Bøger af Raymond Roussel

Ce livre regroupe les oeuvres suivantes de l'auteur: Chiquenaude, La Vue, Le Concert, La Source.

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Martial Canterel, scientifique et inventeur, invite ses collègues à visiter son domaine - une villa et un grand parc - appelé Locus Solus . Ils y découvrent des créations complexes et étranges, dont un énorme diamant de verre rempli d'eau et contenant une danseuse, un chat sans poil, et la tête encore vivante de Danton. Dans l'un des plus longs chapitres du roman, Canterel présente à ses invités une série de huit tableaux vivants mettant en scène des individus prisonniers d'immenses cages de verre. Par la suite, l'on découvre qu'ils sont en fait morts mais ressuscités grâce à un sérum, la résurrectine, inventé par Canterel et reproduisant des moments marquants de leur existence. Ayant complété le tour du domaine, les invités rentrent à la villa pour y dîner.

Raymond Roussel raconte son état mental qui l'a précédé la publication de La Doublure: J'étais à ce moment dans un état de bonheur inouï, un coup de pioche m'avait fait découvrir un filon merveilleux, j'avais gagné le gros lot le plus étourdissant. J'ai plus vécu à ce moment-là que dans toute mon existence. Mais l'échec fut rude: Quand La Doublure parut, le 10 juin 1897, son insuccès me causa un choc d'une violence terrible. J'eus l'impression d'être précipité jusqu'à terre du haut d'un prodigieux sommet de gloire. L'insuccès de ce livre marque à jamais l'auteur orgueilleux qui ne trouvera la gloire tant recherchée qu'à titre posthume.

Le paquebot Lyncée fait naufrage près des côtes africaines. Les naufragés, dont le narrateur, sont capturés par l'armée de l'empereur Talou VII. En attendant leur libération, ils préparent une série de numéros pour un spectacle intitulé Le gala des incomparables . Le lendemain de celui-ci, ils sont libérés. Dans le texte, le récit du gala précède la présentation des personnages, le naufrage, la capture et les explications des numéros qui dans un premier temps apparaissent comme extraordinaires. D'ailleurs, Raymond Roussel indiquait qu'il fallait lire la seconde partie du roman avant la première.

Martial Canterel, scientifique, fait visiter son domaine - Locus Solus. Les invites decouvrent avec stupefaction des creations toutes plus etranges les unes que les autres. Mais ce sont la des merveilles aux yeux de Martial. On ne peut qu'admirer l'enorme diamant dans lequel nage une danseuse. Et cette vitrine exposant d'intacts cadavres, conserves dans un etrange liquide...-

An intoxicating sui generis novel by "the greatest mesmerist of modern times" (André Breton)

Fiction. Short Stories. Translated from the French by Mark Ford. Raymond Roussel (1877-1933) is one of the most distinctive and compelling French writers of the twentieth century, yet many aspects of Roussel's life remain shrouded in mystery. An extremely wealthy and always exquisitely dressed homosexual dandy, Roussel was also a compulsive writer. Despite the strangeness of his work, he was convinced that it would make him as popular as Victor Hugo or Shakespeare. His suicide at the age of 56 was in part prompted by the continual disappointment of his hopes for fame. The full extent of Roussel's writing only became clear in 1989 when a trunk was unearthed in a furniture warehouse containing a vast trove of his manuscripts. The most exciting discoveries were the full draft of Locus Solus (over twice as long as the published version) and the typescript of what would have been his third novel, THE ALLEY OF FIREFLIES, which is translated here for the first time into English by the leading Roussel scholar, Mark Ford. Ford has also translated two haunting extracts from the drafts of Locus Solus, and versions of two of the young Roussel's most intriguing short stories, Chiquenaude and AMONG THE BLACKS. Roussel's work was vociferously championed by Surrealist writers and painters such as André Breton, Marcel Duchamp and Salvador Dalì, and later proved a significant influence on Oulipians (particularly Georges Perec), on nouveaux romanciers like Alain Robbe-Grillet, as well as on John Ashbery and Harry Mathews, who named their pioneering magazine of the 1960s Locus Solus, after Roussel's second novel.

A veritable literary melting pot, Roussel's groundbreaking text makes ample use of wordplay and the surrealist techniques of automatic writing and private allusion.

In a mythical African land, some shipwrecked and uniquely talented passengers stage a grand gala to entertain themselves and their captor, the great chieftain Talou. In performance after bizarre performance-starring, among others, a zither-playing worm, a marksman who can peel an egg at fifty yards, a railway car that rolls on calves' lungs, and fabulous machines that paint, weave, and compose music-Raymond Roussel demonstrates why it is that Andre Breton termed him "e;the greatest mesmerizer of modern times."e; But even more remarkable than the mind-bending events Roussel details-as well as their outlandish, touching, or tawdry backstories-is the principle behind the novel's genesis, a complex system of puns and double-entendres that anticipated (and helped inspire) such movements as Surrealism and Oulipo. Newly translated and with an introduction by Mark Polizzotti, this edition of Impressions of Africa vividly restores the humor, linguistic legerdemain, and conceptual wonder of Raymond Roussel's magnum opus.

Poet, novelist, playwright, and chess enthusiast, Raymond Roussel (1877-1933) was one of the French belle epoque's most compelling literary figures. During his lifetime, Roussel's work was vociferously championed by the surrealists, but never achieved the widespread acclaim for which he yearned. New Impressions of Africa is undoubtedly Roussel's most extraordinary work. Since its publication in 1932, this weird and wonderful poem has slowly gained cult status, and its admirers have included Salvador Dali--who dubbed it the most "e;ungraspably poetic"e; work of the era--Andre Breton, Jean Cocteau, Marcel Duchamp, Michel Foucault, Kenneth Koch, and John Ashbery. Roussel began writing New Impressions of Africa in 1915 while serving in the French Army during the First World War and it took him seventeen years to complete. "e;It is hard to believe the immense amount of time composition of this kind of verse requires,"e; he later commented. Mysterious, unnerving, hilarious, haunting, both rigorously logical and dizzyingly sublime, it is truly one of the hidden masterpieces of twentieth-century modernism. This bilingual edition of New Impressions of Africa presents the original French text and the English poet Mark Ford's lucid, idiomatic translation on facing pages. It also includes an introduction outlining the poem's peculiar structure and evolution, notes explaining its literary and historical references, and the fifty-nine illustrations anonymously commissioned by Roussel, via a detective agency, from Henri-A. Zo.

Locus Solus (1914) anses for den franske forfatter Raymond Roussels hovedværk og dertil den mest læsevenlige i værket. En roman om en forunderlig vandring, som nogle gæster foretager på videnskabsmanden og opfinderen Martial Canterels landsted, Locus solus. Romanen, der udkom første gang i 1914, anses for at være forfatterens hovedværk og som i hans andre værker, er spændingseffekten på det absolutte nulpunkt. Men hvad den ikke har i spænding, udviser den til fulde i syrede optrin og mærkværdigheder, der ruller frem i følelsesmæssigt frigear.

WORK IS IN FRENCH This book is a reproduction of a work published before 1920 and is part of a collection of books reprinted and edited by Hachette Livre, in the framework of a partnership with the National Library of France, providing the opportunity to access old and often rare books from the BnF's heritage funds.

WORK IS IN FRENCH This book is a reproduction of a work published before 1920 and is part of a collection of books reprinted and edited by Hachette Livre, in the framework of a partnership with the National Library of France, providing the opportunity to access old and often rare books from the BnF's heritage funds.

Raymond Roussel (1877-1933), next-door neighbor of Marcel Proust, can be described without exaggeration as the most eccentric writer of the 20th century. His unearthly style based on elaborate linguistic riddles and puns fascinated the Surrealists and famously influenced the composition of Marcel Duchamp's "Large Glass," but also affected writers as diverse as Gide, Robbe-Grillet and Foucault (author of a book-length study of Roussel). The title essay of this collection is the key to Roussel's method, and it is accompanied by selections from all his major works of fiction, drama and poetry, translated by his New York School admirers John Ashbery, Kenneth Koch and Harry Mathews, and the painter and author Trevor Winkfield. Ashbery writes that Roussel's work is "like the perfectly preserved temple of a cult which has disappeared without a trace ... we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret."