Among the masters of modern French literature, André Gide (1869–1951) concerned himself with the motivation and function of the will, with self-cultivation, and the conduct of the individual in the modern world. His perception, integrity, and purity of style brought him much acclaim, including the Nobel Prize for Literature in 1947.
The Immoralist (written in 1901, published in 1902), one of his best-known works, deals with the unhappy consequences of amoral hedonism. Filled with similarities of Gide's own life, it is the story of Michel, who, during three years of travel in Europe and North Africa, tries to rise above good and evil and allow his passions (including his attraction to young Arab boys) free rein; in doing so, he neglects his wife, Marceline, who eventually dies of tuberculosis. The book is in the form of Michel's attempt to justify his conduct to his friends.
Notable for its fusion of autobiographical elements with both biblical and classical clarity and lack of clutter, The Immoralist marks a decided shift in Gide's prose style and a somewhat decadent floweriness to his later classical clarity and lack of clutter. This nobility and simplicity of style is skillfully retained in this excellent new translation by Stanley Appelbaum, which also preserves the passion and intensity of the original.
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But this is not the Michel his colleagues knew, nor the man Marceline married, and he must hide his new values under the patina of what he now reviles. Bored by Parisian society, he moves to a family farm in Normandy. He is happy there, especially in the company of young Charles, but he must soon return to the city and academe. Michel remains restless until he gives his first lecture and runs into Ménalque, who has long outraged society, and recognizes in him a reflection of his torment. Finally, Michel heads south, deeper into the desert, until, as he confides to his friends, he is lost in the sea of sand, under a clear, directionless sky.
What Gide's story lacks in sensationalism is fulfilled by his descriptive prose, which evokes the exotic nature of Michel's inner and outer journey: "I did not understand the forbearance of this African earth, submerged for days at a time and now awakening from winter, drunk with water, bursting with new juices; it laughed in this springtime frenzy whose echo, whose image I perceived within myself." --Joannie Kervran Stangeland
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