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Joris-Karl Huysmans’s semi-autobiographical third novel, first published in French in 1881, signaled the beginning of his break from the naturalism of Émile Zola and his turn toward a “new naturalism” that laid out the negative consequences of determinism and embraced a disgust for human existence and an all-out war against respectability.
Domesticity tells the tale of novelist André Jayant and artist Cyprien Tibaille, two men struggling between the urges of their body and the urges of their soul—between the comforts of coupledom and the ideals of art—and with the failure of matrimony or the artistic endeavor to fulfill the needs of either. More than a psychological character study, though, Domesticity stands as one of the most memorable portraits of late-nineteenth-century Paris: its shops, its eateries, its apartments, and its sad, futile affairs of the heart.
Steeped in sardonic pessimism, this ode to sterility was one of the author’s own favorite novels of his career.
Joris-Karl Huysmans’s semi-autobiographical third novel, first published in French in 1881, signaled the beginning of his break from the naturalism of Émile Zola and his turn toward a “new naturalism” that laid out the negative consequences of determinism and embraced a disgust for human existence and an all-out war against respectability.
Domesticity tells the tale of novelist André Jayant and artist Cyprien Tibaille, two men struggling between the urges of their body and the urges of their soul—between the comforts of coupledom and the ideals of art—and with the failure of matrimony or the artistic endeavor to fulfill the needs of either. More than a psychological character study, though, Domesticity stands as one of the most memorable portraits of late-nineteenth-century Paris: its shops, its eateries, its apartments, and its sad, futile affairs of the heart.
Steeped in sardonic pessimism, this ode to sterility was one of the author’s own favorite novels of his career.
Atsiliepimai