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Oksident12 января 2017 г.“Work,” of course, meant work in its finished, final form, as perfect as Flaubert could make it. This rage to eliminate fault continued long after initial publication: for the 1879 edition of L'Education sentimentale he suppressed 125 examples of mais, thirty-nine alors, thirty-two et, thirty-one puis, twenty-three cependant, and so on.
151- Oksident12 января 2017 г.
Thus in November 1872, Flaubert writes to Turgenev, “I have always tried to live in an ivory tower, but a tide of shit is beating at its walls, threatening to undermine it.”
117 - Oksident12 января 2017 г.
This is the advantage of letters over biography: letters exist in real time. We read them at about the speed at which they were written. Biography gives us the crane-shot, the time-elision, the astute selectivity.
16 - Oksident12 января 2017 г.Читать далее
Flaubert always believed that the production of art necessarily involved some amputation of the life. What if he had been wrong, what if he could have taken a wife, had children to dote on, and discovered that this didn't affect his work? Sand always believed that art was not something separate from life but something that grew out of it and fitted into it, something you did, if you had enough energy (and she had lots), after putting the grandchildren to bed and paying the bills. What if she had been wrong, what if her art were rendered flimsy by its ease and normality of manufacture?
18 - Oksident12 января 2017 г.Читать далее
Later, they report an overhearing from Princesse Mathilde's conservatory: amid the habitual vous of Flaubert and Sand, a tu suddenly escapes Sand's lips, and the Princesse looks meaningfully across at the Goncourts. Was this a theatrical tu or a lover's tu? In fact, neither: throughout their correspondence Sand regularly addressed Flaubert as tu, just as, out of respect for her age and sex, he always addressed her as vous. He also called her chère maître, the feminizing of the adjective marking a double homage to his friend.
19 - Oksident12 января 2017 г.Читать далее
Inevitable moments of repetitiousness are balanced by the way we are allowed to follow the life of even a phrase: how “Fuck your inkwell!” (to Feydeau, 1859) becomes “The inkwell is the true vagina for men of letters” (Feydeau 1859) becomes “Drink ink! it makes you drunker than wine” (Feydeau 1861) becomes “Ink is a wine that makes us drunk, let's plunge into dreams since life is so appalling” (Amélie Bosquet 1861) becomes “Let's get drunk on ink, since we haven't got any nectar of the gods” (Bosquet 1861).
19 - Oksident12 января 2017 г.
The marriage was not a success, and Caroline's subsequent life followed the same unfortunate pattern: twice more she fell in love, once more she married, but the two conditions never coincided.
112 - Oksident12 января 2017 г.
By 1866, still on the same book, he sanitizes the phrase completely for George Sand: “You don't know what it's like to spend a whole day with your hands pressed against your head, just to find a single word.”
18 - Oksident12 января 2017 г.
With his motto Merde, merde et archimerde, he dumps on the ineradicable imbecility of his time.
18 - Oksident12 января 2017 г.Читать далее
Writing consists of laboriously taking out extraneous words (“I've used faire four times in a row—oh, shit!”) and not getting screwed by your publisher. Writing consists of complaining that there are more than the agreed number of lines per page on your proofs—“my style is dense enough without making things even harder for the reader”—and of making sure you get the correct Carthaginian circumflex: “The circumflex on Salammbô shouldn't have any sort of curve to it. Nothing could be less Punic. I insist on you making it more open.”
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