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Wilkes, Maurice, et alBiblio.com

A Discussion on Computing Machines" Proceedings of the Royal Society of London Vol. 195 A 1042. The first published conference on electronic digital computers in England

Maurice BLANCHOTBiblio.com

Faux pas

194344662Paris: Gallimard 1943. Fine. Gallimard Paris 1943 14 x 21 cm relié First edition a Service de Presse advance copy. Half red morocco binding spine with five raised bands date gilt at foot marbled paper boards marbled endpapers and pastedowns original wrappers preserved a very pale stain on the first cover top edge gilt elegant binding signed by P. Goy & C. Vilaine. Precious and moving autograph inscription signed by Maurice Blanchot to his mother and sister: ""Pour sa chère maman et sa vieille Marg avec l'amitié sans Faux Pas de Maurice."" ""For his dear mama and his old Marg with friendship without False Steps from Maurice."" Marguerite Blanchot renowned organist at Chalon cathedral remained all her life in the family home with her mother and aunt. ""She would gradually become for the family like the memory of origins."" Very close to Maurice she corresponded regularly with the writer who showed her great gratitude for her devotion to their bedridden mother. While Blanchot's intense affection for his mother and sister shows through in his dedications almost nothing is known of their relationships. In the only biographical essay on Blanchot Christophe Bident reveals however: ""Marguerite Blanchot venerated her brother Maurice. Very proud of him . she attached great importance to his political ideas . She read a great deal . They telephoned each other corresponded. At a distance they shared the same natural authority the same concern for discretion."" Blanchot indeed sent her numerous works from his library maintaining with her a continuous intellectual bond. As for Blanchot's passion for his mother it is in the course of his work that we discover the most beautiful testimonies: ""Perhaps the power of the maternal figure borrows its brilliance from the very power of fascination and one could say that if the Mother exercises this fascinating attraction it is because appearing when the child lives entirely under the gaze of fascination she concentrates in herself all the powers of enchantment."" Cultivating absolute discretion Blanchot pushed the art of self-effacement even into his manuscript dedications generally succinct and written almost systematically on cards attached to the rare works he gave to his close friends. In contrast in these precious inscriptions to his mother and sister Blanchot offers himself in all his fragility and reveals an intimacy hitherto unknown. Handsome copy with full margins perfectly established. Gallimard hardcover

Rare Books Le Feu Follet - Edition-Originale.com · France3 450,00 €

Maurice BLANCHOT - (Alfred JARRY)Biblio.com

Un roman de Jarry. Manuscrit autographe et tapuscrit signé complets

194482298s. l. Paris: S. n. Journal des débats 1944. Fine. S. n. Journal des débats s. l. Paris s. d. 1944 13.50 x 21.50 cm 2 1/2 pages in-8 Autograph manuscript by the author 2½ pages octavo published in the April 13 1944 issue of the Journal des Débats. Complete recto-verso manuscript in very dense handwriting with numerous deletions corrections and additions. Together with the complete signed typescript. Chronicle published on the occasion of the publication of Jarry's posthumous novel La Dragonne. In this chronicle devoted to Alfred Jarry and Père Ubu Maurice Blanchot was interested in the confusion between one and the other and its consequences: « . on peut penser que Jarry en s'entêtant à être le Père Ubu a pendant sa vie gaspillé une partie de ses ressources d'écrivain et après sa mort égaré le jugement littéraire sur sa véritable valeur. » "". one can think that Jarry by persisting in being Père Ubu wasted during his lifetime part of his resources as a writer and after his death misled literary judgment about his true value."" Yet this confusion testifies to the author's coherence: « Chez Jarry le choix d'un masque aussi peu flatteur a un sens fort clair. Il y a d'abord une volonté de mettre à mal tout sérieux et particulièrement cette volonté même ; il n'est pas question de tracer des frontières au ridicule ; on rit d'abord de soi on en rit parce que ce rire n'est qu'un écho du vide. Et puis ce double grotesque que l'auteur revendique comme une représentation dont il est fier affirme sa complicité pleine de défi avec les travers qu'il caricature. » ""In Jarry the choice of such an unflattering mask has a very clear meaning. There is first a will to undermine all seriousness and particularly this very will; there is no question of drawing boundaries to the ridiculous; one first laughs at oneself one laughs at it because this laughter is only an echo of the void. And then this grotesque double that the author claims as a representation of which he is proud affirms his complicity full of defiance with the flaws he caricatures."" La Dragonne the last work by Ubu's father that Gallimard was then publishing would therefore surprise Blanchot for « le sérieux avec lequel Jarry a accepté son métier de romancier » ""the seriousness with which Jarry accepted his profession as novelist"" who would also praise « les soudains mouvements d'imagination poétique qui dérangent le plan » ""the sudden movements of poetic imagination that disrupt the plan"". The only monographic text devoted by Blanchot to Jarry. Between April 1941 and August 1944 Maurice Blanchot published 173 articles on recently published books in the ""Chronique de la vie intellectuelle"" of the Journal des Débats. In half a page of newspaper about seven octavo pages the young author of ""Thomas l'obscur"" took his first steps in the field of literary criticism and thus inaugurated a theoretical work that he would later develop in his numerous essays from ""La Part du feu"" to ""L'Entretien infini"" and ""L'Écriture du désastre"". From the first articles Blanchot demonstrated an acuity of analysis far exceeding the literary current events that motivated their writing. Oscillating between classics and moderns first-rate writers and minor novelists he established in his chronicles the foundations of a critical thought that would mark the second half of the 20th century. Transformed by writing and by war Blanchot broke through thought exercised ""in the name of the other"" with the violent Maurrassian certainties of his youth. Not without paradox he then transformed literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an ""openly Maréchaliste"" newspaper: ""Brûler un livre en écrire sont les deux actes entre lesquels la culture inscrit ses oscillations contraires"" ""To burn a book to write one are the two acts between which culture inscribes its contrary oscillations"" Le Livre In Journal des Débats January 20 1943. S. n.[ Journal des débats] unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 450,00 €

Maurice BLANCHOT - (Alfred JARRY)Biblio.com

Un roman de Jarry. - Manuscrit autographe et tapuscrit signé complets A Novel by Jarry Complete Autograph Manuscript and Signed Typescript

194444930s. l. Paris: S. n. Journal des débats 1944. Fine. S. n. Journal des débats s. l. Paris s. d. 1944 13.50 x 21.50 cm 2 1/2 pages in-8 Autograph manuscript by the author two and a half pages in octavo published in the issue of April 13 1944 of the Journal des Débats. Complete recto-verso manuscript in a very dense hand with numerous deletions corrections and additions. Accompanied by the complete signed typescript. A review published on the occasion of the posthumous release of Jarrys novel La Dragonne. In this review devoted to Alfred Jarry and Père Ubu Maurice Blanchot examines the confusion between the two and its consequences: « . on peut penser que Jarry en s'entêtant à être le Père Ubu a pendant sa vie gaspillé une partie de ses ressources d'écrivain et après sa mort égaré le jugement littéraire sur sa véritable valeur. » Yet this confusion testifies to the coherence of the author: « Chez Jarry le choix d'un masque aussi peu flatteur a un sens fort clair. Il y a d'abord une volonté de mettre à mal tout sérieux et particulièrement cette volonté même ; il n'est pas question de tracer des frontières au ridicule ; on rit d'abord de soi on en rit parce que ce rire n'est qu'un écho du vide. Et puis ce double grotesque que l'auteur revendique comme une représentation dont il est fier affirme sa complicité pleine de défi avec les travers qu'il caricature. » La Dragonne Jarrys final work then issued by Gallimard would therefore strike Blanchot for « le sérieux avec lequel Jarry a accepté son métier de romancier » while he also praised « les soudains mouvements d'imagination poétique qui dérangent le plan ». The only monographic text Blanchot devoted to Jarry. Between April 1941 and August 1944 Maurice Blanchot published in the ""Chronique de la vie intellectuelle"" of the Journal des Débats 173 articles on newly released books. In a half page of newspaper around seven octavo pages the young author of Thomas l'obscur made his first steps in literary criticism thereby inaugurating the theoretical work he would later develop in numerous essays from La Part du feu to L'Entretien infini and L'Écriture du désastre. From the very first articles Blanchot displayed an acuity of analysis far surpassing the literary news that occasioned his writing. Oscillating between classics and moderns major writers and minor novelists his reviews laid the foundations of a critical thought that would shape the second half of the 20th century. Transformed by writing and by the war Blanchot gradually broke through a thinking exercised ""in the name of the other"" with the violent Maurrassian certainties of his youth. Not without paradox he turned literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of a newspaper ""ouvertement maréchaliste"": ""Brûler un livre en écrire sont les deux actes entre lesquels la culture inscrit ses oscillations contraires"" Le Livre in Journal des Débats January 20 1943. In 2007 the Cahiers de la NRF gathered under the direction of Christophe Bident all the literary reviews not yet collected in volume form along with this perceptive analysis of Blanchots critical work: ""romans poèmes essais donnent lieu à une réflexion singulière toujours plus sûre de sa propre rhétorique livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. . Non sans contradictions ni pas de côté et dans la certitude fiévreuse d'une uvre qui commence . ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée."" C. Bident. Autograph manuscripts by Maurice Blanchot are of the utmost rarity. S. n.[ Journal des débats] unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 450,00 €

KRAUSS, Ruth; Remy Charlip; Maurice Sendak; Margaret Rey; H A Rey; Karla Kuskin; Ezra Jack Keats; Miriam Schlein; Harvey Weiss;Biblio.com

10 signatures by 10 US children's authors and illustrators.

1970146040c.1970. A collection of signatures from 10 esteemed children's authors and illustrators with additional doodles by the signees presumably signed at the same gathering as the signatures are in the same pen. Ruth Krauss was the author of many children's books including The Carrot Seed one of many collaborations with her husband illustrator Crockett Johnson; eight of her books were also illustrated by Maurice Sendak. Remy Charlip was a dancer choreographer and founding member of the Merce Cunningham Dance Company before finding an even larger audience writing and illustrating children's books including Dress Up and Let's Have a Party. Maurice Sendak wrote and illustrated many books his most popular being Where the Wild Things Are. Margaret and H. A. Rey were a married couple and were best known for their Curious George series. Karla Kuskin wrote or illustrated over 50 titles also writing under the pseudonym Nicholas J. Charles. She also reviewed children's literature for The New York Times Book Review. Ezra Jack Keats is most famous for The Snowy Day which he wrote and illustrated in 1962 winning the next years Caldecott Medal. Miriam Schlein wrote nearly 100 books that helped teach children about various subjects including animals and space and time. Harvey Weiss wrote The Big Clean Up together with many "How to" and factual books for children and young adults. Crockett Johnson is best known for the comic strip Barnaby with Mr O'Malley. Ten autographs on 2 leaves of ruled paper removed from a spiral bound notebook. Remy Charlip has added a drawing of a cat Maurice Sendak a drawing of a sitting dog H. A. Rey a drawing of a giraffe Karla Kushkin a drawing of two dogs Ezra Jack Keats a drawing of a stick man Harvey Weiss a drawing of a worried face and Crockett Johnson a drawing of Mr O'Malley flying. All in excellent condition. Presented in black wooden frame with museum acrylic glazing. unknown

Peter Harrington · Royaume-Uni3 000,00 £GB≈ 3 425,40 €

(CHEKHOV, Anton, Maxim Gorky, Gabriele D'Annunzio, Georges Duhamel, Henrik Ibsen, Maurice Maeterlinck, August Strindberg, and OtBiblio.com

Poet Lore: 52 Bound Volumes and 16 Single Issues in Wraps 1889-1951

1951378401Philadelphia / Boston: The Poet-lore Co. / Richard G. Badger / Bruce Humphries 1951. Softcover. Good. Magazine. 52 bound volumes most with the original wrappers bound in and 16 individual issues in wrappers. Octavos. A near-complete run from 1889-1951 of Poet Lore an influential American literary magazine that first introduced to the English speaking world many important European dramatists and writers. Founded in 1889 as a magazine devoted to Shakespeare and Browning it soon became indispensable to readers on the lookout for new writers from Europe Russia and Asia by publishing their works in often the first English translations. These include Henrik Ibsen August Strindberg and the lyric poet Frédéric Mistral. Also included in this run are the first English translations of dramatic works by Maurice Maeterlinck Gerhart Hauptmann and Arthur Schnitzler; and the first authorized English translations of works by Maxim Gorky Anton Chekhov Gabriele D'Annunzio and Georges Duhamel. Even the American science fiction writer Frederick J. Pohl made a first appearance in 1927 with Varnishing Day. The set consists of a consecutive run of the first twelve monthly issues from 1889 fifteen loose issues in wraps from 1890-1893 and a complete run of monthly and quarterly issues from 1894-1951 bound in half linen and full cloth boards with one unbound single issue in wraps from 1918. An ex-library set with bookplates and ink stamps a few intermittent early volumes also have a small embossed or perforated stamp on the title pages else overall a good or better set of bound volumes. The single issues in wrappers are unmarked a few with detached wraps else very good. A very nice assemblage of notable European dramatic literature poetry and literary criticism. Further details are available. (The Poet-lore Co. / Richard G. Badger / Bruce Humphries) unknown

Between the Covers- Rare Books, Inc. ABAA · États-Unis4 000,00 $US≈ 3 384,40 €

SENDAK MauriceBiblio.com

Poster inscribed ""Where The Wild Things Are.""

19851237961985. Signed. SENDAK Maurice. Poster inscribed ""Where The Wild Things Are and Concert Scenes from Higglety Pigglety Pop!"". Minnesota: Ordway Music Theatre 1985. Color poster measuring 24 by 18 inches inches; handsomely framed entire piece measures 25 by 19 inches. $4000.Lovely poster illustrated by Maurice Sendak advertising the American premiere of the Sendak and Knussen opera ""Where the Wild Things Are"" inscribed below the main illustration for presentation to a neighbor and close friend: ""For Elizabethhappy Wild Things!Maurice Dec. '85.""This poster advertises the American premiere of Oliver Knussen & Maurice Sendak's ""Where The Wild Things Are and Concert Scenes from Higglety Pigglety Pop!"" by the Minnesota Opera and the Saint Paul Chamber Orchestra at the Ordway Music Theatre. Sendak was passionate about both opera and classical music throughout his life and for many years dreamt of starting a national children's theater. Though the first attempt with Robert Redford fell through Sendak did eventually found the Night Kitchen which succeeded and launched many of its actors into stardom. The former owner of this inscribed poster was Maurice Sendak's neighbor Andrew from Ridgefield Connecticut. Sendak bought a home and studio in Ridgefield in 1972 with his longtime partner Eugene Glynn and lived there until his death. Andrew first encountered Sendak in 1975 during one of his daily dog walks. Sendak owned many dogs throughout his life and they often starred in his books. Andrew was immediately taken with Sendak who reminded him of his recently deceased father. One day Andrew called Sendak at home and asked if he could join him on his walks. Andrew and Sendak thus embarked on a 37-year friendship that also included the Andrew's mother Betty as well as Andrew's brother. Sendak went on long walks and hikes with Andrew and his family regularly discussing general life events opera and books. He also invited them into his studio to show off works in progress. Andrew's mother Betty was an avid reader and collector and she and Sendak would talk late into the night about books. Sendak offered Betty advice about how to find and authenticate rare children's books which she used to build her collection. Additionally he frequently bartered for autographs i.e. a cake for an inscribed drawing featuring the cake. Sendak often referred to Betty as ""Elizabeth"" in inscriptions as he felt that ""Betty"" was too common a name. The many inscribed drawings along with first editions signed books and other valuable items grew into one of the country's premier Sendak collections.About-fine condition. unknown

Bauman Rare Books · États-Unis4 000,00 $US≈ 3 384,40 €

SENDAK, MauriceBiblio.com

SELF-PORTRAIT as CARICATURE; Pencil Sketch / Self-Caricature Signed

1963123No Place: Sendak 1963. Original drawing by the Author-Illustrator. Very Good . SELF-CARICATURE SIGNED by MAURICE SENDAK the famous illustrator-&-author of children's books. 8vo 6.5" x 9" humorous pencil sketch & self-caricature by MAURICE SENDAK with Lewis Carrollean-aspects on translucent drawing paper. EXCEEDINGLY RARE SIGNED humorous SELF PORTRAIT--head & hat to feet--of Maurice Sendak drawn lightly in pencil on tracing paper presumably a "rough" or "prelim"inary sketch that has been Signed lightly but fully. One horizontal fold at bottom of self portrait. The artist depicts himself looking and smiling at the viewer in his "Where the Wild Things Are" inimitable style. The artist-illustrator's hat recalls Tenniel's sketch of the Mad Hatter in Lewis Carroll's Alice in Wonderland. An exhuberant Sendak has written "Fun! Ha! Ha!" and "Ho! He!" Based upon other pieces by Sendak his use of "Ha! Ha!" may echo his elation after the enormous success of "Where the Wild Things Are." This piece is Much Rarer than Sendak's famous and highly regarded book illustrations! Maurice Bernard Sendak 1928 - 2012 was an American illustrator and writer of children's books. He became widely known for his book Where the Wild Things Are first published in 1963. Born to Jewish-Polish parents his childhood was affected by the death of many of his family members during the Holocaust. Sendak also wrote works such as In the Night Kitchen Outside Over There and illustrated many works by other authors including the Little Bear books by Else Holmelund Minarik. He won practically every award for illustrating children's books; most notably: the Caldecott Medal from the ALA as illustrator of "the most distinguished American picture book for children" Where the Wild Things Are 1964 Sendak was also one of the Caldecott runners-up seven times from 1954 to 1982 more than any other illustrator. Also the National Book Award in category Picture Books for Outside Over There 1982. Sendak unknown

Borg Antiquarian · États-Unis3 950,00 $US≈ 3 342,10 €

Maurice BLANCHOTBiblio.com

Le Paradoxe d'Aytré - Manuscrit original et tapuscrit complets

194947141s. l.: S. n. 1949. Fine. S. n. s. l. 1949 13.50 x 21.50 cm Autograph manuscript by the author of 16 pages in-8 published in number 9 June 1946 of Les Temps modernes and reprinted slightly revised in La Part du Feu 1949. Complete recto-verso manuscript very densely written with numerous deletions corrections and additions. Accompanied by the complete typescript with autograph corrections in black ink. ""Le Paradoxe d'Aytré"" ""Aytré's Paradox"" is the first text by Maurice Blanchot that Jean-Paul Sartre published in the pages of Les Temps modernes the spearhead of committed literature. Three others would follow until 1952 ""Le roman uvre de mauvaise foi"" ""The Novel a Work of Bad Faith"" ""A la rencontre de Sade"" ""Meeting Sade"" and ""L'art la littérature et l'expérience originelle"" ""Art Literature and Original Experience"" all of great importance. Continuing his reflection begun several years earlier on the writer's struggle with language and his relationship to silence notably in his article ""Le Mythe d'Oreste"" ""The Myth of Orestes"" Blanchot bases his demonstration here on Aytré qui perd l'habitude ""Aytré Who Loses the Habit"" by Jean Paulhan - a major influence - who notably provides him with the title of his article: ""De ce petit récit il ne résulte pas que la littérature ne doive logiquement commencer qu'avec le crime ou à défaut avec le vol. Mais qu'elle suppose un écroulement une sorte de catastrophe initiale et le vide même que mesurent l'anxiété et le souci c'est ce qu'on peut être tenté de voir. Or remarquons-le cette catastrophe ne s'exerce pas seulement sur le monde les objets qu'on manie . ; elle s'étend aussi et en même temps au langage à la possibilité des mots. C'est là le paradoxe d'Aytré."" ""From this little story it does not follow that literature should logically begin only with crime or failing that with theft. But that it presupposes a collapse a sort of initial catastrophe and the very void that anxiety and worry measure this is what one might be tempted to see. Now let us note this catastrophe is not exercised only on the world the objects we handle .; it extends also and at the same time to language to the possibility of words. This is Aytré's paradox."" And he adds: ""L'écrivain ne débute pas toujours avec le sang d'un fait divers ou l'horreur d'un crime qui lui ferait sentir l'instabilité et le vide du monde mais il ne peut guère songer à commencer autrement que par une certaine incapacité de parler et d'écrire par une perte de mots par l'absence même des moyens dont il surabonde. Ainsi lui est-il indispensable de sentir d'abord qu'il n'a rien à dire."" ""The writer does not always begin with the blood of a news item or the horror of a crime that would make him feel the instability and emptiness of the world but he can hardly think of beginning otherwise than with a certain inability to speak and write with a loss of words with the very absence of the means of which he has abundance. Thus it is essential for him to feel first that he has nothing to say."" Jean Paulhan therefore but also Franz Kafka Herman Melville or Stéphane Mallarmé so many writers admired by Blanchot confronted Aytré's paradox silence the collapse of language. And the critic concludes: "". le silence du langage créateur ce silence qui nous fait parler n'est pas seulement une absence de parle mais une absence tout court cette distance que nous mettons entre les choses et nous et en nous-mêmes et dans les mots et qui fait que le langage le plus plein est aussi le plus poreux le plus transparent le plus nul car il laisse infiniment fuir le creux même qu'il enferme sorte de petit alcarazas du vide."" "". the silence of creative language this silence that makes us speak is not only an absence of speech but an absence pure and simple this distance that we put between things and ourselves and within ourselves and in words and which makes the fullest language also the most S. n. unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 220,00 €

Maurice BLANCHOTBiblio.com

Le ressassement éternel

195144768Paris: Les Editions de Minuit 1951. Fine. Les Editions de Minuit Paris 1951 11.50 x 18.50 cm relié First edition one of 990 copies on Ghaldwill the only deluxe copies after 10 on pur fil. Half blue morocco binding smooth spine gilt date at foot covers with marbled paper blue paper endpapers and pastedowns original wrappers and spine preserved spine slightly sunned with small filled losses top edge gilt binding signed by Goy & Vilaine. Exceptional and moving signed autograph inscription from Maurice Blanchot to his mother and sister: ""Pour vous mes très chères ces pages hélas bien anciennes en toute affection. Maurice. / Mais avant le commencement il y a le recommencement qui fait de la lumière une fascination de toute chose une image et de nous le coeur vide du ressassement éternel"" ""For you my very dear ones these pages alas quite old with all my affection. Maurice. / But before the beginning there is the re-beginning which makes light a fascination everything an image and us the empty heart of eternal rehearsal"". Half-title page bearing the inscription very slightly and marginally shaded. Marguerite Blanchot renowned organist at Chalon cathedral remained all her life in the family home with her mother and aunt. ""She gradually became for the family like the memory of origins."" Very close to Maurice she corresponded regularly with the writer who showed her great gratitude for her devotion to their disabled mother. While Blanchot's intense affection for his mother and sister shows through in his dedications we know almost nothing of their relationships. In the only biographical essay on Blanchot Christophe Bident reveals however: ""Marguerite Blanchot venerated her brother Maurice. Very proud of him . she attached great importance to his political ideas . She read extensively . They telephoned each other corresponded. From a distance they shared the same natural authority the same concern for discretion."" Blanchot indeed sent her numerous works from his library maintaining with her a continuous intellectual bond. As for Blanchot's passion for his mother it is in the course of his work that we discover the most beautiful testimonies: ""Perhaps the power of the maternal figure borrows its brilliance from the very power of fascination and one could say that if the Mother exercises this fascinating attraction it is because appearing when the child lives entirely under the gaze of fascination she concentrates in herself all the powers of enchantment"". Cultivating absolute discretion Blanchot pushed the art of effacement even into his manuscript dedications generally succinct and written almost systematically on cards attached to the rare works he offered to his close friends. In contrast in these precious inscriptions to his mother and sister Blanchot offers himself in all his fragility and reveals a hitherto unknown intimacy. Fine copy perfectly established. Les Editions de Minuit unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 220,00 €

Maurice BLANCHOT - (Ernest HEMINGWAY)Biblio.com

Manuscrit autographe sur Hemingway intitulé traduit de . Autograph manuscript on Hemingway

1946483461946. Fine. 1946 13.50 x 21 cm en feuilles HEMINGWAY BLANCHOT Maurice. Autograph manuscript on Hemingway 1946 16 pages 1/2 in-8 135 x 21 cm loose leaves Author's autograph manuscript 16 and a half 8vo pages published in number 17 of L'Arche July 1946 and reprinted with slight modifications in La Part du Feu 1949. Complete manuscript written recto-verso very densely spaced with numerous deletions corrections and additions. In order to examine the problems related to the translation of a literary text into another language Maurice Blanchot looks at the contemporary American novel and its perception in Europe. Many good critics complain about American literature: they find it less than original and of middling interest for a culture that moved over fifty years ago beyond naturalism. They make fun of young writers who think they're being modern by imitating Faulkner Dos Passos or Steinbeck while for Americans themselves these writers are more of yesterday than tomorrow. Thus the critic for whom the oddities of language particular to any literary work survive translation takes the example of a novel by Ernest Hemingway. In For Whom the Bell Tolls Robert Jordan discovering the importance of the moment he is living repeats the word now' in several languages. Maintenant ahora now heute. But he is somewhat disappointed by the mediocrity of this vocabulary and looks for other words. . He tries to find in language links between these words and what they mean for him his meeting with Maria who is also his meeting with his final hour his meeting with death. The word Todt seems to him the most dead of all the word Krieg the one that resembles war most closely. Or is it just that he knew German less well than the other languages This reflection fascinates Blanchot: This impression of Robert Jordan's can give us food for thought. If it's true that a language seems more expressive and more real to us when we know it less if words need a certain ignorance to keep their virtue from being revealed this paradox should hardly surprise us since translators come across it all the time and it represents both one of the principal challenges and one of the foremost riches of all translation. An inspired look at the work of Ernest Hemingway and the problem of translation. unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 220,00 €

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