly silly, according to an approach the authors of the questionnaire chose to call a Proustian attitude? It was well worth a try. The acceptance of such written interviews was surprisingly quick and good-spirited. The main objective was, from the very start, to provide younger, less experienced epileptologists with an intimate insight into the bigger questions, coming from people with a cumulative experience of several tens of thousands of patients with epilepsy. All this results in a book that teaches a lot about epileptology in a very original approach.

Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris Vii. He is a key figure in poststructuralism and one of the most influential philosophers of the twentieth century. In Proust and Signs, Deleuze explores the work of art. He approaches the narrative of Proust's masterpiece, A La Recherche du Temps Purdu, as the apprenticeship of a man of letters. his concern is to come to a deeper understanding of the book and of art itself by tracing the network of signs laid in the text. Admired at its original appearance as an imaginative and innovative study of Proust and as one of Deleuze's most accessible works, this book stands as the writer's most sustained attempt to understand and explain the work of art.