Tag: Henri Barbusse

Bored of Hell

Edwin Turner1 Comment

img_3055

I am bored of Hell, Henri Barbusse’s 1908 novel of voyeurism.

Maybe I should blame the 1966 English translation (from the French) by Robert Baldick, which often feels stuffily stuffy for a book about “childbirth, first love, marriage, adultery, lesbianism, illness, religion and death” (as our dear translator puts it in his brief preface). Maybe I should blame it on Baldick, but that seems rash and wrong, and I have no basis of comparison, do I?

So I blame it on myself, this boredom of Hell.

Why write then? Why not write it off, rather, which is to say, do not write—I don’t know.

I’m bored with Hell and there are half a dozen novels I’ve recently  read (or am reading) that I should commend, recommend, attempt to write about—but here I am bored of Hell, and writing about it. Maybe it’s—and the it here refers to writing about Hell, a book I confesss a boredom of—maybe it’s because I’ve allowed myself over the last few days to good lord skim the goddamned infernal thing, not skimming for a replenishing sustenance, but rather looking for the juicy fat bits, the best bits, in the same way a teenaged version of myself skimmed Henry Miller and Anaïs Nin in a powerful sweat.

(I was a teenage cliché).

Maybe it’s that the best bits of Hell weren’t juicy enough. (In this novel, an unnamed narrator espies all sorts of sensual (and nonsensual) shenanigans through a small hole in his hotel room). Or maybe the juicy bits were juicy, but the translation dried them out. So many of the sentences made me want to close the book. But it’s unfair for me to write this, I suppose, without offering a sample. Here, from early in the novel, is an excerpt that did make me want to keep going:

The mouth is something naked in the naked face. The mouth, which is red with blood, which is forever bleeding, is comparable to the heart: it is a wound, and it is almost a wound to see a woman’s mouth.

And I begin trembling before this woman who is opening a little and bleeding from a smile. The divan yields warmly to the embrace of her broad hips; her finely-made knees are close together, and the whole of the centre of her body is in the shape of a heart.

…Half-lying on the divan, she stretches out her feet towards the fire, lifting her skirt slightly with both hands, and this movement uncovers her black-stockinged legs.

And my flesh cries out…

Those last ellipses were mine. Did you want more? I did, I admit. And yet after 50 pages, I grew bored. The voyeurism was boring—sprawling. Perhaps I’m lazy. Perhaps I want my voyeurism condensed. Maybe…weirder. I don’t know. Reader, I skimmed. I skimmed, like I said, for morsels—but also to the end, the the final chapter, to the final exquisite not boring paragraph, which I’ll share with you now before “I have done,” as the narrator states in this final section. Promised paragraph:

I believe that confronting the human heart and the human mind, which are composed of imperishable longings, there is only the mirage of what they long for. I believe that around us there is only one word on all sides, one immense word which reveals our solitude and extinguishes our radiance: Nothing! I believe that the word does not point to our insignificance or our unhappiness, but on the contrary to our fulfillment and our divinity, since everything is in ourselves.

Hell/Dreambook (Books acquired, 6.07.2016)

BibliokleptLeave a comment

img_2581

The Barbusse literally fell into my hands when I was pulling down a different book. I’d never heard of Hell until today but its title, cover, and blurb — “the most highly study of voyeurism” — sold me. Penguin’s Writers from Other Europe has always intrigued me and the cover alone on Tadeusz Konwicki’s A Dreambook for Our Time led to me picking it up.

I Burn Paris (Book Acquired, Some Time Last Week, Or Maybe Late the Week Before)

Biblioklept4 Comments

20120403-153842.jpg

Bruno Jasieński was one of the leaders of the Polish Futurist movement, and his novel I Burn Paris looks fascinating. It’s also a beautiful looking book — publisher Twisted Spoon has done a lovely job here — an embossed hardback with no superfluous jacket, and even a nice lace bookmark (doesn’t show up in my photo). There are also illustrations by Cristian Opris.

20120403-153853.jpg

I’m hoping to get into this this weekend, but for now, here’s publisher Twisted Spoon’s description:

I Burn Paris has remained one of Poland’s most uncomfortable masterstrokes of literature since its initial and controversial serialization by Henri Barbusse in 1928 inL’Humanité (for which Jasienski was deported for disseminating subversive literature). It tells the story of a disgruntled factory worker who, finding himself on the streets, takes the opportunity to poison Paris’s water supply. With the deaths piling up, we encounter Chinese communists, rabbis, disillusioned scientists, embittered Russian émigrés, French communards and royalists, American millionaires and a host of others as the city sections off into ethnic enclaves and everyone plots their route of escape. At the heart of the cosmopolitan city is a deep-rooted xenophobia and hatred — the one thread that binds all these groups together. As Paris is brought to ruin, Jasienski issues a rallying cry to the downtrodden of the world, mixing strains of “The Internationale” with a broadcast of popular music.

With its montage strategies reminiscent of early avant-garde cinema and fist-to-the-gut metaphors, I Burn Parishas lost none of its vitality and vigor. Ruthlessly dissecting various utopian fantasies, Jasienski is out to disorient, and he has a seemingly limitless ability to transform the Parisian landscape into the product of disease-addled minds. An exquisite example of literary Futurism and Catastrophism, the novel presents a filthy, degenerated world where factories and machines have replaced the human and economic relationships have turned just about everyone into a prostitute. Yet rather than cliché and simplistic propaganda, there is an immediacy to the writing, and the modern metropolis is starkly depicted as only superficially cosmopolitan, as hostile and animalistic at its core.

This English translation of I Burn Paris fills a major gap in the availability of works from the interwar Polish avant-garde, an artistic phenomenon receiving growing attention with recent publications such as Caviar and Ashes.