Six literary documents of French writers.
The highly sought-after posthumous notes by Misia Sert.
A few thousand pages of reading joy.
Misia Sert - Misia - Privé-domein no. 193 - 1994
Louis-Ferdinand Céline - Brieven aan vriendinnen - Privé-domein no. 88 - 1983
Raymond Queneau - Mijn Moeder zong - Privé-domein no. 232 - 1999
Edmond & Jules de Goncourt - Dagboek - Privé-domein no. 117 - 1999
Mattthieu Galey - Dagboek - Privé-domein no. 178 - 1992
Danièle Sallenave - Gepasseerd station. Teloorgang van een utopie 1990 - 1991 -
Privé-domein no. 209 - 1996
These Privé-domein books were published
in their well-known characteristic covers.
All books are in good to very good condition.
With slight discolouration and the patina of time.
In the life of the Parisian Belle Époque, Misia Sert was a prominent lady. Her talents, wealth and above all beauty put her in prestigious avant-garde circles and she did not go unnoticed by artists such as Toulouse-Lautrec, Renoir, Picasso and Cocteau. Her memories, which she did not write down herself, give a fairly good picture of Parisian cultural life during the first decades of the 20th century. Nevertheless, her observations, happy as she is mainly with herself, are rather superficial: her book is above all a self-portrait of the kind of distinguished ladies that were appreciated in artistic circles mainly for their decorative talents and money.
2* The letters Céline wrote to his girlfriends in the thirties are of an unusual frankness. They start in the period when he broke up with his first wife, Elisabeth Craig, his great love to whom he had dedicated ‘Journey to the End of the Night’. The last letter in this collection is from the period when he met Lucette Almanzor, the woman with whom he would spend the rest of his life.
None of the girlfriends addressed in this book has been a love partner in the conventional sense of the word. Love is a word he certainly didn't like to use in connection with sexuality. Yet these letters are love letters in which Céline does not mince his words. This means that part of the correspondence is of a sometimes disconcerting banality and vulgarity. His frequent, mostly purely physical contact with women did not stem so much from a need to seduce, but from the conviction that ‘women are the incarnation of instinctive forces that enabled him to approach the world in a more direct, honest way than through words,' according to Céline expert and compiler of this collection, Colin Nettelbeck.
Raymond Queneau was an avid collector. In his collections he tried to keep with him his whole life. He often incorporated what he read (astonishingly much) or experienced (nothing worth mentioning) into his books. ‘Mijn moeder zong’ offers a nuanced view on Queneau’s moods and temperaments. In 1914, at the age of eleven, he started his diary as a little boy of wide reading, who already had a few novels in his desk. He had little in common with his bourgeois parents, who ran a haberdashery shop in Le Havre. But Queneau would have more problematic relationships in his life: with God, with his wife - especially right after the Second World War, with other people in the war and with André Breton in the 1930s. This book sketches a unique picture of the first three quarters of the 20th century, with an emphasis on the French war in Northern Africa, the world of surrealism, communism and psychoanalysis, the German occupation and the Parisian art circles. ‘Mijn moeder zong’ is a book by Queneau that did not yet exist. Raymond Queneau (1903-1976) is one of the most famous, original and versatile French writers of the 20th century.
When Edmond began to publish a selection from his diary from 1887 onwards, there was great commotion, and several attempts were made to prevent further publication. The complete diary could not be published until twenty years after Edmond's death, according to a testamentary disposition. But in 1916 a complete publication turned out to be impossible: too many people were still alive. It took until 1956 before the complete diary was published.
The Goncourts regarded the diary as their most important work, more important than their novels or their historical studies. They were right: their ‘Journal’ has established itself as one of the most important diaries of world literature, an unprecedented time document.
The diary of the French literary and theatre critic Matthieu Galey (1934-1986) covers the period 1953-1986. Initially he wrote down his admiration for dubious writers such as Jouhandeau and Chardonne, and described trips to Berlin and Amsterdam with feverish homosexual conquests. Gradually he turned out to be the more distant and feared observer of Parisian literary life. The diary takes on a tragic dimension when the author heroically describes the progression of an incurable muscle disease that will demolish him in two years. The well-translated selection for the Privé-domein series provides a fascinating literary image of that time and an impressive self-portrait.
‘Gepasseerd station’ is the eyewitness account of a culmination point in the history of this century. A poignant book in which there is hardly any triumphalism over the farewell of an era.
Danièle Sallenave won the prestigious 1980 Prix Renaudot and is considered one of the prominent writers of France. The Arbeiderspers previously published two of her novels: Adieu (1990) and Schijnleven (1992).
*This book is an inventory, written with great intuition and a deep historical awareness, of the demise of a utopia. One that had been dead for years without us really knowing it. - Florence Noiville in Le Monde
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- Autobiografía, Biografía, Filosofía, Literatura
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- Privé-domein; Lot met 6 Franse schrijvers
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