Swann's Way
Volume 1 of 'In Search of Lost Time'
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Publisher Description
Swann's Way (Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication and, leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme ofinvoluntary memory. In early 1914 Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life" (Tadié, 611). Gallimard (the publishing arm of NRF) offered to publish the remaining volumes, but Proust chose to stay with Grasset.
In Search of Lost Time (French: À la recherche du temps perdu)—also translated as Remembrance of Things Past—is a novel in seven volumes by Marcel Proust (1871–1922). His most prominent work, it is known both for its length and its theme of involuntary memory, the most famous example being the "episode of the madeleine" which occurs early in the first volume. It gained fame in English in translations by C. K. Scott Moncrieff and Terence Kilmartin as Remembrance of Things Past, but the title In Search of Lost Time, a literal rendering of the French, has gained usage since D. J. Enright adopted it for his revised translation published in 1992.
The novel began to take shape in 1909. Proust continued to work on it until his final illness in the autumn of 1922 forced him to break off. Proust established the structure early on, but even after volumes were initially finished he kept adding new material and edited one volume after another for publication. The last three of the seven volumes contain oversights and fragmentary or unpolished passages, as they existed only in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
The work was published in France between 1913 and 1927. Proust paid for the publication of the first volume (by the Grasset publishing house) after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs and scenes are foreshadowed in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel had great influence on twentieth-century literature; some writers have sought to emulate it, others to parody it. In the centenary year of Du côté de chez Swann, Edmund White pronounced À la recherche du temps perdu "the most respected novel of the twentieth century."
Excerpt from Wikipedia, ‘Swann's Way’ and ‘In Search of Lost Time’
PUBLISHERS WEEKLY
Relax: it's fantastic. There's no question that Davis's American English is thinner and more literal than C.K. Scott Montcrieff's archaically inflected turns of phrase and idioms, at least as revised by Terence Kilmartin and later by D.J. Enright. The removal of some of the familiar layers of the past in this all-new translation gives one a feeling similar to that of encountering an old master painting that has just been cleaned: the colors seem sharper and momentarily disorienting. Yet many readers will find it exhilarating, allowing the text to shed slight airs that were not quite Proust's and making many of the jokes much more immediate (as when he implies that sense-organ atrophy in the bourgeois is a defense mechanism and the result of hardening unarticulated feelings). As accomplished translator and novelist Davis (The End of the Story) notes in her foreword, she has followed Proust's sentence structure as closely as possible "in its every aspect," including punctuation, word order and word choice. To take just one case, where Montcrieff/Kilmartin describe Mlle. Vinteuil finding it pleasant to metaphorically "sojourn" in sadism, Davis has the much more definitive "emigrate." Proust's psychological inquiry generally feels much sharper, giving a much more palpable sense of Freud and Bergson and of the young Marcel's willful (if not malefic) manipulations of those around him. For first-timers who don't have French and are allergic to the slightest whiff of euphemism, this is the best means for traveling the way by Swann's. BOMC, Reader's Subscription and Insightout Book Club; 4-city translator tour.