Against Nature: Joris-Karl Huysmans (Penguin Classics)

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His contempt for humanity deepened. He reached the conclusion that the world, for the most part, was composed of scoundrels and imbeciles...Already, he was dreaming of a refined solitude, a comfortable desert, a motionless ark in which to seek refuge from the unending deluge of human stupidity." In addition to his novels, Huysmans was known for his art criticism in L'Art moderne (1883) and Certains (1889). He was a founding member of the Académie Goncourt. An early advocate of Impressionism, he admired such artists as Gustave Moreau and Odilon Redon. Donato, Elisabeth M. (2001). Beyond the Paradox of the Nostalgic Modernist: Temporality in the Works of J.-K. Huysmans. New York: Peter Lang.

Thurstan, Frederic (1928). "Huysmans' Excursion into Occultism," Occult Review, Vol. XLVIII, pp. 227–236. Brophy, Liam (1956). "J.–K. Huysmans, Aesthete Turned Ascetic," Irish Ecclesiastical Review, Vol. LXXXVI, pp.43–51. On the branches, almandine is a very dark garnet, while uvarovite (almost certainly misspelled as ouwarovite) is a bright green kind of garnet named for a Russian Count. Connolly, P.J. (1907). "The Trilogy of Joris Karl Huysmans," The Dublin Review, Vol. CXLI, pp.255–271. Huysmans's next novel, En rade, an unromantic account of a summer spent in the country, did not sell as well as its predecessor.When I was in prison, I was wrapped up in all those deep books - that [Leo Tolstoy] crap. People shouldn't read that stuff. When we read those books, what purpose does it serve in this day and time?" - Mike Tyson Yet, ironically, he also complains about how there is 'nothing genuine' left in the world, how it is all artificial (for which he decries it) despite the fact that he spends the rest of his time trying to live in another artificial world of his own making. Clearly, artificiality is neither the problem nor the solution, but a mere cover-up for the real issues. Against Nature " - the title itself encompasses the infinity of this character's efforts to reshape reality, according to the principles of a " homo aestheticus ".

Indeed, he will almost certainly meet himself when he rejoins society, for it is full of people just like him, who put on a false front to try to convince themselves that they are interesting, but who live hollow lives, providing nothing to the world, leaving nothing of worth to the future, and doing nothing in which they can take the least pride. The unexamined life is not worth living--which is why it destroys him.

Cyber incident

He is the prototype for the man who sits and plays Warcraft alone all day, every day, until he loses his job, his friends, and his family. Des Esseintes harps again and again on a desire to live in an artificial world of his own making--a virtual world. It does not really give him pleasure, it is just a way from him to avoid the world. It is a life without risk, a life where he does not have to confront anything uncomfortable or challenging, which will never hazard upsetting or drawing judgment from anyone--a pointless life of perfect safety which he romantically paints as fraught and challenging, because it allows him to imagine himself as the noble struggler against hardship--but solely on his own terms. verbes aux sucs épurés, de substantifs sentant l’encens, d’adjectifs bizarres, taillés grossièrement dans l’or, avec le goût barbare et charmant des bijoux goths….

But - ironically - that's exactly what Jean des Esseintes tries to do. And fails to do, miserably. if a beautiful Moonrise is pointed out to him, he looks at the fleshy finger pointing - rather than the spectacularly large moon. Huysmans, Joris-Karl. (2008). Against Nature, trans. Brendan King. Dedalus Books. ISBN 9781903517659. Includes translated selections from original manuscript.

E quindi, si ritira, “via dalla pazza folla”, va a vivere in una magione agreste che diventa il suo eremo (compagnia della servitù a parte), e che man mano trasforma secondo i suoi canoni estetici. Thorold, Algar (1909). "Joris–Karl Huysmans." In: Six Masters of Disillusion. New York: E.P. Dutton & Company, pp.80–96.

Kitabımız Des Esseintes isimli düşmüş karakterin yeni bir evde iki uşağıyla nesnelerin arasından zihin kaçmasıyla bildiği her şeyi sorgulamasıyla akıp gidiyor. Gollner, Adam (12 November 2015). "What Houellebecq Learned from Huysmans". The New Yorker . Retrieved 18 November 2015. Certainly, there are some interesting scenes within the book--the famous tortoise episode actually achieving some real insight (and satire), but overall, the book is terribly dull--a piling on of detail upon detail without much central notion to hang them on. Some might argue that the theme is the gross emptiness of decadence, but I don't think the work's scattered repetition does very much to explore it.Were you possessed by the Good lord or by Satan while writing this book? Your preface suggests it was the Good lord. Though I am not so sure. While I am comforted by the fact that there were people like you who shared a similar disgust for humanity in more idyllic times, there is a part of me that feels that some doors are best left shut. Huysman's Natûralizm okulunun kurucularınan-mış gibi yazılsa da bu eserde tam bir mistisizm havasında takılıyor. In 1905 Huysmans was diagnosed with cancer of the mouth. He died in 1907 and was interred in the cimetière du Montparnasse, Paris. Huysmans's grave A portrait of Huysmans, by Jean-Louis Forain, c. 1878 ( Musée d'Orsay) Writing career [ edit ] Huysmans's novel, Against the Grain, has more discussions of sound, smell and taste than any other work of literature we know of. For example, one chapter consists entirely of smell hallucinations so vivid that they exhaust the book's central character, Des Esseintes, a bizarre, depraved aristocrat. A student of the perfumer's art, Esseintes has developed several devices for titillating his jaded senses. Besides special instruments for re-creating any conceivable odour, he has constructed a special "mouth organ", designed to stimulate his palate rather than his ears. The organ's regular pipes have been replaced by rows of little barrels, each containing a different liqueur. In Esseintes's mind, the taste of each liqueur corresponded with the sound of a particular instrument. Tersine, nihayet bitti dediğim kitaplardan biri oldu, bir daha da cebir ve şiddet altında dahi olsam dönüp yüzüne bakmam. Tersine ile aynı günlerde Karatani’nin Transkritik: Kant ve Marx üzerine adlı kallavi bir kitabına başlamıştım. Benim iki kitabı aynı anda okurken rutinim şudur; kuramsal eserden yorulduğumda romanın sıcak kollarına sığanır, orada dinlenirim biraz. Ancak bu sefer Tersine’den kaçıp kurama sığındım varın sıkıcılığı siz düşünün. Bu sıkıcılığın üstüne bir de Tahsin Yücel çevirememesini ekleyin. Bu öztürkçeci abimiz mesaisini kitap okunmasın diye harcamış sanki, sinirce kelimesini okurken bir yerden sonra buhranlar geçirmedim değil. Umarım bir gün başka bir çevirmen el atar da bu kitaba sıkılacak okur sadece yazarın derdiyle sıkılır, burjuvanın öztürkçe karşılığının kenter sınıfı olmasıyla falan uğraşmaz.