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There are few if any voices more distinct in contemporary French literature than that of Pascal Quignard, a prolific writer of rare erudition and elegance. Essayist, critic, translator, novelist and musician, Quignard attempts here an ambitious amalgam of his many artistic styles in a fragmentary work that defies the idea of genre. And his daring was rewarded in 2002 when The Roving Shadows became the first non-novel in more than sixty years to win the Goncourt Prize, France’s most prestigious literary award. The first book in Quignard’s Last Kingdom series, The Roving Shadows can be read as a long meditation on reading and writing that strives to situate these otherwise innocuous activities in a profound relationship to sex and death. Writing and reading can in fact be linked to our animal natures and artistic strivings, to primal forces and culturally persistent fascinations. With dexterity and inventiveness, Quignard weaves together historical anecdotes, folktales from the East and West, fragments of myth, and speculative historical reconstructions. The whole, written in a musical style not far removed from that of Couperin, whose piano composition Les Ombres errantes lends the book its title, coheres into a work of literature that reverberates in the psyche long after one has laid it down. The Roving Shadows is a rare and wondrous tour de force that cements Quignard’s reputation in contemporary world literature. Available now for the first time in English, this boldly adventurous work will find a new and welcoming audience. 

Fiction. Pascal Quignard recently received the Prix Goncourt, France's most prestigious literary prize, for his work. In ON WOODEN TABLETS, Quignard takes on the persona of a fourrth century Roman Patriarcian Matron who writes notes on wooden tablets, somewhat in the manner of Sei Shonagon's Pillow Book. She notes erotic souvenirs, jokes, scenes that have touched her, but also accounts and lists of things to do. For twenty years, "Apronenia Avitia" keeps this journal without mentioning, except in passing, the ruinous events she witnesses: the Roman Empire is crumbling, invaded by the "Barbarians" from the North as well as infiltrated from within by the Christian "party." Perhaps she does not see. Perhaps she does not want to see. Translated from the French by Bruce X.

Fiction. Pascal Quignard recently received the Prix Goncourt, France's most prestigious literary prize, for his work. In ON WOODEN TABLETS, Quignard takes on the persona of a fourrth century Roman Patriarcian Matron who writes notes on wooden tablets, somewhat in the manner of Sei Shonagon's Pillow Book. She notes erotic souvenirs, jokes, scenes that have touched her, but also accounts and lists of things to do. For twenty years, "Apronenia Avitia" keeps this journal without mentioning, except in passing, the ruinous events she witnesses: the Roman Empire is crumbling, invaded by the "Barbarians" from the North as well as infiltrated from within by the Christian "party." Perhaps she does not see. Perhaps she does not want to see. Translated from the French by Bruce X.

Pascal Quignard (born April 23, 1948) is a French writer born in Verneuil-sur-Avre, Eure. In 2002 his novel Les Ombres errantes won the Prix Goncourt, France's top literary prize. Terrasse à Rome (Terrasse in Rome), received the French Academy prize in 2000, and Carus was awarded the "Prix des Critiques" in 1980. One of Quignard's most famous works is the eighty-four "Little Treatises", first published in 1991 by Maeght. His most popular book is probably Tous les matins du monde (All the Mornings in the World), about 17th-century viola de gamba player Marin Marais and his teacher, Sainte-Colombe, which was adapted for the screen in 1991, by director Alain Corneau. Quignard wrote the screenplay of the film, in collaboration with Corneau. Tous les matins du monde, starring Jean-Pierre Marielle, Gérard Depardieu and son Guillaume Depardieu, was a tremendous success in France and sold 2 million tickets in the first year, and was subsequently distributed in 31 countries. The soundtrack was certified platinum (500,000 copies) and made musician Jordi Savall an international star. Quignard has also translated works from the Latin (Albucius, Porcius Latro), Chinese , and Greek languages. Five of his works available in English: Albucius (The Lapis Press), The Salon in Württemberg (Grove Weidenfeld), and All the World's Mornings (Graywolf Press). Sarx and On Wooden Tablets: Apronenia Avitia (Burning Deck).

In The Sexual Night, renowned French writer and critic Pascal Quignard meditates on a remarkable collection of illustrations of sexual imagery. He moves from the annals of global art to ancient and modern, from Bosch and Dürer to Rembrandt and Tintoretto, from Caspar David Friedrich and Caravaggio to Bacon and Jean Rustin. The meditations are wonderfully woven together, presenting a reflection on the sexual image that psychoanalysis calls “the primal scene”―a concept introduced by Freud as the first sexual scene witnessed by a child; a scene that is unexplained, unforgettable, and ultimately haunting. Throughout the course of twenty-seven chapters that draw on the mythological and artistic resources of Western and Far Eastern culture―including the tragic love of Dido and Aeneas; the scandalous figure of Mary Magdalene; Lascaux and Golgotha; voyeurism and melancholy; Saint Augustine and Freud―the book is a disquisition on vision, temporality, generation, and creation in all its forms. Forty-eight brilliant and sensual color images accompany the text, as Quignard questions the origin of our being and explains the unexplainable, while noted translator Chris Turner lends a crisp voice to the entire collection. 

Georges De LA Tour & Pascal Quignard (Secret Museums. 17th Century, Vol. 1) [paperback] Quignard, Pascal,Wright, Barbara [Sep 01, 1991]

A prolific essayist, novelist, translator, philosopher, and a critic of rare elegance, Pascal Quignard returns anew to the major questions of existence in The Silent Crossing, a haunting homage to life and liberty, to society and solitude, and to the binding and unbinding that constitute the weft of our lives. Drawing on materials from across many cultures, Quignard makes an effort to establish shared human values as the breeding ground for a modern Enlightenment. Considering atheism as a spiritual liberation, suicide as a free act, and the rejection of society as a free choice, the author explores philosophical themes that have run through human civilizations—most often as heresies—from our earliest days. In his search for freedom, Quignard questions the binding dependency of religion, querying how, in a world where all forms of society presuppose that someone (or some collective) is looking over our shoulders, we can be free. These reflections, he implies, are the essential spiritual exercise for our times. Few voices in contemporary French literature are more distinct than that of Quignard. By reading this fragmentary, episodic assemblage of intimate experiences and borrowed tales, we open up a space of liberty, creating for the reader space for meditation and, perhaps, liberation.  “Pascal Quignard is undoubtedly the most iconoclastic of contemporary French authors.”—Catherine Argand, Lire “Quignard has redefined historical fiction as both hoax and enigma.”—Burning Deck on Wooden Tablets: Apronenia Avitia

In The Sexual Night, renowned French writer and critic Pascal Quignard meditates on a remarkable collection of illustrations of sexual imagery. He moves from the annals of global art to ancient and modern, from Bosch and Dürer to Rembrandt and Tintoretto, from Caspar David Friedrich and Caravaggio to Bacon and Jean Rustin. The meditations are wonderfully woven together, presenting a reflection on the sexual image that psychoanalysis calls “the primal scene”―a concept introduced by Freud as the first sexual scene witnessed by a child; a scene that is unexplained, unforgettable, and ultimately haunting. Throughout the course of twenty-seven chapters that draw on the mythological and artistic resources of Western and Far Eastern culture―including the tragic love of Dido and Aeneas; the scandalous figure of Mary Magdalene; Lascaux and Golgotha; voyeurism and melancholy; Saint Augustine and Freud―the book is a disquisition on vision, temporality, generation, and creation in all its forms. Forty-eight brilliant and sensual color images accompany the text, as Quignard questions the origin of our being and explains the unexplainable, while noted translator Chris Turner lends a crisp voice to the entire collection.