Here is the ultimate American road book, one with a perspective unlike that of any other. In January 1947 Simone de Beauvoir landed at La Guardia airport and began a four-month journey that took her from one coast of the United States to the other, and back again. Embraced by the Condé Nast set in a swirl of cocktail parties in New York, where she was hailed as the "prettiest existentialist" by Janet Flanner in The New Yorker, de Beauvoir traveled west by car, train, and Greyhound, immersing herself in the nation's culture, customs, people, and landscape. The detailed diary she kept of her trip became America Day by Day, published in France in 1948 and offered here in a completely new translation. It is one of the most intimate, warm, and compulsively readable texts from the great writer's pen. Fascinating passages are devoted to Hollywood, the Grand Canyon, New Orleans, Las Vegas, and San Antonio. We see de Beauvoir gambling in a Reno casino, smoking her first marijuana cigarette in the Plaza Hotel, donning raingear to view Niagara Falls, lecturing at Vassar College, and learning firsthand about the Chicago underworld of morphine addicts and petty thieves with her lover Nelson Algren as her guide. This fresh, faithful translation superbly captures the essence of Simone de Beauvoir's distinctive voice. It demonstrates once again why she is one of the most profound, original, and influential writers and thinkers of the twentieth century. On New York:"I walk between the steep cliffs at the bottom of a canyon where no sun penetrates: it's permeated by a salt smell. Human history is not inscribed on these carefully calibrated buildings: They are closer to prehistoric caves than to the houses of Paris or Rome." On Los Angeles:"I watch the Mexican dances and eat chili con carne, which takes the roof off my mouth, I drink the tequila and I'm utterly dazed with pleasure."

Winner of the Prix Goncourt des Lycéens, David Diop's English-language, historical fiction debut At Night All Blood is Black is a "powerful, hypnotic, and dark novel" (Livres Hebdo) of terror and transformation in the trenches of the First World War. Alfa Ndiaye is a Senegalese man who, never before having left his village, finds himself fighting as a so-called "Chocolat" soldier with the French army during World War I. When his friend Mademba Diop, in the same regiment, is seriously injured in battle, Diop begs Alfa to kill him and spare him the pain of a long and agonizing death in No Man's Land. Unable to commit this mercy killing, madness creeps into Alfa's mind as he comes to see this refusal as a cruel moment of cowardice. Anxious to avenge the death of his friend and find forgiveness for himself, he begins a macabre ritual: every night he sneaks across enemy lines to find and murder a blue-eyed German soldier, and every night he returns to base, unharmed, with the German's severed hand. At first his comrades look at Alfa's deeds with admiration, but soon rumors begin to circulate that this super soldier isn't a hero, but a sorcerer, a soul-eater. Plans are hatched to get Alfa away from the front, and to separate him from his growing collection of hands, but how does one reason with a demon, and how far will Alfa go to make amends to his dead friend? Peppered with bullets and black magic, this remarkable novel fills in a forgotten chapter in the history of World War I. Blending oral storytelling traditions with the gritty, day-to-day, journalistic horror of life in the trenches, David Diop's At Night All Blood is Black is a dazzling tale of a man's descent into madness.

Being Contemporary is a volume of original essays by 23 preeminent scholars of French and Comparative literature, hailing from both sides of the Atlantic, in response to the editors' invitation to "think through the contemporary." The volume offers a sustained critical reflection on the contemporary as a concept, a category, a condition, and a set of relationships to others and to one's own time. Being Contemporary emerges from a sense of a critical urgency to probe the notion of "the contemporary" and the place of the contemporary critic, in French literary and cultural studies today. Its point of departure is Susan Suleiman's book Risking Who One Is (Harvard, 1994), which proposed two decades ago that "being contemporary" offers a heuristic category for assessing the role of the scholar and critic, for studying the current moment in literature, art, and culture, and for engaging with historical and philosophical questions in a way that resonates with readers in the present day. Returning to these ideas with renewed vigor, the thought-provoking essays that comprise this volume center on 20th- and 21st-century French literature, politics, memory, and history, and problematize the contemporary as a critical position with respect to the current moment.

Possessing one of the most vital voices in international letters, Maryse Condé added to an already acclaimed career the New Academy Prize in Literature in 2018. The twelfth novel by this celebrated author revolves around an enigmatic crime and the young man at its center. Dieudonné Sabrina, a gardener, aged twenty-two and black, is accused of murdering his employer--and lover--Loraine, a wealthy white woman descended from plantation owners. His only refuge is a sailboat, La Belle Créole, a relic of times gone by. Condé follows Dieudonné's desperate wanderings through the city of Port-Mahault the night of his acquittal, the narrative unfolding through a series of multivoiced flashbacks set against a forbidding backdrop of social disintegration and tumultuous labor strikes in turn-of-the-twenty-first-century Guadeloupe. Twenty-four hours later, Dieudonné's fate becomes suggestively intertwined with that of the French island itself, though the future of both remains uncertain in the end. Echoes of Faulkner and Lawrence, and even Shakespeare's Othello, resonate in this tale, yet the drama's uniquely modern dynamics set it apart from any model in its exploration of love and hate, politics and stereotype, and the attempt to find connections with others across barriers. Through her vividly and intimately drawn characters, Condé paints a rich portrait of a contemporary society grappling with the heritage of slavery, racism, and colonization.

Set against the backdrop of France's industrial revolution, this 1859 novel by the controversial, passionately socialist George Sand follows the fortunes of the dynamic, young metal smith Etienne Lavoute, known as Sept-Epees (or Seven Blades), as he strives to free himself not from the working class but from the woes imposed upon it by grasping mill owners. While ambition is the spur that prompts Sept-Epees to purchase a ramshackle factory he is ill equipped to run, love is the secret cause. For Sept-Epees, however misguidedly, would make himself worthy of the orphaned (like him), wise, pretty, and capable Tonine Gaucher. As eloquent in its exposure of the social ills that afflicted French workers at the onset of the industrial revolution as it is poignant in its exploration of love's turbulent course for the prideful Sept-Epees and the proud Tonine, The Black City reflects George Sand's enduring admiration for the struggles and triumphs of the working class as well as her geniusin the characterization of strong, clear-eyed, independent women. If in Sept-Epees she embodies the estimable worker who can make of his craft an art, in Tonine she epitomizes the woman whose successes stunningly defy the conventions of the age.

One of the founders of literary realism and the serial novel, Honoré de Balzac (1799-1850) was a prolific writer who produced more than a hundred novels, plays and short stories during his career. With its dramatic plots and memorable characters, Balzac's fiction has enthralled generations of readers. 'La Comédie humaine', the vast collection of works in which he strove to document every aspect of nineteenth-century French society, has influenced writers from Flaubert, Zola and Proust to Dostoevsky and Oscar Wilde. This Companion provides a critical reappraisal of Balzac, combining studies of his major novels with guidance on the key narrative and thematic features of his writing. Twelve chapters by world-leading specialists encompass a wide spectrum of topics such as the representation of history, philosophy and religion, the plight of the struggling artist, gender and sexuality, and Balzac's depiction of the creative process itself.

From Occitan poetry to Francophone writing produced in the Caribbean and North Africa, from intellectual history to current films, and from medieval manuscripts to bandes dessinées, this History covers French literature from its beginnings to the present day. With equal attention to all genres, historical periods and registers, this is the most comprehensive guide to literature written in French ever produced in English, and the first in decades to offer such an array of topics and perspectives. Contributors attend to issues of orality, history, peripheries, visual culture, alterity, sexuality, religion, politics, autobiography and testimony. The result is a collection that, despite the wide variety of topics and perspectives, presents a unified view of the richness of French-speaking cultures. This History gives support to the idea that French writing will continue to prosper in the twenty-first century as it adapts, adds to, and refocuses the rich legacy of its past.

This study, based on contemporary comments and published details of print runs and booksellers' returns, shows, through a chronological survey which takes into account the development and influence of rival media such as the cinema and television, how many best-selling works of fiction and non-fiction, of home or foreign origin, have responded to the social and intellectual needs of a particular time. Some have survived, many others gather dust on the shelves as witnesses to a bygone age.

An essential, vibrant collection of masterful translations by one of the finest poets at work today Collected French Translations: Poetry,half of a long-awaited two-volume collection of translations by America's foremost living poet, surveys John Ashbery's lifelong love of French poetry. Beginning in 1955, Ashbery spent nearly a decade in France, working as an art critic in Paris and forming a relationship with the poet Pierre Martory. His translations of Martory's poems, featured here, were collected inThe Landscapist, a Poetry Book Society Recommended Translation in 2008 and a finalist for the National Book Critics Circle Award in poetry. In this volume, Ashbery presents a wide selection of France's finest poets: Charles Baudelaire, Stéphane Mallarmé, Arthur Rimbaud, Max Jacob, Pierre Reverdy, Paul Éluard, and its greatest living poet, Yves Bonnefoy. A rich array of 171 poems by twenty-four poets, this bilingual volume also features a selection from Ashbery's masterly translation of Rimbaud'sIlluminations. The development of modern French poetry emerges through Ashbery's chronology, as does the depth of French influences on his iconoclastic career and the poets of the New York School. Collected together for the first time, Ashbery's translations represent decades of remarkable work from the writer hailed by Harold Bloom as a part of the "American sequence that includes Whitman, Dickinson, Stevens, and Hart Crane."

Colette, prodded by her first husband, Willy, began her writing career with Claudine at School, which catapulted the young author into instant, sensational success. Among the most autobiographical of Colette's works, these four novels are dominated by the child-woman Claudine, whose strength, humor, and zest for living make her seem almost a symbol for the life force. Janet Flanner described these books as "amazing writing on the almost girlish search for the absolute of happiness in physical love . . . recorded by a literary brain always wide awake on the pillow."

Our global literary field is fluid and exists in a state of constant evolution. Contemporary fiction in French has become a polycentric and transnational field of vibrant and varied experimentation; the collapse of the distinction between 'French' and 'Francophone' literature has opened up French writing to a world of new influences and interactions. In this collection, renowned scholars provide thoughtful close readings of a whole range of genres, from graphic novels to crime fiction to the influence of television and film, to analyse modern French fiction in its historical and sociological context. Allowing students of contemporary French literature and culture to situate specific works within broader trends, the volume provides an engaging, global and timely overview of contemporary fiction writing in French, and demonstrates how our modern literary world is more complex and diverse than ever before.

From the internationally acclaimed, best-selling author of Brother, I'm Dying, a collection of vividly imagined stories about community, family, and love. Rich with hard-won wisdom and humanity, set in locales from Miami and Port-au-Prince to a small unnamed country in the Caribbean and beyond, Everything Inside is at once wide in scope and intimate, as it explores the forces that pull us together, or drive us apart, sometimes in the same searing instant. In these eight powerful, emotionally absorbing stories, a romance unexpectedly sparks between two wounded friends; a marriage ends for what seem like noble reasons, but with irreparable consequences; a young woman holds on to an impossible dream even as she fights for her survival; two lovers reunite after unimaginable tragedy, both for their country and in their lives; a baby's christening brings three generations of a family to a precarious dance between old and new; a man falls to his death in slow motion, reliving the defining moments of the life he is about to lose. This is the indelible work of a keen observer of the human heart--a master at her best.

Robert Darnton's work is one of the main reasons that cultural history has become an exciting study central to our understanding of the past.

French Fairy Tales: Essays on a Major Literary Tradition provides a unique opportunity to revisit and deepen our appreciation and understanding of French fairy tales, many of which we can recall with a sense of wonder from childhood. These carefully selected essays, written by a variety of distinguished scholars, introduce and analyze the original versions of many French fairy tales published in France between 1691 and 1715. These range from the works of Charles Perrault (Cinderella, Little Red Riding Hood, Sleeping Beauty), to Madame Leprince de Beaumont (Beauty and the Beast), to the radically different tales of Madame d'Aulnoy (The Blue Bird, The White Cat). This anthology includes essays that analyze the complexities and importance of these tales, as well as a bibliography and filmography that give readers a chance to explore the genre further. The English translations of several French fairy tales by Jack Zipes serve as an excellent teaching tool. Readers of French Fairy Tales will enjoy the stories and be challenged by the recent and provocative scholarship on this major literary tradition that continues to influence literature and film today.

Written by L.T. Ventouillac in 1829 as a guide "pointing out the best works of the principal writers of France, in every branch of literature; with criticisms, personal anecdotes and bibliographical notices; preceded by a sketch of the progress of French literature." Full digital copy from HathiTrust. See Open-Access Resources

Freres Ennemis focuses on Franco-American tensions as portrayed in works of literature. An Introduction is followed by nine chapters, each focused on a French or American literary text which shows the evolution/devolution of the relations between the two nations at a particular point in time.While the heart of the analysis consists of close textual readings, social, cultural and political contexts are introduced to provide a better understanding of the historical reality influencing the individual novels, a reality to which these novels are also responding.Chapters One through Five, covering a period from the mid-1870s to the end of the Cold War, discuss significant aspects of the often fraught relationship from the theoretical perspective of Roland Barthes' theory of modern myth, described in his Mythologies. Barthes' theory helps situateFranco-American tensions in a paradigmatic structure, while at the same time it is supple enough to allow for shifts and reversals within the paradigm. Subsequent chapters explore new French attitudes toward the powerful, potentially dominant influence of American culture on French life. In thesesections I argue that recent French fiction displays more openness to the American experience than has existed in the past, and as such contrasts with the more static American approach to French culture.

Originally published in French as En companie des homes in 2017. Tender and compassionate, this vivid, often heart-wrenching account of the courage of Ebola frontline workers caring for those ravaged by the disease is an important reminder of the human and emotional cost of tone of the worst epidemics of our age.-Elnathan John, author of Born on a Tuesday. [Available in French as En companie des hommes]

The youngest daughter of Algerian immigrants, Fatima Daas is raised in a home where love and sexuality are considered taboo. Living in the majority-Muslim suburb of Clichy-sous-Bois, she goes from unstable student to maladjusted adult, doing four years of therapy - her longest relationship. But as she gains distance from her family, she grapples more directly with her attraction to women and how it fits with her religion, which she continues to practice. When Nina comes into her life, she doesn't know exactly what she needs but feels that something crucial has been missing.

Literary Slumming: Slang and Class in Nineteenth-Century France applies a sociolinguistic approach to the representation of slang in French literature and dictionaries to reveal the ways in which upper-class writers, lexicographers, literary critics, and bourgeois readers participated in a sociolinguistic concept the author refers to as "literary slumming", or the appropriation of lower-class and criminal language and culture. Through an analysis of spoken and embodied manifestations of the anti-language of slang in the works of Eugene Francois Vidocq, Honore de Balzac, Eugene Sue, Victor Hugo, the Goncourt Brothers, and Emile Zola, Literary Slumming argues that the nineteenth-century French literary discourse on slang led to the emergence of this sociolinguistic phenomenon that prioritized lower-class and criminal life and culture in a way that ultimately expanded class boundaries and increased visibility and agency for minorities within the public sphere.

Antoine de Saint-Exupéry's world-famous classic, like many children's books, is far more than a simple story. This edition includes the history and making of the beloved story. Few stories are as widely read and as universally cherished by children and adults alike as The Little Prince. This special edition of Antoine de Saint-Exupéry's world-famous classic marks its seventy-fifth anniversary in print. Featuring a beautiful new cover and a special look at its history and making--including a biography of Saint-Exupéry, sketches, photos, and reviews from the first edition--this new anniversary edition of The Little Prince will capture the hearts of both devoted and new readers alike.

A hardcover omnibus edition of the French writer's most famous novel--the basis for the film Memoir of War--alongside her fascinating wartime writings and a collection of intimate autobiographical essays. Marguerite Duras was one of the leading intellectuals and novelists of postwar France, but her wartime writings were not published in full until after her death. The Wartime Notebooks trace Duras's formative experiences--including her difficult childhood in Indochina and her harrowing wait for her husband's return from Nazi internment--revealing the personal history behind her bestselling novels. The Lover is the best known of these; set in prewar Indochina, its haunting tale of a tumultuous affair between an adolescent French girl and her wealthy Chinese lover is based on her own life. In spare and luminous prose, Duras evokes life on the margins in the waning days of France's colonial empire, and the passionate relationship between two unforgettable outcasts. Practicalities is a collection of small and intensely personal pieces Duras dictated near the end of her life. These deceptively simple meditations on motherhood, domesticity, sex, love, alcohol, writing, and more are witty, earthy, outspoken, and surprisingly fresh and relevant today.

Édouard Glissant's novels, closely tied to the theories he developed in Poétique de la Relation (Poetics of relation), are rich explorations of a deported and colonized people's loss of their own history and the ever-evolving social and political effects this sense of groundlessness has caused in Martinique. In Mahagony, Glissant identifies both the malaise of and the potential within Martinican society through a powerful collective narrative of geographic identity explored through multiple narrators. These characters' lives are viewed back and forth over centuries of time and through tales of resistance, linked always by the now-ancient mahogany tree. Attempting to untangle the collective memory of Martinique, Mathieu, the contemporary narrator, creates a conscious history of these people in that place--a record that unearths the mechanics of misrepresentation to get at the fundamental, enduring truths of that history, perhaps as only the mahogany tree knows it.

Medieval Literature and Social Politics brings together seventeen articles by literary historian Stephen Knight. The book primarily focuses on the social and political meaning of medieval literature, in the past and the present. It provides an account of how early heroic texts relate to the issues surrounding leadership and conflict in Wales, France and England, and how the myth of the Grail and the French reworking of Celtic stories relate to contemporary society and its concerns. Further chapters examine Chaucer's readings of his social world, the medieval reworkings of the Arthur and Merlin myths, and the popular social statements in ballads and other literary forms. The concluding chapters examine the Anglo-nationalist `Arctic Arthur', and the ways in which Arthur, Merlin and Robin Hood can be treated in terms of modern studies of the history of emotions and the environment. This book will be of interest to scholars and students of medieval Europe, as well as those interested in social and political history, medieval literature and modern medievalism.

In this deeply hopeful and viscerally detailed novel, award-winning Haitian author Louis-Philippe Dalembert (The Other Side of the Sea) has provided a Tolstoyan narrative of the contemporary immigrants' exodus from war, famine, poverty, criminality and injustice to a better life across the Mediterranean Sea. Following in intimate detail the lives of three women from disparate religions and cultures, and nations--Nigeria, Eritrea, and Syria--Dalembert compassionately depicts these three women and the bond they form together in their mutual struggle to escape to Europe via an overcrowded, dilapidated boat across the sea, the metaphorical wall between their former lives and the future. Certain to appeal to readers of literature of migration and such recent fiction as "Behold the Dreamers" and "The Lost Children Archive."

He was the brother of "the Arab" killed by the infamous Meursault, the antihero of Camus's classic novel. Seventy years after that event, Harun, who has lived since childhood in the shadow of his sibling's memory, refuses to let him remain anonymous: he gives his brother a story and a name--Musa--and describes the events that led to Musa's casual murder on a dazzlingly sunny beach. In a bar in Oran, night after night, he ruminates on his solitude, on his broken heart, on his anger with men desperate for a god, and on his disarray when faced with a country that has so disappointed him. A stranger among his own people, he wants to be granted, finally, the right to die. The Stranger is of course central to Daoud's story, in which he both endorses and criticizes one of the most famous novels in the world. A worthy complement to its great predecessor, The Meursault Investigation is not only a profound meditation on Arab identity and the disastrous effects of colonialism in Algeria, but also a stunning work of literature in its own right, told in a unique and affecting voice. "A tour-de-force reimagining of Camus's The Stranger, from the point of view of the mute Arab victims." --The New Yorker

Is it legitimate to conceive of and write a history of medieval French literature when the term "literature" as we know it today did not appear until the very end of the Middle Ages? In this novel introduction to French literature of the period, Jacqueline Cerquiglini-Toulet says yes, arguing that a profound literary consciousness did exist at the time. Cerquiglini-Toulet challenges the standard ways of reading and evaluating literature, considering medieval literature not as separate from that in other eras but as part of the broader tradition of world literature. Her vast and learned readings of both canonical and lesser-known works pose crucial questions about, among other things, the notion of otherness, the meaning of change and stability, and the relationship of medieval literature with theology. Part history of literature, part theoretical criticism, this book reshapes the language and content of medieval works. By weaving together topics such as the origin of epic and lyric poetry, Latin-French bilingualism, women's writing, grammar, authorship, and more, Cerquiglini-Toulet does nothing less than redefine both philosophical and literary approaches to medieval French literature. Her book is a history of the literary act, a history of words, a history of ideas and works--monuments rather than documents--that calls into question modern concepts of literature.

The city of Paris experienced rapid transformation in the middle of the nineteenth century: the population grew, industry and commerce increased, and barriers between social classes diminished. Innovations in printing and distribution gave rise to new mass-market genres: literary guidebooks known as tableaux de Paris and illustrated physiologies examined urban social types and fashions for a broad audience of Parisians hungry to explore and understand their changing society. The works in this volume offer a lively, humorous tour of the manners and characters of the flâneur (a leisurely wanderer), the grisette (a young working-class woman), the gamin (a street urchin), and more. While authors such as Paul de Kock are little known today, their works still open a window onto a vivid time and place.

By one of the most profoundly influential thinkers of our century, The Rebel is a classic essay on revolution. For Albert Camus, the urge to revolt is one of the "essential dimensions" of human nature, manifested in man's timeless Promethean struggle against the conditions of his existence, as well as the popular uprisings against established orders throughout history. And yet, with an eye toward the French Revolution and its regicides and deicides, he shows how inevitably the course of revolution leads to tyranny. As old regimes throughout the world collapse, The Rebel resonates as an ardent, eloquent, and supremely rational voice of conscience for our tumultuous times. Translated from the French by Anthony Bower.

Leila Slimani has just released the sequel to her family trilogy. After “The country of others”, the Franco-Moroccan writer and novelist unveils “Watch us dance” by Gallimard editions. In “Watch us dance”, the timeline starts in 1968, in an independent Morocco which is struggling to find its new identity, torn between the archaisms and the illusory temptations of Western modernity, between the obsession with images and the wounds of shame. It is in this troubled period, between hedonism and repression, that a new generation will have to make choices. “Watch us dance” continues and enriches a family fresco vibrant with emotions, embodied in unforgettable figures. -FDM Moroccan Ladies

Revisiting the French Resistance in Cinema, Literature, Bande Dessinée, and Television (1942-2012) examines how fictional works have contributed to shaping the image of the French Resistance, and offers a key to understanding France's national psyche. Christophe Corbin explores themes including the making of the myth of an honorable country united against a common enemy, comedies gently poking fun at it and fictional works debunking it straightforwardly, the invisibility and resurfacing of women in films and novels, as well as contemporary depictions of the Resistance on television. Case studies include sometimes forgotten or lesser-known works such as Aragon's wartime poetry, early films such as Le P re tranquille or Casablanca-inspired Fortunat, iconic films and novels such as Le Silence de la mer or La Grande Vadrouille, but also contemporary fictional works such as Effroyables jardins and the popular TV series Un Village français. It will be of interest to scholars and students in cultural studies, film studies, French studies, history, and media studies.

When pregnant Rosie Carpe, her fatherless five-year-old son in tow, arrives in Guadeloupe looking for her elusive brother, Lazare, the world already seems a plenty confusing place. Could the man who comes to meet her, an elegant black man calling himself Lagrand, actually be her disheveled white brother? Are her parents, who abandoned her in Paris, rediscovering themselves in an outrageous second youth of outlandish affairs, or have they simply lost their minds? And does Rosie have a hope of slipping the sticky grasp of her former employer and seducer, who moonlights as a video pornographer? If it seems unlikely that the feckless Lazare, missing for five years as he followed his own twisted path, might help, or that carnivalesque Guadeloupe, where murder and mayhem are the natural outcomes of "business ventures," might be the place for Rosie to find peace, then Marie NDiaye may have a few surprises in store for her reader. Amid the blurring boundaries and shifting values, the indistinct realities and confusing certainties of Rosie Carpe, a love story unfolds, and all that is ambiguous and tenuous-in short, all of Rosie's world-is underpinned with a measure of tenderness.

Patrick Chamoiseau's Slave Old Man was published to accolades in hardcover in a brilliant translation by Linda Coverdale, winning the French-American Foundation Translation Prize and chosen as a Publishers Weekly Best Book of 2018. Slave Old Man is a gripping, profoundly unsettling story of an elderly enslaved person's daring escape into the wild from a plantation in Martinique, with his enslaver and a fearsome hound on his heels. We follow them into a lush rain forest where nature is beyond all human control: sinister, yet entrancing and even exhilarating, because the old man's flight to freedom will transform them all in truly astonishing--even otherworldly--ways, as the overwhelming physical presence of the forest reshapes reality and time itself. Chamoiseau's exquisitely rendered new novel is an adventure for all time, one that fearlessly portrays the demonic cruelties of the slave trade and its human costs in vivid, sometimes hallucinatory prose. Offering a loving and mischievous tribute to the Creole culture of early nineteenth-century Martinique, this novel takes us on a unique and moving journey into the heart of Caribbean history. [Esclave vieil homme et le molosse]

Anna Gavalda has been hailed as an author graced with the Gallic vitues of dry wit and almost involuntary elegance' (Vogue). Now, the prize-winning author of I Wish Someone Were Waiting for Me Somewhere returns with a novel of an abandoned wife and the profound relationship that unfolds between her and her father-in-law. 'How do you succeed in literature? It's simple, you write a good first book, the a good second one. Anna Gavaldo is a great novelist.' - Le Figaro Litteraire'.

In this example of autofiction, Annie Ernaux's mother has just died. She is the only child, so it is up to her to make the final arrangements. And it is up to her to remember the proud, vibrant, intense, and difficult woman who once was her mother before age and illness vanquished her. A poignant recollection of a mother's life in France before and after the war, this woman's story can only be known in part. Yet, in this case, that is enough.

The fascinating story of a young Russian filmmaker's attempts to portray Catherine the Great, before and after the collapse of the Soviet Union Catherine the Great's life seems to have been made for the cinema--her rise to power; her reportedly countless love affairs and wild sexual escapades; the episodes of betrayal, revenge, and even murder--there's no shortage of historical drama. But Oleg Erdmann, a young Russian filmmaker, seeks to discover and portray Catherine's essential, emotional truth, her real life beyond the rumors and façade. His first screenplay just barely makes it past the Soviet film board and is assigned to atalented director, but the resulting film fails to avoid the usual clichés. After the dissolution of the Soviet Union, as he struggles to find a place for himself in the new order, Oleg agrees to work with an old friend on a television series that becomes a quick success--as well as increasingly lurid, a far cry from his original vision. He continues to seek the real Catherine elsewhere. WithA Woman Loved, Andreï Makine delivers a sweeping novel about the uses of art, the absurdity of history, and the overriding power of human love, if only it can be uncovered and allowed to flourish.

Garnished with pictures, anecdotes, & recipes from an enormous range of sources - including medieval codices, the classic nineteenth-century treatises on haute cuisine, modern guides to household management, & the recipe columns of today's women's magazines.

Americans in Paris: Artists Working in Postwar France, 1946-1962 delves into the various circles of artists who lived in France following World War II. Featuring new scholarship and illuminating essays, this groundbreaking volume illustrates many of the paintings, sculptures, drawings, prints, photos, and films produced during these fertile years. Americans in Paris introduces the story of the American creative community that inhabited the City of Light following World War II. Proposing Paris as decisive for the development of postwar American art, this volume investigates the academies where many of these artists studied, the spaces where their work was exhibited, the aesthetic discourses that animated their conversations, their interactions with European artists, and the overarching issue of what it meant to be an American abroad.

At Home in Our Sounds illustrates the effect jazz music had on the enormous social challenges Europe faced in the aftermath of World War I. Examining the ways African American, French Antillean, and French West African artists reacted to the heightened visibility of racial difference in Paris during this era, author Rachel Anne Gillett addresses fundamental cultural questions that continue to resonate today: Could one be both black and French? Was black solidarity more important than national and colonial identity? How could French culture include the experiences and contributions of Africans and Antilleans? Providing a well-rounded view of black reactions to jazz in interwar Paris, At Home in Our Sounds deals with artists from highly educated women like the Nardal sisters of Martinique, to the working black musicians performing at all hours throughout the city. In so doing, the book places this phenomenon in its historical and political context and shows how music and music-making constituted a vital terrain of cultural politics--one that brought people together around pianos and on the dancefloor, but that did not erase the political, regional, and national differences between them.

Regarded by her fellow impressionists as a 'virtuoso colourist', Berthe Morisot (1841-95) strove to be considered an equal among her male peers - an uphill struggle at a time when women were generally forbidden from taking formal artistic training. Nevertheless, she succeeded in forging a career, gaining respect, becoming a key player and creating a body of work that has stood the test of time. Her impressionism vibrates with light and spontaneity and yet possesses a density of form through the deft use of colour. Inevitably she painted what she experienced: scenes of intimate domestic and family life, gardens, flowers, landscapes - representing the real, unfiltered day-to-day life of 19th-century women - from the tender depiction of maternal love in The Cradle to the Far-Eastern inspired Julie with her Greyhound Laërte. This gorgeous book introduces the reader to the background, life and work of the artist, followed by a curated selection of her best work in exquisite full-page reproductions.

Michel Bettane and Thierry Desseauve are French wine experts known all over the world by wine professionals and consumers alike. Now they bring their expertise to the English-speaking market in their encyclopedic Guide to the Wines of France. This comprehensive buying guide is organized by region, including not only such celebrated areas as Burgundy and Bordeaux, but also lesser-known wine-making provinces such as Languedoc and Jura. Within each chapter, a complete picture of the region is presented through entries for individual wineries and detailed information about their wines; each wine is rated using the familiar 100-point scale. Written in clear, user-friendly language, the guide is accessible even to wine novices. Whether you're looking to stock your cellar or to expand your wine-tasting horizons, Bettane and Desseauve's Guide to the Wines of France is the oenophile's essential companion.

Overlooked in the history of artistic endeavors are the contributions of female writers, painters, and crafters of the Caribbean. The creative works by women from the Caribbean proves to be as remarkable as the women themselves. In Caribbean Women and Their Art: An Encyclopedia, Mary Ellen Snodgrass explores the rich history of women's creative expression by examining the crafts and skill of over 70 female originators in the West Indies, from the familiar islands--Jamaica, Haiti, Cuba, Puerto Rico--to the obscurity of Roatan, Cura ao, Guanaja, and Indian Key. Focusing particularly on artistic style during the arrival of Europeans among the West Indies, the importance of cultural exchange, and the preservation of history, this book captures a wide variety of artistic accomplishment, including; Folk music, acting, and dance; Herbalism and food writing; Sculpture, pottery, and adobe construction; Travel writing, translations, and storytelling Individual talents highlighted in this volume include dancer Katherine Dunham, storyteller Louise Bennett-Coverley, paleontologist Sue Hendrickson, dramatist Maryse Cond , herbalist and memoirist Mary Jane Seacole, ballerina and choreographer Alicia Alonso, and author Elsie Clews Parsons. Each entry includes a comprehensive bibliography of primary and secondary sources, as well as further readings on the female artists and their respective crafts. This text also defines and provides examples of technical terms such as ramada, slip, hematite, patois, and mola. With its informative entries and extensive examinations of artistic talent, Caribbean Women and Their Art: An Encyclopedia is a valuable resource for students, scholars, and anyone interested in learning about some of the most influential and talented women in the arts.

François Lesure's "critical biography" of Claude Debussy (Fayard, 2003) is widely recognized by scholars as the most comprehensive and reliable account of that composer's life and career as well as of the artistic milieu in whichhe worked. This encyclopedic volume draws extensively on Debussy's complete correspondence (at that time unpublished), a painstaking tracking of contemporary reviews and comments in the press, and an examination of other primary documents-including private diaries-that had not been available to previous biographers. As such, Lesure's book presents a wealth of new information while debunking a number of myths that had developed over the years since the composer's death in 1918. The present English translation and revised edition, by Debussy authority Marie Rolf, augments Lesure's numerous notes with several thousand new ones by Rolf, providing more precise information oncrucial and sometimes contentious points. It also reflects Debussy scholarship that has appeared since 2003, updating Lesure's seminal work. Rolf's translation-the first ever-will make Lesure's findings accessible to scholars, musicians, and music lovers in English-speaking lands and around the world. FRANÇOIS LESURE (1923-2001) was the Director of the Music division of the Bibliothèque nationale de France, Professor of Musicology at the Université libre de Bruxelles, and Chair of Musicology at the École pratique des Hautes Études. MARIE ROLF is senior associate dean of graduate studies and professor of music theory at the Eastman School of Music and a memberof the editorial board for the Ouvres complètes de Claude Debussy.

Claude Monet is one of the most famous painters in history, and he is considered a pioneer of the Impressionist movement. What is Impressionism, and how does Monet's work reflect its purest principles? Readers discover the answers to these and other questions about Monet's life and work as they examine the stories behind some of his most beloved paintings. Colorful examples of his work and photographs from his life fill the pages, alongside annotated quotes from art historians, other artists, and Monet himself. Detailed sidebars appeal to young artists and provide more fascinating details about Monet's life.

This collection of essays on Nicolas Poussin address issues of Poussin's practice and theory, the patronage, reception and interpretation of his work, and his critical fortune at the hands of scholars, artists, and the art-going public. Together, they offer the reader not a single, uniform 'Poussin' but a series of varied, sometimes contradictory, views of the artist differing according to the historical lens through which his work is examined. Written to mark his quartercentenary in 1994, the essays in this volume were originally given as a series of lectures under the auspices of the Courtauld Institute of Art.

This generously illustrated volume on the work of Paul Cézanne makes the world's greatest art accessible to readers of every level of appreciation. Widely regarded as the bridging link between late 19th-century Impressionism and Cubism, Cézanne's work is characterized by his intense study of his subjects. Overflowing with impeccably reproduced images, this book offers full-page spreads of masterpieces as well as highlights of smaller details, allowing the viewer to appreciate every aspect of the artist's technique and oeuvre.

Pt. 1. "L'atelier féminin" de David -- 1. Un tournant manqué -- Académies et femmes peintres -- Ateliers féminins -- D'autres maîtres -- 2. "L'atelier féminin" de David : aide sociale et avant-garde artistique -- "L'atelier féminin" de David -- Who's who des davidiennes -- Dans "l'atelier" -- 3. Vies davidiennes -- Familles, fiançailles et célibat -- Mariage -- Maternité -- Veuvage, vieillesse et décès -- Pt. 2. Les davidiennes, des artistes -- 1. Représentations -- Autoportraits -- Huit davidiennes "en peintres" -- 2. Artistes -- Le Salon -- Production picturale -- Un atelier à soi -- 3. Rayonnement -- Compétition artistique -- Accrochage -- Vente, exposition muséale et récompense -- Pt. 3. "Soyons vrai d'abord, beau ensuite" -- Destins croisés de davidiens peintres de sujets noirs : le Citoyen Belley (1797), Anne-Louis Girodet et Une femme noire (1800), Guillemine Benoist -- 1. De talentueux élèves de David -- Les origines -- Dans l'atelier de David -- La Révolution -- 2. Deux modèles noirs au Salon de 1797 à 1800 -- Etre noir en France et première abolition de l'esclavage (4 février 1794) -- Jean-Baptiste Belley -- Les tableaux de Girodet et Benoist -- 3. Carrières et destins post-révolutionnaires -- Carrières d'artistes -- Vies, art et révolutions -- Lumière -- Sources -- Bibliographie sélection -- Index -- Appendice : Le Lepeletier sur son lit de mort, tableau de Jacques-Louis David non localisé depuis 1837.

A towering figure in 19th-century art, Degas is best known as a painter and chronicler of the ballet. In the 1870s, during an era of enthusiasm for experimental printmaking, Degas was introduced to the monotype process - drawing in black ink on a metal plate that was then run through a press, typically resulting in a single print. Captivated by the medium's potential, Degas made more than 300 monotypes during two discrete bursts of activity, from the mid-1870s to the mid-1880s, and again during the early 1890s. Taking the medium to new and radical heights, the artist abandoned the academic drawing style of his youth, inventing a new repertoire of mark-making that included wiping, scratching, abrading, finger printing and rendering via removal. Frequently, he used monotypes as a starting point from which an image could be reworked, revised, and re-crafted, often with pastel. Degas explored a variety of subject matter in these works, including scenes of modern life; harshly illuminated café singers; ballet dancers onstage, backstage, or in rehearsal; the life of the brothel; intimate moments at the bath; and landscapes. Degas's engagement with monotype had broad consequences for his work in other mediums; repetition and transformation, mirroring and reversal - all essential to Degas's work in monotype - was an ongoing logic of his work in drawing, painting, and pastel. Published to accompany an exhibition at The Museum of Modern Art, this richly illustrated catalogue presents approximately 180 monotypes along with some 50 related works, including paintings, drawings, pastels, sketchbooks and prints. Essays and case studies by curators, scholars and conservators explore the creative potency of Degas's rarely seen monotypes, and highlight their impact on his wider practice.

Comprising the finest plates from the great illustrator's work, this collection features outstanding engravings from such literary classics as Milton's Paradise Lost, The Divine Comedy by Dante, Coleridge's The Rime of the Ancient Mariner, The Raven by Edgar Allan Poe, Sue's The Wandering Jew, and many others.

Early French Cookery introduces the general features of the food prepared for wealthy French households at the end of the Middle Ages. The volume presents over 100 recipes, drawn from actual medieval manuscripts, together with preparation instructions. The authors help place these enticing recipes in context through a short survey of medieval dining behavior, and they give practical menu suggestions for preparing simple meals or banquets that incorporate these delightfully tasty dishes. Chapters include an overview of early French culinary traditions, foodstuffs that were used, and methods of preparation. Early French Cookery also discusses the equipment of the kitchens and dining rooms that were used, and characterizes those who prepared the food and those who consumed it. The recipes are set out in a modern format, with quantities given in both metric and standard U.S. measurements. Recipes are grouped by category: appetizers, vegetables, fish dishes, desserts, and so forth. Early French Cookery concludes with a fascinating look at a day in the life of a contemporary master chef at a duke's court. We watch Master Chiquart organize the purchase, storage, preparation, and serving of the food consumed by a duke and his dozens of family members, courtiers, staff and servants--and all done without benefit of grocery stores, refrigeration, labor-saving electric appliances, or running water. Early French Cookery will be of interest to a wide variety of people, from those who like to hold unusual parties to those who are interested in the economics of the middle ages. D. Eleanor Scully is an occasional lecturer at the Stratford Chef School and advisor to Wilfrid Laurier University on Medieval and Renaissance cooking and customs. Terence Scully is Professor of French Language and Literature, Wilfrid Laurier University, Waterloo, Ontario.

The story of Marie Antoinette's portraitist, a remarkable woman living in dangerous times The foremost woman artist of her age, Elisabeth Vigée Le Brun (1755--1842) exerted her considerable charm to become the friend, and then official portraitist, of Marie Antoinette. Though profitable, this role made Vigée Le Brun a public and controversial figure, and in 1789 it precipitated her exile. In a Europe torn by strife and revolution, she nevertheless managed to thrive as an independent, self-supporting artist, doggedly setting up studios in Rome, Naples, Venice, Milan, Vienna, St. Petersburg, and London. Long overlooked or dismissed, Vigée Le Brun's portraits now hang in the Louvre, in a room of their own, as well as in all leading art museums of the world. This gripping biography tells the story of a singularly gifted and high-spirited woman during the revolutionary era and explores the development and significance of her art. The book also recounts the public and private lives of Elisabeth Vigée Le Brun, connecting her with such personalities of her age as Catherine the Great, Napoleon, and Benjamin Franklin, and setting her experiences in the context of contemporary European politics and culture. A generous selection of illustrations, including sixteen of Vigée Le Brun's portraits presented in full color, completes this exceptional volume.

In time for the Paris Olympics 2024, a survey of great works depicting sports from the mid 19th century to the mid 20th century. Under the direction of Bertrand Tillier.

The culinary bible that first codified French cuisine--now in an updated English translation with Forewords from Chefs Heston Blumenthal and Tim Ryan When Georges Auguste Escoffier published the first edition of Le Guide Culinaire in 1903, it instantly became the must-have resource for understanding and preparing French cuisine. More than a century later, it remains the classic reference for professional chefs. This book is the only completely authentic, unabridged English translation of Escoffier's classic work. Translated from the 1921 Fourth Edition, this revision includes all-new Forewords by Heston Blumenthal, chef-owner of the Michelin three-star-rated Fat Duck restaurant, and Chef Tim Ryan, President of The Culinary Institute of America, along with Escoffier's original Forewords, a memoir of the great chef by his grandson Pierre, and more than 5,000 narrative recipes for all the staples of French cuisine. Includes more than 5,000 recipes in narrative form for everything from sauces, soups, garnishes, and hors d'oeuvres to fish, meats, poultry, and desserts Ideal for professional chefs, culinary students, serious home cooks, food history buffs, and unrepentant foodies The only unabridged English translation of Escoffier's original text, in a sleek, modern design For anyone who is serious about French food, modern cooking, or culinary history, Escoffier's Complete Guide to the Art of Modern Cookery is the ultimate guide and cookbook.

Experiencing Medieval Art is an extensive revision and expansion of the author's Seeing Medieval Art, originally published in 2004. Renowned art historian Herbert L. Kessler considers often-strange objects and the materials of which they are made, circumstances of production, the conflictual relationship between art objects and notions of an ineffable deity, the context surrounding medieval art, the playfulness of art and the formal movements it engaged, as well as questions of apprehension, aesthetics, and modern presentation. Kessler introduces the exciting discoveries and revelations that have revolutionized the understanding of medieval art and identifies the vexing challenges that still remain. Examining such well-known monuments as the stained glass in Chartres cathedral, mosaics in San Marco Venice, and Utrecht Psalter, as well as newly discovered works--including the frescoes in Rome's "aula gotica" and a twelfth-century aquamanile in Hildesheim--Kessler makes the complex history of medieval art accessible for students of art history, teachers in the field, and scholars of medieval history, theology, and literature.

France remains the greatest country for bread, cheese and wine, and its culinary techniques are the foundation of the training of nearly every serious Western cook and some beyond. In The Food and Wine of France, acclaimed food writer Edward Behr talks with chefs and goes to see top artisanal producers in order to understand what 'the best' means for them, the nature of traditional methods, how to enjoy the foods and what the optimal pairings are. As he searches for the very best in French food and wine, he introduces a host of important, memorable people.

Julie Manet, the niece of Edouard Manet and the daughter of the most famous female Impressionist artist, Berthe Morisot, was born in Paris on 14 November 1878 into a wealthy and cultured milieu at the height of the Impressionist era. Many young girls still confide their inner thoughts to diaries and it is hardly surprising that, with her mother giving all her encouragement, Julie would prove to be no exception to the rule. At the age of ten, Julie began writing her `memoirs' but it wasn't until August 1893, at fourteen, that Julie began her diary in earnest: no neat leather-bound volume with lock and key but just untidy notes scribbled in old exercise books, often in pencil, the presentation as spontaneous as its contents.

"Paris is the culinary centre of the world. All the great missionaries of good cookery have gone forth from it, and its cuisine was, is, and ever will be the supreme expression of one of the greatest arts of the world," observed the English author of The Gourmet Guide to Europe in 1903. Even today, a sophisticated meal, expertly prepared and elegantly served, must almost by definition be French. For a century and a half, fine dining the world over has meant French dishes and, above all, French chefs. Despite the growing popularity in the past decade of regional American and international cuisines, French terms like julienne, saute, and chef de cuisine appear on restaurant menus from New Orleans to London to Tokyo, and culinary schools still consider the French methods essential for each new generation of chefs. Amy Trubek, trained as a professional chef at the Cordon Bleu, explores the fascinating story of how the traditions of France came to dominate the culinary world. One of the first reference works for chefs, Ouverture de Cuisine, written by Lancelot de Casteau and published in 1604, set out rules for the preparation and presentation of food for the nobility. Beginning with this guide and the cookbooks that followed, French chefs of the seventeenth and eighteenth centuries codified the cuisine of the French aristocracy. After the French Revolution, the chefs of France found it necessary to move from the homes of the nobility to the public sphere, where they were able to build on this foundation of an aesthetic of cooking to make cuisine not only a respected profession but also to make it a French profession. French cooks transformed themselves from household servants to masters of the art of fine dining, making the cuisine of the French aristocracy the international haute cuisine. Eager to prove their "good taste," the new elites of the Industrial Age and the bourgeoisie competed to hire French chefs in their homes, and to entertain at restaurants where French chefs presided over the kitchen. Haute Cuisine profiles the great chefs of the nineteenth century, including Antonin Careme and Auguste Escoffier, and their role in creating a professional class of chefs trained in French principles and techniques, as well as their contemporary heirs, notably Pierre Franey and Julia Child. The French influence on the world of cuisine and culture is a story of food as status symbol. "Tell me what you eat," the great gastronome Brillat-Savarin wrote, "and I will tell you who you are." Haute Cuisine shows us how our tastes, desires, and history come together at a common table of appreciation for the French empire of food. Bon appetit!

Henri Cartier-Bresson is perhaps the greatest photographer of the twentieth century. In a career spanning more than sixty years, he has used his camera as an impassive and neutral third eye to capture the vagaries of human behavior and to produce some of the most memorable and compelling photographs ever published. In this impressive biographical study, Jean-Pierre Montier traces Cartier-Bresson's artistic progression from his early training as a painter and draftsman right up to the present; he provides a detailed analysis of Cartier-Bresson's most famous images and discusses the various philosophies that inform his work, notably Zen and surrealism. Drawing together a remarkable selection of the paintings, sketches, and photographs, this book is the first to attempt a serious evaluation not just of his photojournalism but of his oeuvre as a whole.

Each volume in this new series offers an in-depth exploration of one major work in MoMA's collection. Through a lively illustrated essay by a MoMA curator that examines the work in detail, the publication delves into aspects of the artist's oeuvre and places the work in a broader social and arthistorical context.

Material resources -- From the Neanderthals to the Franks -- From the Capetians to modern times : an overview -- Selling food : markets, fairs, shops and supermarkets -- Selling meals : before the restaurant -- Selling meals : the restaurant -- Selling meals : moving towards modernity -- Foreign and immigrant food -- Drink -- In search of the Paris cookbook -- Signature dishes -- Epilogue : the endless feast.
Available Electronically in Stacks

A comprehensive, accessible, and richly illustrated guide to impressionism--the perennially popular artistic movement that led to the radical renewal of Western art. Monet, Renoir, Degas, Rodin, Cezanne, Van Gogh, and the other Impressionist artists burst onto the art scene in the second half of the nineteenth century, creating shock waves with their rebellious rejection of the academy's strict rules dictating subject matter, style, and even color. Their art, labeled impressionism, coincided with the Industrial Revolution, when the world was suddenly jettisoned into modernity. The young artists who gave rise to the movement confronted public disdain and oppression in Europe, but were applauded overseas for their radically contemporary aesthetic. This complete and accessible guide renews and refreshes conventional views on impressionism by placing this seminal moment in art in its historical context. Emblematic masterpieces are examined with a focus on each detail, allowing a deeper understanding and appreciation of the artworks. Biographies of all the major artists of the movement provide insight about their life and significant works, and period photographs illustrate this incredibly rich and exciting time in art history. Organized thematically, the guide includes chapters on photography, fashion, female impressionists, exhibitions, galleries and dealers, writers, the movement's influence on later artists, and recurrent impressionist themes including leisure activities, the garden, the city, and industry. Replete with illustrations and numerous firsthand accounts and quotations, this book recounts a story of emancipation.

In freewheeling 1920s Paris, Kiki de Montparnasse captivated as a nightclub performer, sold out gallery showings of her paintings, starred in Surrealist films, and shared drinks and ideas with the likes of Jean Cocteau and Marcel Duchamp. Her best-selling memoir--featuring an introduction by Ernest Hemingway--made front-page news in France and was immediately banned in America. All before she turned thirty. Kiki was once the symbol of bohemian Paris. But if she is remembered today, it is only for posing for several now-celebrated male artists, including Amedeo Modigliani and Alexander Calder, and especially photographer Man Ray. Why has Man Ray's legacy endured while Kiki has become a footnote? Kiki and Man Ray met in 1921 during a chance encounter at a café. What followed was an explosive decade-long connection, both professional and romantic, during which the couple grew and experimented as artists, competed for fame, and created many of the shocking images that cemented Man Ray's reputation as one of the great artists of the modern era. The works they made together, including the Surrealist icons Le Violon d'Ingres and Noire et blanche, now set records at auction. Charting their volatile relationship, award-winning historian Mark Braude illuminates for the first time Kiki's seminal influence not only on Man Ray's art, but on the culture of 1920s Paris and beyond. As provocative and magnetically irresistible as Kiki herself, Kiki Man Ray is the story of an exceptional life that will challenge ideas about artists and muses--and the lines separating the two.

A tour of the French winemaking regions to illustrate how the soil, underlying bedrock, relief, and microclimate shape the personality of a wine. For centuries, France has long been the world's greatest wine-producing country. Its wines are the global gold standard, prized by collectors, and its winemaking regions each offer unique tasting experiences, from the spice of Bordeaux to the berry notes of the Loire Valley. Although grape variety, climate, and the skill of the winemaker are essential in making good wine, the foundation of a wine's character is the soil in which its grapes are grown. Who could better guide us through the relationship between the French land and the wine than a geologist, someone who deeply understands the science behind the soil? Enter scientist Charles Frankel. In Land and Wine, Frankel takes readers on a tour of the French winemaking regions to illustrate how the soil, underlying bedrock, relief, and microclimate shape the personality of a wine. The book's twelve chapters each focus in-depth on a different region, including the Loire Valley, Alsace, Burgundy, Champagne, Provence, the Rhône valley, and Bordeaux, to explore the full meaning of terroir.  In this approachable guide, Frankel describes how Cabernet Franc takes on a completely different character depending on whether it is grown on gravel or limestone; how Sauvignon yields three different products in the hills of Sancerre when rooted in limestone, marl, or flint; how Pinot Noir will give radically different wines on a single hill in Burgundy as the vines progress upslope; and how the soil of each château in Bordeaux has a say in the blend ratios of Merlot and Cabernet-Sauvignon. Land and Wine provides a detailed understanding of the variety of French wine as well as a look at the geological history of France, complete with volcanic eruptions, a parade of dinosaurs, and a menagerie of evolution that has left its fossils flavoring the vineyards. Both the uninitiated wine drinker and the confirmed oenophile will find much to savor in this fun guide that Frankel has spiked with anecdotes about winemakers and historic wine enthusiasts--revealing which kings, poets, and philosophers liked which wines best--while offering travel tips and itineraries for visiting the wineries today.

A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance. This volume is a focused look at two bodies of work, the Tirs ("shooting paintings") and Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement.

Almost twenty years after the creation of the Musee d'Orsay, the 19th century seems more than ever to be the Golden Age of French art. It boasts names such as Ingres and Delacroix, Manet and Puvis de Chavannes, Gustave Eiffel and Charles Garnier. French art became a universally accepted benchmark, spreading the discoveries of Impressionism, the Haussmann models, and the daring of art nouveau far beyond its borders, and receiving in return, in the form of the countless artists who flocked to its hub, numerous influences from abroad. Other key movements associated with the19th century include Romanticism; Neo-Classicism, Realism; the Barbizon School and plein-air painting; Neo-Impression, Cloissonism, and the Nabis; and Symbolism. This complete, chronological history is illustrated by more than 400 illustrations and covers painting, sculpture, and architecture, as well as the advent of photography, its impact on painting, and its emergence as an art form of its own.

An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created. In this comprehensive study, Kevin Moore examines the relationship between Eugène Atget (1857-1927) and Berenice Abbott (1898-1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray's Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city--old Paris--as modernization transformed it. Abbott acquired much of Atget's work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York. This engaging publication discusses how, during the 1930s and 1940s, Abbott paid further tribute to Atget by publishing and exhibiting his work and by printing hundreds of images from his negatives, using the gelatin silver process. Through Abbott's efforts, Atget became known to an audience of photographers and writers who found diverse inspiration in his photographs. Abbott herself is remembered as one of the most independent, determined, and respected photographers of the 20th century.

The Journal of Eugène Delacroix is one of the most important works in the literature of art history: the record of a life at once public and private, it is also one of the richest and most fascinating aesthetic documents of the nineteenth century, as Delacroix reflects throughout on the relations between the arts, especially painting and writing. Indeed, he approaches the question from a unique perspective, that of a painter who wrote extensively and theorized his own writing in the Journal, a painter who had a passion for literature and a powerful literary imagination, a narrative painter whose work is rooted in literature and the literary. This book is the first to explore the crucial importance of this relation for Delacroix's aesthetic theory and artistic practice. Countering the long critical tradition which sees his writing as the inverse of his painting, it argues that, through his diary and art criticism, he sought to develop a painter's writing, proper to painting itself, and that such a writing is closely related to his conception of pictorial art. This approach has significant implications for interpreting the narratives of his public decorations, four of which are analyzed here: the library schemes of the Senate and the Assemblée Nationale, the Apollo Gallery in the Louvre, and the Chapel of the Holy Angels at the church of Saint-Sulpice. Delacroix's ideas on the theoretical and practical relations between writing and painting, narrative and the image, are shown to be central not only to his aesthetic, but also to his views on civilization, history, and culture, and on the role of the artist in the modern world.

Paper Bullets is the first book to tell the history of an audacious anti-Nazi campaign undertaken by an unlikely pair: two French women, Lucy Schwob and Suzanne Malherbe, who drew on their skills as Parisian avant-garde artists to write and distribute "paper bullets"--wicked insults against Hitler, calls to rebel, and subversive fictional dialogues designed to demoralize Nazi troops occupying their adopted home on the British Channel Island of Jersey. Devising their own PSYOPS campaign, they slipped their notes into soldier's pockets or tucked them inside newsstand magazines. Hunted by the secret field police, Lucy and Suzanne were finally betrayed in 1944, when the Germans imprisoned them and tried them in a court martial, sentencing them to death for their actions. Ultimately they survived, but even in jail, they continued to fight the Nazis by reaching out to other prisoners and spreading a message of hope. Better remembered today by their artist names, Claude Cahun and Marcel Moore, the couple's actions were even more courageous because of who they were: lesbian partners known for cross-dressing and creating the kind of gender-bending work that the Nazis would come to call "degenerate art." In addition, Lucy was half Jewish, and they had communist affiliations in Paris, where they attended political rallies with Surrealists and socialized with artists like Gertrude Stein. Paper Bullets is a compelling World War II story that has not been told before about the galvanizing power of art, and of resistance.

"So infectious is R. Howard Bloch's passion for his subject that even those unable to do the traveling required will find in Paris and Her Cathedrals an inspiring guide to these time-hallowed masterpieces of medieval culture." --Colin Jones, author of Paris and The Great Nation Over the years, R. Howard Bloch has become renowned for the insider tours of Paris that he gives to students abroad. Long sought after by travelers and history buffs for his near-encyclopedic knowledge of French cathedrals, the eminent French literature scholar finally shares his expertise with a wider audience. In Paris and Her Cathedrals, six of the most sublime cathedrals in the penumbra of Paris--Saint-Denis, Notre-Dame, Chartres, Sainte-Chapelle, Amiens, Reims--are illumined in magnificent detail as Bloch, taking us from the High Middle Ages to the devastating fire that set Notre-Dame ablaze in 2019, traces the evolution of each in turn. Written from the premise that "seeing is enhanced by knowing," each chapter is organized along the lines of a walk around and then through the space of the cathedral, such that the actual or virtual visitor feels the rich sweep of the church, "the essence of these architectural wonders" (Antonia Felix). Animating the past with lush evocations of architectural splendor--from flying buttresses and jewel-encrusted shrines to hidden burial grounds and secret chambers--Bloch then contextualizes the cathedrals within the annals of French history. Here thrilling tales of kingly intrigue--as in Saint-Chapelle, where the pious King Louis IX amassed relics, including Christ's crown of thorns--and audacious abbots are interspersed with anecdotes about the meeting of aristocratic and everyday life, culminating in "a rich, colorful narrative that clearly but expertly explains the history and symbolism of some of the world's most magnificent buildings" (Ross King). To be read in preparation for an enlightened visit or merely to open a window upon the High Middle Ages in France, Paris and Her Cathedrals is a "revelation," an "indispensable guide" (Garry Wills) to these awe-inspiring structures. Complete with the author's own photographs, this beautifully illustrated volume vitally enhances our understanding of the history of Paris and its environs.

A New York Times best art book of 2021 In 1889, avant-garde artists in Paris formed a brotherhood to promote a radical new direction in art. Adopting the name Nabis--Hebrew for "prophets"--they aimed to capture subjective experience and emotion in their paintings, prints, and drawings. This volume focuses on intimate views of home and family by four Nabi artists: Pierre Bonnard (1867-1947), Maurice Denis (1870-1943), Félix Vallotton (1865-1925), and Édouard Vuillard (1868-1940). For Bonnard and Denis, this arena was ideal for depicting small pleasures and modest acts of life; Vallotton and Vuillard, however, hinted at the tensions simmering just below the surface. This gorgeous catalogue is the first to delve deeply into the Nabis' use of domestic life as the locus for artistic inspiration.

Redrawing French Empire in Comics by Mark McKinney investigates how comics have represented the colonization and liberation of Algeria and Indochina. It focuses on the conquest and colonization of Algeria (from 1830), the French war in Indochina (1946-1954), and the Algerian War (1954-1962). Imperialism and colonialism already featured prominently in nineteenth-century French-language comics and cartoons by Töpffer, Cham, and Petit. As society has evolved, so has the popular representation of those historical forces. French torture of Algerians during the Algerian War, once taboo, now features prominently in comics, especially since 2000, when debate on the subject was reignited in the media and the courts. The increasingly explicit and spectacular treatment in comics of the more violent and lurid aspects of colonial history and ideology is partly due to the post-1968 growth of an adult comics production and market. For example, the appearance of erotic and exotic, feminized images of Indochina in French comics in the 1980s indicated that colonial nostalgia for French Indochina had become fashionable in popular culture. Redrawing French Empire in Comics shows how contemporary cartoonists such as Alagbé, Baloup, Boudjellal, Ferrandez, and Sfar have staked out different, sometimes conflicting, positions on French colonial history.

Photographic master Elliott Erwitt has created many noteworthy portraits of womankind over the years. In Regarding Women he presents us with an exceptional collection composed (almost) exclusively of black-and-white female portraits. This volume is Erwitt's evocative personal tribute to female strength, intelligence, and beauty. The archival material spans several generations, with many images not previously published or rarely seen before. Conveying respect, admiration, and sometimes awe, these photographs portray all the complex elements that make up the feminine nature, whether formidable and tenacious, or occasionally capricious and coy. Through capturing their many varied facets the photographer shares his insights into how all kinds of women make their way into--not to mention their mark on--the world. In these pages, readers will find romance and glamour, touches of sensuality, as well as much affection. Of course, there are also those disarming flashes of candid everyday humour that are so quintessentially Erwitt. 300 duotone photographs.

Modern French habits of cooking, eating, and drinking were born in the ancien régime, radically breaking with culinary traditions that originated in antiquity and creating a new aesthetic. This new culinary culture saw food and wine as important links between human beings and nature. Authentic foodstuffs and simple preparations became the hallmarks of the modern style. Susan Pinkard traces the roots and development of this culinary revolution to many different historical trends, including changes in material culture, social transformations, medical theory and practice, and the Enlightenment. Pinkard illuminates the complex cultural meaning of food in this history of the new French cooking from its origins in the 1650s through the emergence of cuisine bourgeoise and the original nouvelle cuisine in the decades before 1789. This book also discusses the evolution of culinary techniques and includes historical recipes adapted for today's kitchens.

In early August 1889, Cesar Ritz, a Swiss hotelier highly regarded for his exquisite taste, found himself at the Savoy Hotel in London. He had come at the request of Richard D'Oyly Carte, the financier of Gilbert & Sullivan's comic operas, who had modernized theater and was now looking to create the world's best hotel. D'Oyly Carte soon seduced Ritz to move to London with his team, which included Auguste Escoffier, the chef de cuisine known for his elevated, original dishes. The result was a hotel and restaurant like no one had ever experienced, run in often mysterious and always extravagant ways--which created quite a scandal once exposed. Barr deftly re-creates the thrilling Belle Epoque era just before World War I, when British aristocracy was at its peak, women began dining out unaccompanied by men, and American nouveaux riches and gauche industrialists convened in London to show off their wealth. In their collaboration at the still celebrated Savoy Hotel, where they welcomed loyal and sometimes salacious clients, such as Oscar Wilde and Sarah Bernhardt, Escoffier created the modern kitchen brigade and codified French cuisine for the ages in his seminal Le Guide culinaire, which remains in print today, and Ritz, whose name continues to grace the finest hotels across the world, created the world's first luxury hotel. The pair also ruffled more than a few feathers in the process. Fine dining would never be the same--or more intriguing.

From high-society balls and fashion shoots to portraits of artists and scenes from urban life in France, this luxurious volume, published as a Swiss-bound hardcover with two paper stocks, showcases Doisneau's best photographs for Vogue Paris. Celebrated photographer Robert Doisneau worked for Vogue from 1948 until 1952, illustrating a post-war France filled with a renewed zest for life. His little-known images of haute couture featured models like Brigitte Bardot and Bettina, who he photographed in the studio and out on the streets. He chronicled the members of the Café Society in their stately homes and at glamorous costume galas, dancing the night away. Best known for his humanist approach, he masterly captured scenes from everyday life-from the grace of a wedding procession over a footbridge to the petulance of a child impatient for cake. Doisneau's photographs captured the spirit of the era, featuring celebrities like Karen Blixen, Picasso, Colette, and Jean Cocteau, jazz musicians, movie stars, and humble craftsmen at work. Legendary Vogue editor in chief Edmonde Charles-Roux's personal homage to the photographer-who was her friend and colleague-offers intimate insight into the man behind the camera, as complex and beautiful as the people and places he immortalized.

This book provides the fullest account yet to appear in English of the composer's long life and huge musical output. The struggle for recognition, the crucial role played in the formation of a French national school after 1871, his controversial views on such questions as modern music and the influence of Wagner, his character and outlook are extensively discussed, with analysis and comment on the principal compositions.

The composer Erik Satie (1866-1925) came of age in the bohemian sub-culture of Montmartre, with its artists' cabarets and cafés-concerts. These colorful milieux decisively shaped his aesthetic priorities and compositional strategies, from the esoteric Gymnopédies of the 1880s to the avant-garde ballets of the 1920s. Whiting makes this radical transvaluation of received artistic values more understandable by placing it in the full context of bohemian Montmartre.

Describes the development of five hundred years of French cooking and how it changed and was changed by French society.

Tamar's instrument of seduction in the Hebrew Bible, Penelope's shroud in Homer's Odyssey, accessory of brides as well as widows, and hallmark of the religious and the wealthy, the veil has historically been an intriguing signifier. Initially donned in France for liturgical purposes and later for masked balls and as a sun- and windscreen at the seashore, face-covering veils were adopted for fashionable urban use during the reign of Napoleon III. In Sheer Presence, Marni Reva Kessler demonstrates how this ubiquitous garment and its visual representations knot together many of the precepts of Parisian life. Considering the period from the beginning of Napoleon III's rule in 1852 to 1889, when the Paris Universal Exhibition displayed veiled North African Muslims and other indigenous colonial peoples, Kessler deftly connects the increased presence of the veil on the streets and on canvas to Haussmann's massive renovation of Paris. The fashion of veil wearing, she argues, was imbricated with broader concerns: fears of dust and disease fueled by Haussmannization and class mixing on the city streets, changes in ideals of youth and beauty, attempts to increase popular support for imperialism, and the development of modernist art practices. A veil was protection for the proper woman from the vices associated with the modern city, preserving--at least on the surface--her femininity and class superiority. Kessler explores these themes with close readings of paintings by Gustave Caillebotte, Edgar Degas, and Edouard Manet--including Manet's perplexing portraits of artist Berthe Morisot--as well as photographs, images from the popular press, engravings, lithographs, and academic paintings. She also mines French fashion journals, etiquette books, novels, and medical publications for clues to the veil's complex meanings during the period.Positioning the veil directly at the intersection of feminist, formalist, and social art history, Kessler offers a fresh perspective on period discourses of public health, seduction and sexuality, colonial stereotypes, and, ultimately, an emerging modernity.Marni Reva Kessler is assistant professor of art history at the University of Kansas.

The behind-the-scenes story of the world's most famous palace, painting a picture of the way its residents truly lived and examining the palace's legacy, from French history through today The story of Versailles is one of historical drama, under the last three kings of France's old regime, mixed with the high camp and glamour of the European courts, all in an iconic home for the French arts. The palace itself has been radically altered since 1789, and the court was long ago swept away. Versailles sets out to rediscover what is now a vanished world: a great center of power, seat of royal government, and, for thousands, a home both grand and squalid, bound by social codes almost incomprehensible to us today. Using eyewitness testimony as well as the latest historical research, Spawforth offers the first full account of Versailles in English in over thirty years. Blowing away the myths of Versailles, he analyses afresh the politics behind the Sun King's construction of the palace and shows how Versailles worked as the seat of a royal court. He probes the conventional picture of a "perpetual house party" of courtiers and gives full weight to the darker side: not just the mountingdiscomfort of the aging buildings but also the intrigue and status anxiety of its aristocrats. The book brings out clearly the fateful consequences for the French monarchy of its relocation to Versailles and also examines the changing place of Versailles in France's national identity since 1789. Many books have told the stories of the royals and artists living in Versailles, but this is the first to turn its focus on the palace itself - from architecture and politics to scandal and restoration.

A fascinating look at the splendor of the French court at Versailles through the eyes of its numerous visitors. What was it like to visit one of the most magnificent courts of Europe? Based on a wealth of contemporary documents and surviving works of art, this lavish book explores the experiences of those who flocked to the palace and grounds of Versailles when it was the seat of the French monarchy. Engaging essays describe methods of transportation, the elaborate codes of dress and etiquette, precious diplomatic gifts, royal audiences, and tours of the buildings and gardens. Also presented are the many types of visitors and guests who eagerly made their way to this center of power and culture, including day-trippers and Grand Tourists, European diplomats, overseas ambassadors, incognito travelers, and Americans. Through paintings and portraits, furniture, tapestries, carpets, costumes and uniforms, porcelain, gold boxes, sculpture, arms and armor, engravings, and guidebooks, Visitors to Versailles illuminates what travelers encountered at court and what impressions, gifts, and souvenirs they took home with them. Versailles continues to impress millions of tourists today just as it enchanted generations of ancien régime visitors, whose experiences are brought to life in this sumptuously illustrated volume. Published by The Metropolitan Museum of Art/Distributed by Yale University Press.

Claude Monet's Water Lilies are widely recognized as a celebration of nature and a call to visual experience. The skilled brushwork, vivid color, and immersive quality of the paintings suspend thoughts of the outside world and its concerns. And yet, when one realizes that these works were made during a period of social and political turmoil--rapid changes of government, the Dreyfus Affair, and the destruction and devastation of World War I--questions arise about the personal, cultural, and historical contexts within which they were created. In this book, James H. Rubin explores these conditions and shows how Monet's work--said to be a harbinger of abstraction--appeals not only to the eye but also to something deep in modern consciousness. The myth of Impressionism is that it was reviled and misunderstood, but by the 1890s Monet was rich by anyone's standards, and his works were considered French cultural treasures. Monet was featured in a propaganda film in response to German militarism, and he was persuaded by Georges Clemenceau to donate a number of his Water Lilies paintings to the French nation following the Treaty of Versailles. Taking this into account, Rubin uncovers how the theme of floating lily pads could serve political ends, exposing relationships between Monet's apparently subject-free art and its material circumstances in the modern world. Engagingly written, masterfully argued, and featuring more than 150 illustrations, Why Monet Matters is a major study of an artist who had the will and the talent to remain relevant to his time without conceding to its fashions. Scholars, students, and those who appreciate Monet and Impressionism will value and learn from this book.

A celebration of the work and lives of women artists who shaped the art world of 19th-century Paris. In the second half of the 19th century, Paris attracted an international gathering of women artists, drawn to the French capital by its academies and museums, studios and salons. Featuring thirty-six artists from eleven different countries, this beautifully illustrated book explores the strength of these women's creative achievements, through paintings by acclaimed Impressionists such as Mary Cassatt and Berthe Morisot, and extraordinary lesser-known artists such as Marie Bashkirtseff, Anna Bilińska-Bohdanowicz, Paula Modersohn-Becker, and Hanna Pauli. It examines their work against the sociopolitical background of the period, when women were mostly barred from formal artistic education but cleverly navigated the city's network of ateliers, salons, and galleries. Essays consider the powerfully influential work of women Impressionists, representations of the female artist in portraiture, the unique experiences of Nordic women artists, and the significant presence of women artists throughout the history of the Paris Salon. By addressing the long-undervalued contributions of women to the art of the later 19th century, Women Artists in Paris pays tribute to pioneers who not only created remarkable paintings but also generated momentum toward a more egalitarian art world.

An insider's tour of France's most beloved and beautiful villages uncovers the country's hidden treasures. The Best Loved Villages of France brings the reader on a tour of forty-four of the country's most treasured destinations. Always picturesque, but often well-kept secrets, the book offers insight into village life and local history. Take a tour of a crumbling medieval fortress with the mayor of Lavardin or peruse the maritime objects found at sea by a mustached fisherman in Saint-Suliac. Stroll along the coast of the Wissant bay windsurfer's paradise or promenade through the manicured grounds of Vaux-le-Vicomte. Watch the sunrise over the fairy-tale castle in Montsoreau or enjoy a fresh langoustine dinner in Piana, Corsica. This book offers an illustrated tour around all twenty-two regions of France, from Provence and the Alps, to Normandy and the Loire. Aerial and intimate photographs invite the reader to explore these splendid locales, while the descriptions, anecdotes, and interviews with local village-dwellers plunge you into the individual history and character of France's diverse regions. The villages featured in the book were selected in a popular vote by the French public and they represent an authentic journey into the heart of France.

From the cassoulet that won a war to the crepe that doomed Napoleon, from the rebellions sparked by bread and salt to the new cuisines forged by empire, the history of France is intimately entwined with its gastronomic pursuits. A witty exploration of the facts and legends surrounding some of the most popular French foods and wines by a French cheesemonger and an American academic, A Bite-Sized History of France tells the compelling and often surprising story of France from the Roman era to modern times.

A Companion to Contemporary French Cinema presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Features original contributions from top film scholars relating to all aspects of contemporary French cinema Includes new research on matters relating to the political economy of contemporary French cinema, developments in cinema policy, audience attendance, and the types, building, and renovation of theaters Utilizes groundbreaking research on cinema beyond the fiction film and the cinema-theater such as documentary, amateur, and digital filmmaking Contains an unusually large range of methodological approaches and perspectives, including those of genre, gender, auteur, industry, economic, star, postcolonial and psychoanalytic studies Includes essays by important French cinema scholars from France, the U.S., and New Zealand, many of whose work is here presented in English for the first time

After completing his studies at the Ecole Normale Superieure. Jean-Louis Andre embarked on a career in travel writing. Among his distinguished books is Interieur Exterieur, which takes its readers on a visit to the world's most splendid architectural interiors. As a food writer, he works with the magazine Saveurs on a regular basis and has produced a series of documentaries on the most celebrated chefs of French cuisine. A graduate of the Ecole Superieure de Cuisine Francaise in Paris, Jean-Francois Mallet has worked with Joel Robuchon, Michel Rostand, Michel Kerever, and Gaston Lenotre in their restaurants in Paris and abroad. He is a regular contributor to the food magazines Saveurs, Cuisine et Vin de France, and Cuisine Gourmande, creating recipes and producing culinary photography.

What makes fashionistas willing to pay a small fortune for a particular designer accessory -- a luxe handbag, for example? Why is it that people all over the world share the conviction that a special occasion only becomes really special when a champagne cork pops -- and even more special when that cork comes from a bottle of Dom Pérignon? Why are diamonds the status symbol gemstone, instantly signifying wealth, power, and even emotional commitment?One of the foremost authorities on seventeenth-century French culture provides the answer to these and other fascinating questions in her account of how, at one glittering moment in history, the French under Louis XIV set the standards of sophistication, style, and glamour that still rule our lives today.Joan DeJean explains how a handsome and charismatic young king with a great sense of style and an even greater sense of history decided to make both himself and his country legendary. When the reign of Louis XIV began, his nation had no particular association with elegance, yet by its end, the French had become accepted all over the world as the arbiters in matters of taste and style and had established a dominance in the luxury trade that continues to this day. DeJean takes us back to the birth of haute cuisine, the first appearance of celebrity hairdressers, chic cafes, nightlife, and fashion in elegant dress that extended well beyond the limited confines of court circles. And Paris was the magical center -- the destination of travelers all across Europe.As the author observes, without the Sun King's program for redefining France as the land of luxury and glamour, there might never have been a Stork Club, a Bergdorf Goodman, a Chez Panisse, or a Cristophe of Beverly Hills -- and President Clinton would never have dreamed of holding Air Force One on the tarmac of LAX for an hour while Cristophe worked his styling genius on the president's hair.Written with wit, dash, and élan by an author who knows this astonishing true story better than virtually anyone, The Essence of Style will delight fans of history and everybody who wonders about the elusive definition of good taste.

To a large extent, the story of French filmmaking is the story of moviemaking. From the earliest flickering images of the late nineteenth century through the silent era, Surrealist influences, the Nazi Occupation, the glories of the New Wave, the rebirth of the industry in the 1990s with the exception culturelle, and the present, Rémi Lanzoni examines a considerable number of the world's most beloved films. Building upon his 2004 best-selling edition, the second edition of French Cinema maintains the chronological analysis, factual reliability, ease of use, and accessible prose, while at once concentrating more on the current generation of female directors, mainstream productions such as The Artist and The Intouchables, and the emergence of minority filmmakers (Beur cinema).

This we can be sure of: when a restaurant in the western world is famous for its cooking, it is the tricolor flag that hangs above the stove, opined one French magazine, and this is by no means an isolated example of such crowing. Indeed, both linguistically and conceptually, the restaurant itself is a French creation. Why are the French recognized by themselves and others the world over as the most enlightened of eaters, as the great gourmets? Why did the passion for food--gastronomy--originate in France? In French Gastronomy, geographer and food lover Jean-Robert Pitte uncovers a novel answer. The key, it turns out, is France herself. In her climate, diversity of soils, abundant resources, and varied topography lie the roots of France's food fame. Pitte masterfully reveals the ways in which cultural phenomena surrounding food and eating in France relate to space and place. He points out that France has some six hundred regions, or microclimates, that allow different agricultures, to flourish, and fully navigable river systems leading from peripheral farmlands directly to markets in the great gastronomic centers of Paris and Lyon. With an eye to this landscape, Pitte wonders: Would the great French burgundies enjoy such prestige if the coast they came from were not situated close to the ancient capital for the dukes and a major travel route for medieval Europe? Yet for all the shaping influence of earth and climate, Pitte demonstrates that haute cuisine, like so much that is great about France, can be traced back to the court of Louis XIV. It was the Sun King's regal gourmandise--he enacted a nightly theater of eating, dining alone but in full view of the court--that made food and fine dining a central affair of state. The Catholic Church figures prominently as well: gluttony was regarded as a "benign sin" in France, and eating well was associated with praising God, fraternal conviviality, and a respect for the body. These cultural ingredients, in combination with the bounties of the land, contributed to the full flowering of French foodways. This is a time of paradox for French gourmandism. Never has there been so much literature published on the subject of culinary creativity, never has there been so much talk about good food, and never has so little cooking been done at home. Each day new fast-food places open. Will French cuisine lose its charm and its soul? Will discourse become a substitute for reality? French Gastronomy is a delightful celebration of what makes France unique, and a call to everyone who loves French food to rediscover its full flavor.

This revised and updated version of a successful and established text, French National Cinema offers a thorough and much-needed historical overview of French cinema at a time when it continues to grow in popularity with films such as Amelie and Belleville Rendez-vous. Brought wholly up to date to include political and social developments in French cinema in the 1990s, its fresh approach and groundbreaking new writing on the subject offers a much further understanding of French cinema and its relationship with the French national identity. New subjects covered include: the GATT negotiations of 1993 French cinema's increasing dependence on investment from television the rise of the multiplex the implications of the introduction of digital technology. Ideal for all students of cinema, film studies and film history, this book traces the eco-history of the French film and its key figures and movements, and it places them in their wider political and cultural context.

Not only is it the world's largest and most watched sporting event, but also the most fearsome physical challenge ever conceived by man, demanding every last ounce of will and strength, every last drop of blood, sweat, and tears. If ever there was an athletic exploit specifically not for the faint of heart and feeble of limb, this is it. So you might ask, what is Tim Moore doing cycling it? An extremely good question. Ignoring the pleading dictates of reason and common sense, Moore determined to tackle the Tour de France, all 2,256 miles of it, in the weeks before the professionals entered the stage. This decision was one he would regret for nearly its entire length. But readers-those who now know Moore's name deserves to be mentioned in the same breath as Bill Bryson and Calvin Trillin-will feel otherwise. They are in for a side-splitting treat. French Revolutions gives us a hilariously unforgettable account of Moore's attempt to conquer the Tour de France. "Conquer" may not be quite the right word. He cheats when he can, pops the occasional hayfever pill for an ephedrine rush (a fine old Tour tradition), sips cheap wine from his water bottle, and occasionally weeps on the phone to his wife. But along the way he gives readers an account of the race's colorful history and greatest heroes: Eddy Merckx, Greg Lemond, Lance Armstrong, and even Firmin Lambot, aka the "Lucky Belgian," who won the race at the age of 36. Fans of the Tour de France will learn why the yellow jersey is yellow, and how cyclists learned to save precious seconds (a race that lasts for three weeks is all about split seconds) by relieving themselves en route. And if that isn't enough, his account of a rural France tarting itself up for its moment in the spotlight leaves popular quaint descriptions of small towns in Provence in the proverbial dust. If you either love or hate the French, or both, this is the book for you. French Revolutions is Tim Moore's funniest book to date. It is also one of the funniest sports books ever written.

"A fascinating book that belongs on every wine lover's bookshelf."--The Wine Economist "It's a book to read for its unstoppable torrent of fascinating and often surprising details."--Andrew Jefford, Decanter For centuries, wine has been associated with France more than with any other country. France remains one of the world's leading wine producers by volume and enjoys unrivaled cultural recognition for its wine. If any wine regions are global household names, they are French regions such as Champagne, Bordeaux, and Burgundy. Within the wine world, products from French regions are still benchmarks for many wines.   French Wine is the first synthetic history of wine in France: from Etruscan, Greek, and Roman imports and the adoption of wine by beer-drinking Gauls to its present status within the global marketplace. Rod Phillips places the history of grape growing and winemaking in each of the country's major regions within broad historical and cultural contexts. Examining a range of influences on the wine industry, wine trade, and wine itself, the book explores religion, economics, politics, revolution, and war, as well as climate and vine diseases. French Wine is the essential reference on French wine for collectors, consumers, sommeliers, and industry professionals.

This comprehensive history of cinematic adaptations of French literature analyses the reworking of a key body of writing from the silent era to the present. Introduction: Deceptive binaries : adaptations and their literary sources / Kate Griffiths -- The currency of adaptation : art and money in silent cinema (1899-1929) / Andrew Watts -- Who is adaptation? Interpersonal transactions in film (1927-39) / Kate Griffiths -- Politics, propaganda, and the censored screen : adapting French literature during the German occupation (1940-44) / Andrew Watts -- The formative function of the dominant film poetics : the impact of film movement, moment, and genre (1945-70) / Kate Griffiths -- The history of adaptation; adaptation and history (1970-2004) / Kate Griffiths -- Textual migration and adaptive diaspora : French literature adaptations beyond France (1996-2016) / Andrew Watts.

More than a decade ago, Angela Murrills and husband Peter Matthews began their love affair with the Languedoc, an area in southern France near the Mediterranean coast and the Pyrenees. One of Europe's oldest and most historic regions, it is rich with wonders including castles, wild white horses, Roman ruins, and Carcassonne, Europe's greatest fortified town. What really drew them to this area, however, was the locals' love of food and wine. As their visits to the region became longer and their dream of owning a home intensified, they began to discover another way of living--a slower one based on gastronomic pleasure and the really important things in life: hunting for mushrooms, morning trips to the bakery, long lunches, and heated debates about the best way to make cassoulet. Including mouthwatering recipes and delightful duotone drawings, this wonderful memoir is for the fans of Peter Mayle and Frances Mays.

Certain lives are at once so exceptional, and yet so in step with their historical moments, that they illuminate cultural forces far beyond the scope of a single person. Such is the case with Coco Chanel, whose life offers one of the most fascinating tales of the twentieth century--throwing into dramatic relief an era of war, fashion, ardent nationalism, and earth-shaking change--here brilliantly treated, for the first time, with wide-ranging and incisive historical scrutiny. Coco Chanel transformed forever the way women dressed. Her influence remains so pervasive that to this day we can see her afterimage a dozen times while just walking down a single street: in all the little black dresses, flat shoes, costume jewelry, cardigan sweaters, and tortoiseshell eyeglasses on women of every age and background. A bottle of Chanel No. 5 perfume is sold every three seconds. Arguably, no other individual has had a deeper impact on the visual aesthetic of the world. But how did a poor orphan become a global icon of both luxury and everyday style? How did she develop such vast, undying influence? And what does our ongoing love of all things Chanel tell us about ourselves? These are the mysteries that Rhonda K. Garelick unravels in Mademoiselle. Raised in rural poverty and orphaned early, the young Chanel supported herself as best she could. Then, as an uneducated nineteen-year-old café singer, she attracted the attention of a wealthy and powerful admirer and parlayed his support into her own hat design business. For the rest of Chanel's life, the professional, personal, and political were interwoven; her lovers included diplomat Boy Capel; composer Igor Stravinsky; Romanov heir Grand Duke Dmitri; Hugh Grosvenor, the Duke of Westminster; poet Pierre Reverdy; a Nazi officer; and several women as well. For all that, she was profoundly alone, her romantic life relentlessly plagued by abandonment and tragedy. Chanel's ambitions and accomplishments were unparalleled. Her hat shop evolved into a clothing empire. She became a noted theatrical and film costume designer, collaborating with the likes of Pablo Picasso, Jean Cocteau, and Luchino Visconti. The genius of Coco Chanel, Garelick shows, lay in the way she absorbed the zeitgeist, reflecting it back to the world in her designs and in what Garelick calls "wearable personality"--the irresistible and contagious style infused with both world history and Chanel's nearly unbelievable life saga. By age forty, Chanel had become a multimillionaire and a household name, and her Chanel Corporation is still the highest-earning privately owned luxury goods manufacturer in the world. In Mademoiselle, Garelick delivers the most probing, well-researched, and insightful biography to date on this seemingly familiar but endlessly surprising figure--a work that is truly both a heady intellectual study and a literary page-turner.

This book explores composed scores and pre-existing music in French cinema from 1985 to 2015 so as to identify critical musical moments. It shows how heritage films construct space through music, generating what Powrie calls "third space music," while also working to contain the strong women characters found in French heritage films through the use of leitmotifs and musical cues. He analyses fiction films in which the protagonists perform at the piano, showing how musical performance supports the performance of gender. Building on aspects of musical performance, and in particular the use of songs performed in films, Powrie uses a database of 300 films since 2010 to theorize the intervention of music at critical moments as a "crystal-song". Applying Roland Barthes's concept of the "punctum" and Gille Deleuze's concept of the "crystal-image," Powrie establishes the importance of the crystal-song, which reconfigures time as a crystallization of past, present and future. Chapter 1. Introduction -- 2. Chapter 2 Space -- 3. Chapter 3 Gender -- 4. Chapter 4 Performance -- 5. Chapter 5 Time -- 6. Chapter 6 Hearing -- 7. Chapter 7 Seeing -- Chapter 8 Conclusion. Print version: Music in contemporary French cinema.

This beautifully illustrated new edition of Paris Fashion examines the history and culture of style in the fashion capital from the 14th century through to the present day. Paris has been the international capital of fashion for more than 300 years. Even before the rise of the haute couture, Parisians were notorious for their obsession with fashion, and foreigners eagerly followed their lead. From Charles Frederick Worth to Gabrielle "Coco" Chanel, Christian Dior, and Yves Saint Laurent, fashion history is dominated by the names of Parisian couturiers. But Valerie Steele's Paris Fashion is much more than just a history of great designers. This fascinating book demonstrates that the success of Paris ultimately rests on the strength of its fashion culture - created by a host of fashion performers and spectators, including actresses, dandies, milliners, artists, and writers. First published in 1988 to great international acclaim, this pioneering book has now been completely revised and brought up to date, encompassing the rise of fashion's multiple world cities in the 21st century. Lavishly illustrated, deeply learned, and elegantly written, Valerie Steele's masterwork explores with brilliance and flair why Paris remains the capital of fashion.

Since the early 1980s, filmmakers of Maghrebi origin have made a key contribution to the representation of issues such as immigration, integration and national identity in French cinema. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position in on both sides of the camera, announcing their presence on French screens in a wider range of genres and styles than ever before. This greater prominence and move to the mainstream has not automatically meant that these films have lost any of the social or political relevance of Beur cinema of the 1980s or the banlieue film of the 1990s. Indeed in the 2000s these films have increasingly questioned the boundaries between national, transnational and diasporic cinema, whilst simultaneously demanding, either implicitly or explicitly, a reconsideration of the very difference that has traditionally been seen as a barrier to the successful integration of North African immigrants and their descendants into French society. Through a detailed study of this transformative decade for Maghrebi-French and North African émigré filmmaking in France, this book argues for the emergence of a Post-Beur cinema in the 2000s that is simultaneously global and local in its outlook. An absorbing introduction to this key development in contemporary French cinema, Post-Beur Cinema is essential reading for students and scholars in Film Studies, French Studies and Diaspora Studies.

In Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military's wartime records and radio programs, the French record industry's catalogs of blues, jazz, and R&B recordings, the translations of jazz memoirs, a provincial choir specializing in spirituals, and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences but also transformed the lives and labor of African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African American music was intertwined with contemporary structures of racism and imperialism, Moore demonstrates this music's centrality to postwar France and the convergence of decolonization, the expanding globalized economy, the Cold War, and worldwide liberation movements.

In this highly original history of the world's most famous bicycle race, Christopher S. Thompson, mining previously neglected sources and writing with infectious enthusiasm for his subject, tells the compelling story of the Tour de France from its creation in 1903 to the present. Weaving the words of racers, politicians, Tour organizers, and a host of other commentators together with a wide-ranging analysis of the culture surrounding the event--including posters, songs, novels, films, and media coverage--Thompson links the history of the Tour to key moments and themes in French history. He argues persuasively that this hugely popular sporting event has been instrumental in French attempts to grapple with the great challenges they have confronted during their tumultuous twentieth century--from World Wars, political divisions, and class conflict to economic modernization, women's emancipation, and threats to public health. Examining the enduring popularity of Tour racers, Thompson explores how their public images have changed over the past century. He concludes with a discussion of the longstanding practice of doping and considers the complex case of the seven-time champion Lance Armstrong.

Winner of the 2002 Manuscript Award from Phi Alpha ThetaWinner of the Gourmand World Cookbook Awards for English Wine, Best Wine History Book, and Best Book on French WineWinner of the Clicquot Wine Book of the Year Competition Winner of the Outstanding Manuscript Award from Phi Alpha Theta, this work explains how nationhood emerges by viewing countries as cultural artifacts, a product of "invented traditions." In the case of France, scholars sharply disagree, not only over the nature of French national identity but also over the extent to which diverse and sometimes hostile provincial communities became integrated into the nation. In When Champagne Became French: Wine and the Making of a National Identity, Kolleen M. Guy offers a new perspective on this debate by looking at one of the central elements in French national culture--luxury wine--and the rural communities that profited from its production. Focusing on the development of the champagne industry between 1820 and 1920, Guy explores the role of private interests in the creation of national culture and in the nation-building process. Drawing on concepts from social and cultural history, she shows how champagne helped fuel the revolution in consumption as social groups searched for new ways to develop cohesion and to establish status. By the end of the nineteenth century, Guy concludes, the champagne-producing provinces in the department of Marne had developed a rhetoric of French identity that promoted its own marketing success as national. This ability to mask local interests as national concerns convinced government officials of the need, at both national and international levels, to protect champagne as a French patrimony.

Where are we in our relationship with animals and nature in France? What are the elements that have prompted man to behave in this way with the other species he encounters on the planet? After having answered these questions, this work approaches the type of relations which we maintain with various categories of animals: wild fauna (hunting, trapping, fishing), the great predators (lynx, wolf, bears) and domesticated animals (pets, bullfighting, fur, vivisection, farm animals, industrial fishing). Faced with this less than rosy observation, avenues for reflection aim to modify our behavior in order to change our relationship with animals and nature.

Albert Camus is one of the iconic figures of twentieth-century French literature, one of France's most widely read modern literary authors and one of the youngest winners of the Nobel Prize for Literature. As the author of L'Etranger and the architect of the notion of 'the Absurd' in the 1940s, he shot to prominence in France and beyond. His work nevertheless attracted hostility as well as acclaim and he was increasingly drawn into bitter political controversies, especially the issue of France's place and role in the country of his birth, Algeria. Most recently, postcolonial studies have identified in his writings a set of preoccupations ripe for revisitation. Situating Camus in his cultural and historical context, this 2007 Companion explores his best-selling novels, his ambiguous engagement with philosophy, his theatre, his increasingly high-profile work as a journalist and his reflection on ethical and political questions that continue to concern readers today.

The fourth and final volume in Michel Foucault's acclaimed History of Sexuality, completed just before his death in 1984 and finally available to the public. One of the most influential thinkers of the twentieth century, Michel Foucault made an indelible impact on Western thought. The first three volumes in his History of Sexuality--which trace cultural and intellectual notions of sexuality, arguing that it has been profoundly shaped by the power structures applied to it--constitute some of Foucault's most important work. This fourth volume posits that the origins of totalitarian self-surveillance began with the Christian practice of confession. The manuscript had long been secreted away, in accordance with Foucault's stated wish that there be no posthumous publication of his unpublished work. With the sale of the Foucault archives in 2013, Foucault's nephew felt that the time had come to publish this final volume in Foucault's seminal history. Philosophically, it is a chapter in his hermeneutics of the desiring subject. Historically, it focuses on the remodeling of subjectivity carried out by the early Christian Fathers, who set out to transform the classical Logos of truthful human discourse into a theologos--the divine Word of a pure sovereign. What did God will in the matter of righteous sexual practice? Foucault parses out the logic of the various responses proffered by theologians over the centuries, culminating with Saint Augustine's fascinating discussion of the libido. Sweeping and deeply personal, Confessions of the Flesh is a tour de force from a philosophical master.

In this work, Henry Vyverberg traces the evolution and consequences of a crucial idea in French Enlightenment thought--the idea of human nature. Human nature was commonly seen as a broadly universal, unchanging entity, though perhaps modifiable by geographical, social, and historical factors.Enlightenment empiricism suggested a degree of cultural diversity that has often been underestimated in studies of the age. Evidence here is drawn from Diderot's celebrated Encyclopedia and from a vast range of writing by such Enlightenment notables as Voltaire, Rousseau, and d'Holbach. Vyverbergexplains not only the age's undoubted fascination with uniformity in human nature, but also its acknowledgment of significant limitations on that uniformity. He shows that although the Enlightenment's historical sense was often blinkered by its notions of a uniform human nature, there were alsocracks in this concept that developed during the Enlightenment itself.

With the same sense of historical responsibility and veracity he has exemplified in his studies on Voltaire, Ira O. Wade turns now to Voltaire's milieu and begins an account of the French Enlightenment which will explain its genesis, its nature and coherence, and its diffusion in the modern world. To understand the movement of ideas that produced the spirit of the Enlightenment, Mr. Wade identifies and examines the people, events, and rich development of philosophy in the Renaissance and seventeenth century. He considers, in turn, the challenges of the Renaissance and the responses of its leading writers (Rabelais, Bacon, and Montaigne); Baroque thought (Descartes, Hobbes, Pascal, the Freethinkers); and Classicism (Moliere, Spinoza, Locke, Leibniz, Newton). Mr. Wade begins his discussion by examining the critical literature on the Enlightenment and concludes with a theoretical chapter, "The Making of a Spirit." As the history of an intellectual culture, his study makes vivid the power of thought in the making of a civilization. Originally published in 1971. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Text in French. Thoroughly revised and updated to reflect changes in French society over the last generation, and now illustrated with full-colour photos, the Fourth Edition of Les Français retains hallmarks of the pioneering work in cultural anthropology that distinguished Laurence Wylie's First Edition -- work that has long since helped make Les Français the most illuminating French-language introduction to French society and culture for the needs of North American students. The Fourth Edition also remains rooted in the comparative approach of previous editions, analysing outlooks and practices that undergird the social fabric of France from the perspective of those approaching them from a North American background. Ranging from discussions of distinctively French perspectives on time, space, human nature, and the body, to norms of childhood socialisation and family life, to the key elements and entities of social and cultural life, Les Français illustrates ways in which the French are "made not born", all while pointing up contradictions and paradoxes in French life and reflecting the greatly diversified demographic and social makeup of today's France.

This is a thorough and balanced guide to modern French philosophical thought, providing lucid, authoritative accounts of famous philosophers whilst also highlighting lesser-known figures. Author Robert Wicks introduces the major works of each philosopher, explaining their impact on their peers and on the wider world. Covering such major movements as Existentialism, Surrealism, Structuralism and Postmodernism, this handbook is a useful resource for Francophiles, students of philosophy and all those interested in the intellectual landscape of 20th- and 21st-century France. The book includes detailed coverage of such philosophers as Henri Bergson, Beauvoir, Sarte, Camus, Barthes, Derrida, Foucault, Deleuze and Levi-Strauss, among others.

The impact of the Oulipo (Ouvroir de Litterature Potentielle), one of the most important groups of experimental writers of the late twentieth century, is still being felt in contemporary literature, criticism, and theory, both in Europe and the US. Founded in 1960 and still active today, thisParisian literary workshop has featured among its members such notable writers as Italo Calvino, Georges Perec, and Raymond Queneau, all sharing in its light-hearted, slightly boozy bonhomie, the convivial antithesis of the fractious, volatile coteries of the early twentieth-century avant-garde. Forthe last fifty years the Oulipo has undertaken the same simple goal: to investigate the potential of 'constraints' in the production of literature - that is, formal procedures such as anagrams, acrostics, lipograms (texts which exclude a certain letter), and other strange and complex devices.Yet, far from being mere parlour games, these methods have been frequently used as part of a passionate - though sometimes satirical - involvement with the major intellectual currents of the mid-twentieth century. Structuralism, psychoanalysis, Surrealism, analytic philosophy: all come underdiscussion in the group's meetings, and all find their way in the group's exercises in ways that, while often ironic, are also highly informed.Using meeting minutes, correspondence, and other material from the Oulipo archive at the Bibliotheque nationale de France, The Oulipo and Modern Thought shows how the group have used constrained writing as means of puckish engagement with the debates of their peers, and how, as the broaderintellectual landscape altered, so too would the group's conception of what constrained writing can achieve.

The Philosophy of Julia Kristeva is the latest addition to the highly acclaimed series, The Library of Living Philosophers. The book epitomizes the objectives of this acclaimed series; it contains critical interpretation of one of the greatest philosophers of our time, and pursues more creative regional and world dialogue on philosophical questions. The format provides a detailed interaction between those who interpret and critique Kristeva's work and the seminal thinker herself, giving broad coverage, from diverse viewpoints, of all the major topics establishing her reputation. With questions directed to the philosopher while they are alive, the volumes in The Library of Living Philosophers have come to occupy a uniquely significant place in the realm of philosophy. The inclusion of Julia Kristeva constitutes a vital addition to an already robust list of thinkers. The Philosophy of Julia Kristeva exemplifies world-class intellectual work closely connected to the public sphere. Kristeva has been said to have "inherited the intellectual throne left vacant by Simone de Beauvoir," and has won many awards, including the Hannah Arendt Prize for Political Thought. Julia Kristeva's autobiography provides an excellent introduction to her work, situating it in relation to major political, intellectual, and cultural movements of the time. Her upbringing in Soviet-dominated Bulgaria, her move to the French intellectual landscape of the 1960s, her visit to Mao's China, her response to the fall of the Berlin Wall, her participation in a papal summit on humanism, her appointment by President Chirac as President of the National Council on Disability, and her setting up of the Simone de Beauvoir prize, honoring women in active and creative fields, are all major moments of this fascinating life. The major part of the book is comprised of thirty-six essays by Kristeva's foremost interpreters and critics, together with her replies to the essays. These encounters cover an exceptionally wide range of theoretical and literary writing. The strong international and multidisciplinary focus includes authors from over ten countries, and spans the fields of philosophy, semiotics, literature, psychoanalysis, feminist thought, political theory, art, and religion. The comprehensive bibliography provides further access to Kristeva's writings and thought. The preparation of this volume, the thirty-sixth in the series, was supported by a major grant from the National Endowment for the Humanities.

As a soldier in the French army, Pierre Bourdieu took thousands of photographs documenting the abject conditions and suffering (as well as the resourcefulness, determination, grace, and dignity) of the Algerian people as they fought in the Algerian War (1954-1962). Sympathizing with those he was told to regard as "enemies," Bourdieu became deeply and permanently invested in their struggle to overthrow French rule and the debilitations of poverty. Upon realizing the inability of his education to make sense of this wartime reality, Bourdieu immediately undertook the creation of a new ethnographic-sociological science based on his experiences--one that became synonymous with his work over the next few decades and was capable of explaining the mechanics of French colonial aggression and the impressive, if curious, ability of the Algerians to resist it. This volume pairs 130 of Bourdieu's photographs with key excerpts from his related writings, very few of which have been translated into English. Many of these images, luminous aesthetic objects in their own right, comment eloquently on the accompanying words even as they are commented upon by them. Bourdieu's work set the standard for all subsequent ethnographic photography and critique. This volume also features a 2001 interview with Bourdieu, in which he speaks to his experiences in Algeria, its significance on his intellectual evolution, his role in transforming photography into a means for social inquiry, and the duty of the committed intellectual to participate in an increasingly troubled world.

Known as the "patron saint of all outsiders," Simone Weil (1909-43) was one of the twentieth century's most remarkable thinkers, a philosopher who truly lived by her political and ethical ideals. In a short life framed by the two world wars, Weil taught philosophy to lycée students and organized union workers, fought alongside anarchists during the Spanish Civil War and labored alongside workers on assembly lines, joined the Free French movement in London and died in despair because she was not sent to France to help the Resistance. Though Weil published little during her life, after her death, thanks largely to the efforts of Albert Camus, hundreds of pages of her manuscripts were published to critical and popular acclaim. While many seekers have been attracted to Weil's religious thought, Robert Zaretsky gives us a different Weil, exploring her insights into politics and ethics, and showing us a new side of Weil that balances her contradictions--the rigorous rationalist who also had her own brand of Catholic mysticism; the revolutionary with a soft spot for anarchism yet who believed in the hierarchy of labor; and the humanitarian who emphasized human needs and obligations over human rights. Reflecting on the relationship between thought and action in Weil's life, The Subversive Simone Weil honors the complexity of Weil's thought and speaks to why it matters and continues to fascinate readers today.

Jacques Derrida remains a leading voice of philosophy, his works still resonating today--and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida's most inventive ideas about the making of visual artworks. The book is divided into three sections. The first demonstrates Derrida's preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida's writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida's work, and, most importantly, to assess the significance of his insights about art and its commentary.

They are one of the world's legendary couples. We can't think of one without thinking of the other. Simone de Beauvoir and Jean-Paul Sartre -- those passionate, freethinking existentialist philosopher-writers -- had a committed but notoriously open union that generated no end of controversy. With Tete-a-Tete, distinguished biographer Hazel Rowley offers the first dual portrait of these two colossal figures and their intense, often embattled relationship. Through original interviews and access to new primary sources, Rowley portrays them up close, in their most intimate moments. We witness Beauvoir and Sartre with their circle, holding court in Paris cafes. We learn the details of their infamous romantic entanglements with the young Olga Kosakiewicz and others; of their efforts to protest the wars in Algeria and Vietnam; and of Beauvoir's tempestuous love affair with Nelson Algren. We follow along on their many travels, involving meetings with dignitaries such as Roosevelt, Khrushchev, and Castro. We listen in on the couple's conversations about Sartre's Nausea, Being and Nothingness, and Words, and Beauvoir's The Second Sex, The Mandarins, and her memoirs. And we hear the anguished discussions that led Sartre to refuse the Nobel Prize. The impact of their writings on modern thought cannot be overestimated, but Beauvoir and Sartre are remembered just as much for the lives they led. They were brilliant, courageous, profoundly innovative individuals, and Tete-a-Tete shows the passion, energy, daring, humor, and contradictions of their remarkable, unorthodox relationship. Theirs is a great story -- and a great story is precisely what Beauvoir and Sartre most wanted their lives to be.

This book gathers over 600 slogans tracing the evolution and creativity of the French feminist movement from 1970 until 2010. Chanted during demonstrations, these slogans illustrate the militant culture of the Women's Liberation Movement, their inventiveness and the mix of traditions and progressive thought. Hundreds of photos punctuate the texts and help fill in the story of these determined activists who took to the streets to claim their rights and freedom.

Winner of the College Language Association Creative Scholarship Award "Brilliant. Alexander helps us to understand the complexities of race, gender, sexuality, migration, and identity as they intersect with creativity. A must-read for those interested in women's writing today."--Renée Larrier, author of Autofiction and Advocacy in the Francophone Caribbean "Critically engages current topical issues with sophisticated scholarly readings. There is a tone of the transgressive that gives this work the kind of edge that always provides transcendence."--Carole Boyce Davies, author of Caribbean Spaces "An authoritative and original study, characterized by meticulously researched scholarship, which focuses on the female body across a fascinating corpus of literary production in the Caribbean and elsewhere. This refreshing and effective interdisciplinary approach extends the boundaries of traditional literary analysis."--E. Anthony Hurley, author of Through a Black Veil Using feminist and womanist theory, Simone Alexander analyzes literary works that focus on the black female body as the physical and metaphorical site of migration. She shows that over time black women have used their bodily presence to complicate and challenge a migratory process often forced upon them by men or patriarchal society. Through in-depth study of selective texts by Audre Lorde, Edwidge Danticat, Maryse Condé, and Grace Nichols, Alexander challenges the stereotypes ascribed to black female sexuality, subverting its assumed definition as diseased, passive, or docile. She also addresses issues of embodiment as she analyzes how women's bodies are read and seen; how bodies "perform" and are performed upon; how they challenge and disrupt normative standards. A multifaceted contribution to studies of gender, race, sexuality, and disability issues, African Diasporic Women's Narratives engages a range of issues as it grapples with the complex interconnectedness of geography, citizenship, and nationalism.

Second fiddle to love, fleeting and inauthentic, a disguise for sexual rivalry, a practice to be policed or, at most, a social mechanism aptly reinforcing traditional gender norms, female friendship did not always have a good reputation in canonical and didactic literature from nineteenth-century France. But how did French women imagine and represent their relationships in fiction, and to what ends? Situated at the intersection of feminist cultural history and Belle Epoque literary studies, this book explores fictional representations of female homosociality in novels by Daniel Lesueur, Gabrielle Réval, Marcelle Tynaire, and Yver Prost, among others, including women's writing of the Belle Epoque within the narratives of the literary and cultural history of friendship in the long nineteenth century. Playing with the tension between traditional and modern womanhood and intersecting with topics as diverse as the female body, work, education, marriage, heterosexual love, and the moral regeneration of the French nation, the representation of female homosociality constitutes, in these texts, one of the literary devices through which the figure of the femme moderne comes into being on paper and reflects the authors' engagement with a form of female modernism that problematizes the dichotomy between «high» and «popular» literature, helping to give shape to women's experience of modernity. This book was the joint winner of the 2019 Peter Lang Young Scholars Competition in Nineteenth-Century French Studies.

Based on sources in Genesis and Plato's Symposium , the androygyne during Early Modern France was a means of expressing the full potential of humans made in the image of God. This book documents and comments on the range of references to the androgyne in the writings of poets, philosophers, courtiers, and women in positions of political power.

This work examines disproportionate representation of women in France at the end of the 20th century. Françoise Gaspard, Claude Servan-Schreiber and Anne Le Gall propose equality to women in France via their political representation in government. They want to rebuild democracy that is equal to all-Freedom, Equality and Parity!

Mona Chollet is a Swiss essayist and journalist at Le Monde Diplomatique. Her work focuses on women’s condition, feminism, media and contemporary imaginary. She has notably written Beauté Fatale : les nouveaux visages d’une aliénation féminine (2012), Chez soi : une odyssée de l’espace domestique (2015), and Sorcières: La puissance invaincue des femmes (2018).

A fascinating exploration of three individuals in fin-de-siècle France who pushed the boundaries of gender identity. Before the term "transgender" existed, there were those who experienced their gender in complex ways. Before Trans examines the lives and writings of Jane Dieulafoy (1850-1916), Rachilde (1860-1953), and Marc de Montifaud (1845-1912), three French writers whose gender expression did not conform to nineteenth-century notions of femininity. Dieulafoy fought alongside her husband in the Franco-Prussian War and traveled with him to the Middle East; later she wrote novels about girls becoming boys and enjoyed being photographed in her signature men's suits. Rachilde became famous in the 1880s for her controversial gender-bending novel Monsieur Vénus, published around the same time that she started using a calling card that read "Rachilde, Man of Letters." Montifaud began her career as an art critic before turning to erotic writings, for which she was repeatedly charged with "offense to public decency"; she wore tailored men's suits and a short haircut for much of her life and went by masculine pronouns among certain friends. Dieulafoy, Rachilde, and Montifaud established themselves as fixtures in the literary world of fin-de-siècle Paris at the same time as French writers, scientists, and doctors were becoming increasingly fascinated with sexuality and sexual difference. Even so, the concept of gender identity as separate from sexual identity did not yet exist. Before Trans explores these three figures' lifelong efforts to articulate a sense of selfhood that did not precisely align with the conventional gender roles of their day. Their intricate, personal stories provide vital historical context for our own efforts to understand the nature of gender identity and the ways in which it might be expressed.

In Between the Queen and the Cabby, John Cole provides the first full translation of de Gouges's Rights of Woman and the first systematic commentary on its declaration, its attempt to envision a non-marital partnership agreement, and its support for persons of colour. Cole compares and contrasts de Gouges's two texts, explaining how the original text was both her model and her foil. By adding a proposed marriage contract to her pamphlet, she sought to turn the ideas of the French Revolution into a concrete way of life for women. Further examination of her work as a playwright suggests that she supported equality not only for women but for slaves as well. Cole highlights the historical context of de Gouges's writing, going beyond the inherent sexism and misogyny of the time in exploring why her work did not receive the reaction or achieve the influential status she had hoped for. Read in isolation in the gender-conscious twenty-first century, de Gouges's Rights of Woman may seem ordinary. However, none of her contemporaries, neither the Marquis de Condorcet nor Mary Wollstonecraft, published more widely on current affairs, so boldly attempted to extend democratic principles to women, or so clearly related the public and private spheres. Read in light of her eventual condemnation by the Revolutionary Tribunal, her words become tragically foresighted: "Woman has the right to mount the Scaffold; she must also have that of mounting the Rostrum.".

Black French Women and the Struggle for Equality,1848-2016 explores how black women in France itself, the French Caribbean, Gorée, Dakar, Rufisque, and Saint-Louis experienced and reacted to French colonialism and how gendered readings of colonization, decolonization, and social movements cast new light on the history of French colonization and of black France. In addition to delineating the powerful contributions of black French women in the struggle for equality, contributors also look at the experiences of African American women in Paris and in so doing integrate into colonial and postcolonial conversations the strategies black women have engaged in negotiating gender and race relations à la française. Drawing on research by scholars from different disciplinary backgrounds and countries, this collection offers a fresh, multidimensional perspective on race, class, and gender relations in France and its former colonies, exploring how black women have negotiated the boundaries of patriarchy and racism from their emancipation from slavery to the second decade of the twenty-first century.

Did women have a civic identity in eighteenth-century France? In Citoyennes: Women and the Ideal of Citizenship in Eighteenth-Century France, Annie Smart contends that they did. While previous scholarship has emphasized the ideal of domestic motherhood or the image of the republican mother, Smart argues persuasively that many pre-revolutionary and revolutionary texts created another ideal for women - the ideal of civic motherhood. Smart asserts that women were portrayed as possessing civic virtue, and as promoting the values and ideals of the public sphere. Contemporary critics have theorized that the eighteenth-century ideal of the Republic intentionally excluded women from the public sphere. According to this perspective, a discourse of "Rousseauean" domestic motherhood stripped women of an active civic identity, and limited their role to breastfeeding and childcare. Eighteenth-century France marked thus the division between a male public sphere of political action and a female private sphere of the home. Citoyennes challenges this position and offers an alternative model of female identity. This interdisciplinary study brings together a variety of genres to demonstrate convincingly that women were portrayed as civic individuals. Using foundational texts such as Jean-Jacques Rousseau's Emile, or on Education (1762), revolutionary gouaches of Lesueur, and vaudeville plays of Year II of the Republic (1793/1794), this study brilliantly shows that in text and image, women were represented as devoted to both the public good and their families. In addition, Citoyennes offers an innovative interpretation of the home. Through re-examining sphere theory, this study challenges the tendency to equate the home with private concerns, and shows that the home can function as a site for both private life and civic identity. Citoyennes breaks new ground, for it both rectifies the ideal of domestic Rousseauean motherhood, and brings a fuller understanding to how female civic identity operated in important French texts and images.

A Civil Society explores the struggle to initiate women as full participants in the masonic brotherhood that shared in the rise of France's civil society and its "civic morality" on behalf of women's rights. As a vital component of the third sector during France's modernization, freemasonry empowered women in complex social networks, contributing to a more liberal republic, a more open society, and a more engaged public culture. James Smith Allen shows that although women initially met with stiff resistance, their induction into the brotherhood was a significant step in the development of French civil society, including the promotion of women's rights in the late nineteenth century. Pulling together the many gendered facets of masonry, Allen draws from periodicals, memoirs, and archival material to account for the rise of women within the masonic brotherhood in the context of rapid historical change.  Thanks to women's social networks and their attendant social capital, masonry came to play a leading role in French civil society and the rethinking of gender relations in the public sphere.

The "black family" in the United States and the Caribbean often holds contradictory and competing meanings in public discourse: on the one hand, it is a site of love, strength, and support; on the other hand, it is a site of pathology, brokenness, and dysfunction that has frequently called forth an emphasis on conventional respectability if stability and social approval are to be achieved. Looking at the ways in which contemporary African American and black Caribbean women writers conceptualize the black family, Susana Morris finds a discernible tradition that challenges the politics of respectability by arguing that it obfuscates the problematic nature of conventional understandings of family and has damaging effects as a survival strategy for blacks. The author draws on African American studies, black feminist theory, cultural studies, and women’s studies to examine the work of Paule Marshall, Jamaica Kincaid, Edwidge Danticat, and Sapphire, showing how their novels engage the connection between respectability and ambivalence. These writers advocate instead for a transgressive understanding of affinity and propose an ethic of community support and accountability that calls for mutual affection, affirmation, loyalty, and respect. At the core of these transgressive family systems, Morris reveals, is a connection to African diasporic cultural rites such as dance, storytelling, and music that help the fictional characters to establish familial connections.

In France's Third Republic, secularism was, for its adherents, a new faith, a civic religion founded on a rabid belief in progress and the Enlightenment conviction that men (and women) could remake their world. And yet with all of its pragmatic smoothing over of the supernatural edges of Catholicism, the Third Republic engendered its own fantastical ways of seeing by embracing observation, corporeal dynamism, and imaginative introspection. How these republican ideals and the new national education system of the 1870s and 80s - the structure meant to impart these ideals - shaped belle époque popular culture is the focus of this book. The author reassesses the meaning of secularization and offers a cultural history of this period by way of an interrogation of several fraught episodes which, although seemingly disconnected, shared an attachment to the potent moral and aesthetic directives of French republicanism: a village's battle to secularize its schools, a scandalous novel, a vaudeville hit featuring a nude celebrity, and a craze for female boxing. Beginning with the writer and performer Colette (1873-1954) as a point of entry, this re-evaluation of belle époque popular culture probes the startling connections between republican values of labor and physical health on the one hand, and the cultural innovations of the decades preceding World War I on the other.

In Old Regime France credit was both a central part of economic exchange and a crucial concept for explaining dynamics of influence and power in all spheres of life. Contemporaries used the term credit to describe reputation and the currency it provided in court politics, literary production, religion, and commerce. Moving beyond Pierre Bourdieu's theorization of capital, this book establishes credit as a key matrix through which French men and women perceived their world. As Clare Haru Crowston demonstrates, credit unveils the personal character of market transactions, the unequal yet reciprocal ties binding society, and the hidden mechanisms of political power. Credit economies constituted "economies of regard" in which reputation depended on embodied performances of credibility. Crowston explores the role of fashionable appearances and sexual desire in leveraging credit and reconstructs women's vigorous participation in its gray markets. The scandalous relationship between Queen Marie Antoinette and fashion merchant Rose Bertin epitomizes the vertical loyalties and deep social divides of the credit regime and its increasingly urgent political stakes.

This book examines autobiographies, autofictions, and manifestoes written by ethnic minority women writers in early twenty-first century France. In their publications, select authors denounce the ethnic hierarchies created and propagated by French institutions, and contend with the neocolonial marketing practices of key metropolitan publishers.-- Introduction: The "Black-Blanc-Beur" utopia and the autobiographical response -- Utopia, paratexts, and publishers -- "Beur," "Banlieue victims," and "Intégrées" : Samira Bellil, Nina Bouraoui, Nora Hamdi -- "Black," "Afro-French," and "Évoluées" : Calixthe Beyala, Bessora, Fatou Diome -- Franco-Vietnamese literature : the unspoken making of Anna Moï and Linda Lê -- Conclusion: Beyond "Black-Blanc-Beur" : negotiating labels and "littérature-monde".

This book explores the ways in which contemporary women writers have engaged with the negotiation and representation of identity following the rupture with the established sense of self in the homeland that is brought about by exile.

Even after the turbulent events that culminated in the Revolution of 1848, French women remained disenfranchised and disillusioned due to their exclusion from the public domain. However, a group of pioneering women persistently challenged the issue of civil rights and the legal minority of women in many genres: beginning with feminist journals then satirical poetry, fiction, pamphlets, posters, treatises, inspirational slogans, letters, and even travelogues. This book gives an overview of the corpus of writings by women at this historic moment and examines the political culture into which these writings were produced. Joyce Dixon-Fyle argues that the genres selected by women writers such as Eugénie Niboyet, Jeanne Deroin, Jenny d'Héricourt, Juliette Adam, Maria Deraimes were simply modes of expression determined less by choice than by the repressive politics and censorship of the July Monarchy, which was relentless in its attempts to silence and marginalize women.

This volume consists of new translations of twenty-six representative selections from the belle époque, the period of cultural efflorescence in late nineteenth- and early twentieth-century France. These pieces have a remarkably modern sound; the anger of Nelly Roussel, the arguments for reproductive freedom, and the case histories of prostitutes transcend time and circumstance. Chosen from newspapers, speeches, novels, political tracts, and the like, these selections portray the range of feminist response to the prevailing social situation of women--from the generally meliorist position of the Christian feminists to the radical stances of socialist and utopian feminists. The works of authors well known at the turn of the century are interspersed with stories of the lives of some of society's victims. The selections are organized thematically: education, work, prostitution and the double standard, marriage and male-female relations, maternity, and political and civil rights. In the volume introduction and in introductions to each selection, the editors place the pieces within their historical and social settings.

For almost twenty years, feminist readings of Simone de Beauvoir's feminist classic The Second Sex have been dominated by dismissive interpretation of Beauvoir's philosophy as Sartrean and phallocentric. Beauvoir's angry refusal to acknowledge either her philosophical originality or her lesbian relationships led to an interpretive impasse on two issues: her relationship to existentialism and her relationship to feminism. It was not until Beauvoir's death in 1986 that this interpretive impasse would be broken. Feminist scholars reacted to news of Beauvoir's death in 1986 by initiating a reevaluation of her life's work, a task encouraged by Sylvie Le Bon de Beauvoir, her adopted daughter, who edited for posthumous publication many of Beauvoir's personal notebooks and letters to Sartre. Some of the most exciting new interpretations of Beauvoir's philosophy that have resulted are brought together here for the first time; many of them, indeed, were written expressly for this first volume of essays on Beauvoir's philosophy written since her death. From phenomenology and literary criticism to analytic philosophy and postmodern deconstruction, this collection presents a unique variety of methodological approaches to reading Beauvoir: placing her within the phenomenological tradition and identifying the Husserlean influence on her work; using the posthumously published letters and notebooks to shed light on Beauvoir's own experience of oppression and to deconstruct the philosophical movement that exploited her; analyzing the themes and structure of Beauvoir's novel The Mandarins to study her philosophy of the erotic; examining the structure of her argument about women's biology and sexual difference to challenge the criticism of Beauvoir's phallocentricism; locating her writings on decolonization as a historical antecedent of the postmodern philosophy of destruction. Of particular interest may be the scholarly reading of little-known texts, such as Beauvoir's essay on the Marquis de Sade, or her essay "Literature and Metaphysics," in the context of her better-known texts, such as Ethics of Ambiguity, to trace Beauvoir's philosophical development and challenge the view that Beauvoir was either Sartrean or phallocentric.

This book was started as an attempt to bring lesser-known novelists out of obscurity. The author felt that the unique perspective that these female authors could give to their characters was both enlightening and valuable for contemporary society and our understanding of the struggles of the past. Contents: 1. Away from the Bourgeois Ideal 2. Men and the Issues 3. Love and the Choices Part I: Marcelle Tinayre 4. Maternity: The Pitfalls and the Pleasures 5. Daughterhood: Creation and Destruction 6. Profession: Struggles and Solitude 7. Marriage: Traditional and Ideal 8. Love and Choices II: Colette 9. Perversion and Social Criticism 10. Toward the Concept of a New Woman. Bibliography.

Gisèle d'Estoc was the pseudonym of a nineteenth-century French woman writer and, it turns out, artist who, among other things, was accused of being a bomb-planting anarchist, the cross-dressing lover of writer Guy de Maupassant, and the fighter of at least one duel with another woman, inspiring Bayard's famous painting on the subject. The true identity of this enigmatic woman remained unknown and was even considered fictional until recently, when Melanie C. Hawthorne resurrected d'Estoc's discarded story from the annals of forgotten history. Finding the Woman Who Didn't Exist begins with the claim by expert literary historians of France on the eve of World War II that the woman then known only as Gisèle d'Estoc was merely a hoax. More than fifty years later, Hawthorne not only proves that she did exist but also uncovers details about her fascinating life and career, along the way adding to our understanding of nineteenth-century France, literary culture, and gender identity. Hawthorne explores the intriguing life of the real d'Estoc, explaining why others came to doubt the "experts" and following the threads of evidence that the latter overlooked. In focusing on how narratives are shaped for particular audiences at particular times, Hawthorne also tells "the story of the story," which reveals how the habits of thought fostered by the humanities continue to matter beyond the halls of academe.

In February 1843 Flora Tristan began to write a journal as she set out on her tour of France wherein she recorded her experience of feminist socialist militancy. This is a unique record of gender politics and political and socio-economic conditions in twenty-two towns of provincial France on the eve of the 1848 revolution. It came to an abrupt end with her illness and death in Bordeaux in November 1844. The long-awaited first complete translation of Flora Tristan's journal is presented with an analytical introduction, an index and bibliographical footnotes. Flora Tristan, also known as Flore Celestine Thérèse Henriette Tristán y Moscoso was a French-Peruvian writer and activist who championed both women and workers rights. She was a devoted socialist and reformer who contributed to feminist theory.

France and Women, 1789-1914 is the first book to offer an authoritative account of women's history throughout the nineteenth century. James McMillan, author of the seminal work Housewife or Harlot, offers a major reinterpretation of the French past in relation to gender throughout these tumultuous decades of revolution and war. This book provides a challenging discussion of the factors which made French political culture so profoundly sexist and in particular, it shows that many of the myths about progress and emancipation associated with modernisation and the coming of mass politics do not stand up to close scrutiny. It also reveals the conservative nature of the republican left and of the ingrained belief throughout french society that women should remain within the domestic sphere. James McMillan considers the role played by French men and women in the politics, culture and society of their country throughout the 1800s.

Histories of France have erased the feminist presence from nineteenth-century political life and the feminist impact from the changes that affected the lives of the French. Now, French Feminism in the Nineteenth Century completes the history books by restoring this missing--and vital--chapter of French history. The book recounts the turbulent story of nineteenth-century French feminism, placing it in the context of the general political events that influenced its development. It also examines feminist thought and activities, using the very words of the women themselves--in books, newspapers, pamphlets, memoirs, diaries, speeches, and letters. Featured is a wealth of previously unpublished personal letters written by Saint-Simonian women. These engrossing documents reveal the nuances of changing consciousness and show how it led to an autonomous women's movement. Also explored are the relationships between feminist ideology and women's actual status--legal, social, and economic--during the century. Both bourgeois and working-class women are surveyed. Beginning with a general survey of feminism in France, the book provides historical context and clarifies the later vicissitudes of the "condition feminine."

This volume explores contemporary French women's writing through the prism of one of the defining moments of modern feminism: the writings of the 1970s that came to be known as «French feminism». With their exhilarating renewal of the rules of fiction, and a sophisticated theoretical approach to gender, representation and textuality, Hélène Cixous and others became internationally recognised for their work, at a time when the women's movement was also a driving force for social change. Taking its cue from Les Femmes s'entêtent, a multi-authored analysis of the situation of women and a celebration of women's creativity, this collection offers new readings of Monique Wittig, Emma Santos and Hélène Cixous, followed by essays on Nina Bouraoui, Michèle Perrein and Ying Chen, Marguerite Duras and Mireille Best, and Valentine Goby. A contextualising introduction establishes the theoretical and cultural framework of the volume with a critical re-evaluation of this key moment in the history of feminist thought and women's writing, pursuing its various legacies and examining the ways theoretical and empirical developments in queer studies, postcolonial studies and postmodernist philosophies have extended, inflected and challenged feminist work.

Although more women in France have entered political life than ever before, the fact remains that there are fewer women representatives in the French parliament than there were after the Second World War. In a new and original approach, the author presents an overview and analysis of the emerging body of text by or on women who have held high political office in France. The argument is that writing about women and politics has not just described or reflected women's slow but now substantial entry into political life; it has played a major part in shaping the parity debate and its outcomes. Interviews with political women, such as Huguette Bouchardeau, Simone Veil or Edith Cresson, inserted in the text, demonstrate the emergence and circulation of a new common discourse focused on the issue of whether women in politics make or should make a difference. A close reading of the various texts examined in this book and their connection to new public counter-discourses in France suggest that a re-writing of power is indeed occurring.

At once deeply historical and surprisingly timely, Having it All in the Belle Epoque shows how the debates that continue to captivate high-achieving women in America and Europe can be traced back to the early 1900s in France. The first two photographic magazines aimed at women, Femina and La Vie Heureuse created a female role model who could balance age-old convention with new equalities. Often referred to simply as the "modern woman," this captivating figure embodied the hopes and dreams as well as the most pressing internal conflicts of large numbers of French women during what was a period of profound change. Full of never-before-studied images of the modern French woman in action, Having it All shows how these early magazines exploited new photographic technologies, artistic currents, and literary trends to create a powerful model of French femininity, one that has exerted a lasting influence on French expression.This book introduces and explores the concept of Belle Epoque literary feminism, a product of the elite milieu from which the magazines emerged. Defined by its refusal of political engagement, this feminism was nevertheless preoccupied with expanding women's roles, as it worked to construct a collective fantasy of female achievement. Through an astute blend of historical research, literary criticism, and visual analysis, Mesch's study of women's magazines and the popular writers associated with them offers an original window onto a bygone era that can serve as a framework for ongoing debates about feminism, femininity, and work-life tensions.

The hijab is arguably the most discussed and controversial item of women's clothing today. It has become the primary global symbol of female Muslim identity for Muslims and non-Muslims alike, and is the focus of much debate in the confrontation between Islam and the West. Nowhere has this debate been more acute or complex than in France. In "Hijab and the Republic", Bronwyn Winter provides a riveting account of the controversial 2003 French law to ban Islamic headscarves and other religious signs from public schools. While much has been written on the subject, Winter offers a unique feminist perspective, carefully delineating its political and cultural aspects. To understand the current controversy, the author traces the history of secularism in France and the shift in interpretations of Islam before turning to a review of the more recent past. Drawing on both scholarly literature and popular commentary, she examines the headscarf debate from its inception in 1989 through fluctuations in its intensity in public consciousness over the 1990s to its surging significance in the wake of 9/11 and the consequent shift in global politics. Winter argues convincingly that the issue must be understood within the specific historical and cultural context of France and through a feminist lens, since gender is fundamental to the debate about veiling Muslim women. "Hijab and the Republic" presents a fresh and richly detailed examination of a subject that remains at the forefront of discussion about Islam and the West.

This volume was the first historical introduction to women's writing in France from the sixth century to the present day. Specially-commissioned essays by leading scholars provide an introduction in English to the wealth and diversity of French women writers, offering fascinating readings and perspectives. The volume as a whole offers a cohesive history of women's writing which has sometimes been obscured by the canonisation of a small feminine elite. Each chapter focuses on a given period and a range of writers, taking account of prevailing sexual ideologies and women's activities in, or their relation to, the social, political, economic and cultural surroundings. Complemented by an extensive bibliography of primary and secondary works and a biographical guide to more than one hundred and fifty women writers, it represents an invaluable resource for those wishing to discover or extend their knowledge of French literature written by women.

Born in Algeria in 1937, Hélène Cixous achieved world fame for her short stories, criticism, and fictionalized autobiography (Dedans, 1969). Her work quickly became controversial because it frankly tested a distinction between male and female writing. Her literary experiments and her conclusions make her one of the most stimulating and most elusive feminist theorists of our time. Verena Andermatt Conley, a professor of French and women's studies at Miami University, has written the first full-length study of Cixous in English. Looking at Cixous as writer, teacher, and theoretician, Conley takes up Cixous's ongoing exploration of the "feminine" as related to the "masculine"--words not to be equated with "woman" and "man"--and her search for a terminology less freighted with emotion and prejudgment. Conley has updated this paperback edition with a new preface, bibliography, and interview with Cixous conducted by the editors of Hors Cadre.

Identités Françaises interrogates notions of marginalization and national identity through an analysis of French banlieues. The display of the quotidian, at the expense of the extraordinary, invites the reader to reconsider the most common images of these urban peripheries and the processes that create citizenship and marginality in republican France. The focus is on the female experience, in works produced by writers and artists from these peripheries. Banlieue women sit at the intersection of marginalities of race, gender and class. The study of these intersections illuminates multiple notions of identity, belonging and peripheralization. Amid the contemporary flare-ups and debates around a single and indivisible French national identity, Mame-Fatou Niang's work brings to light plural identities rooted in France's suburban spaces. Professor Niang also directed a documentary film, Mariannes Noires (2016) which traces the experiences of 7 black French women. She also published a more recent book, Universalisme. She is associate professor at Carnegie Mellon and gives frequent talks in France.

The feminist book they tried to ban in France. 'A delightful book' says Roxane Gay. Women, especially feminists and lesbians, have long been accused of hating men. Our instinct is to deny it at all costs. (After all, women have been burnt at the stake for admitting to less.) But what if mistrusting men, disliking men - and yes, maybe even hating men - is, in fact, a useful response to sexism? What if such a response offers a way out of oppression, a means of resistance? What if it even offers a path to joy, solidarity and sisterhood? In this sparkling essay, as mischievous and provocative as it is urgent and serious, Pauline Harmange interrogates modern attitudes to feminism and makes a rallying cry for women to find a greater love for each other - and themselves. [Moi les hommes, je les déteste]

Mona Chollet's In Defense of Witches is a "brilliant, well-documented" celebration (Le Monde) by an acclaimed French feminist of the witch as a symbol of female rebellion and independence in the face of misogyny and persecution. Centuries after the infamous witch hunts that swept through Europe and America, witches continue to hold a unique fascination for many: as fairy tale villains, practitioners of pagan religion, as well as feminist icons. Witches are both the ultimate victim and the stubborn, elusive rebel. But who were the women who were accused and often killed for witchcraft? What types of women have centuries of terror censored, eliminated, and repressed? Celebrated feminist writer Mona Chollet explores three types of women who were accused of witchcraft and persecuted: the independent woman, since widows and celibates were particularly targeted; the childless woman, since the time of the hunts marked the end of tolerance for those who claimed to control their fertility; and the elderly woman, who has always been an object of at best, pity, and at worst, horror. Examining modern society, Chollet concludes that these women continue to be harrassed and oppressed. Rather than being a brief moment in history, the persecution of witches is an example of society's seemingly eternal misogyny, while women today are direct heirs to those who were hunted down and killed for their thoughts and actions. With fiery prose and arguments that range from the scholarly to the cultural, In Defense of Witches seeks to unite the mythic image of the witch with modern women who seek to live their lives on their own terms. See also her recent publication, Réinventer l'amour: Comment le patriarcat sabote les relations hétérosexuelle.

Born between the 1980s and 2000s, the generation of Millennials grew up in a world where the egalitarian frame of reference prevails: this also has effects on female nationalist activism. In May 2018, the French Nationalist Party posted a video entitled “Nationalisme : militer avec féminité à la cuisine”. After a first sequence where young women dressed in long skirts cook and do the dishes while singing religious praises, we see them in shorts training to run in a muddy torrent under the instructions of an activist, with background music of overdriven electric guitars.

The "Manif pour tous", which violently opposed the law brought by Christiane Taubira (in 2012-2013) aimed at opening up marriage to homosexual couples, was an opportunity for many (future) far-right actors to to meet, to form and to aggregate. A few years later, we see the emergence in this field of multiple women's groups, even self-proclaimed feminists, which address the cause of women from a nationalist, reactionary or identity tradition. Whether they are calledles Caryatides, les Antigone ou le collectif Némésis, Eugénie Bastié, Marianne Durano ou la revue Limite, they all contribute to reconfiguring a media and political field that is increasingly anchored to the right.

Anne Sebba explores a devastating period in Paris's history and tells the stories of how women survived--or didn't--during the Nazi occupation. Paris in the 1940s was a place of fear, power, aggression, courage, deprivation, and secrets. During the occupation, the swastika flew from the Eiffel Tower and danger lurked on every corner. While Parisian men were either fighting at the front or captured and forced to work in German factories, the women of Paris were left behind where they would come face to face with the German conquerors on a daily basis, as waitresses, shop assistants, or wives and mothers, increasingly desperate to find food to feed their families as hunger became part of everyday life. When the Nazis and the puppet Vichy regime began rounding up Jews to ship east to concentration camps, the full horror of the war was brought home and the choice between collaboration and resistance became unavoidable. Sebba focuses on the role of women, many of whom faced life and death decisions every day. After the war ended, there would be a fierce settling of accounts between those who made peace with or, worse, helped the occupiers and those who fought the Nazis in any way they could.

At the end of the reign of Louis XVI, women were finally included in art and its institutions. A generation of artists emerged including Elisabeth Vigee-Le Brun Vallayer-Coster Anne, famous for her still lifes, Adelaide Labille-Guiard, Gabrielle Capet-Marie Guillemine Leroulx Delaville, Marguerite Gerard and Constance Charpentier. However these artists, while of great value, never became the equal of men in the cultural landscape of the official Revolution, and the Empire during the Restoration completed this work of censorship and exclusion. Soon there was nothing left of the emancipation movement whose foundations had been laid in the last years of the Ancient Regime.
Contents: 1. Entrée dans le séminaire des arts -- Rupture dans la hiérarchie des genres -- Suzanne Giroust, machiniste merveilleuse -- Anne Vallayer ou la rhétorique de la nature morte -- Adélaïde Labille-Guiard, stratège ambitieuse -- Élisabeth Vigée-Le Brun, enfant chérie des Lumières -- Résistances de l'Académie -- Le labeur et la grâce -- L'atelier de la rue Ménars -- 2. Une génération prête à faire carrière -- L'atelier de la rue Ménars -- Figures de la souveraineté féminine -- Interdiction au Palais du Louvre -- La reine de France, bouc émissaire -- 3. Citoyennes? -- Au Salon de 1789 -- "L'âme des dames romaines dans les femmes françaises" -- "Je ne pouvais plus peindre" -- 4. L'illusion de la liberté -- "Toute honnête femme artiste est un homme pour l'Académie" -- La chute de la Bastille académique -- "Le premier Salon de la Liberté" -- Les droits de la femme relèvent-ils des droits de l'homme? -- 5. Les mécanismes de l'exclusion -- Autodafés -- Liberté, égalité: le grand oeuvre de Nanine Vallain -- La loi de la nature -- L'intelligence et la beauté -- 6. Le nouvel ordre des sexes -- Exclue de l'Institut -- Deuil d'un âge d'or -- "N'en parlons plus car la plaie se rouvrirait" -- "Les femmes régnaient alors, la Révolution les a détrônées".

An award-winning novel powerfully re-imagines a childhood in the spotlight of history, politics, and destiny. Montreal 1976. A fourteen-year-old girl steps out onto the floor of the Montreal Forum and into history. Twenty seconds on uneven bars is all it takes for Nadia Comaneci, the slight, unsmiling child from Communist Romania, to etch herself into the collective memory. The electronic scoreboard, astonishing spectators with what has happened, shows 1.0. The judges have awarded an unprecedented perfect ten, the first in Olympic gymnastics, though the scoreboard is unable to register anything higher than 9.9. In The Little Communist Who Never Smiled, Lola Lafon tells the story of Comaneci's journey from growing up in rural Romania to her eventual defection to the United States in 1989. Adored by young girls in the west and appropriated as a political emblem by the Ceausescu regime, Comaneci's life was scrutinized wherever she went. Lafon's fictionalized account shows how a single athletic event mesmerizes the world and reverberates across nations.

French feminism was central to the theory and culture of Second Wave feminism as an international movement, and 1975 was a key year for the women's movement in France. Through a critical review of the politics, activism and cultural creativity of that moment, from the perspective of bothpreceding and subsequent "waves" of feminism, this book evaluates the legacies of 1975, and their strengths and limitations as new questions and new conjunctures have come into play. Edited and written by an international group of feminist scholars, it offers both a critical re-evaluation of a vitalmoment in women's cultural history, and a new analysis of the relationship between second wave agendas and contemporary feminist politics and culture.

This is the first book to study the middlebrow novel in France. Middlebrow is a derogatory word that connotes blandness, mediocrity and a failed aspiration to 'high' culture. However, when appropriated as a positive term to denote that wide swathe of literature between the challenging experimentalism of the high and the formulaic drive of the popular, it enables a rethinking of the literary canon from the point of view of what most readers actually read, a criterion curiously absent from dominant definitions of literary value. Since women have long formed a majority of the nation's reading public, this perspective immediately feminises what has always been a very male canon. Opening with a theorisation of the concept of middlebrow that mounts a defence of some literary qualities disdained by modernism, the book then focuses on a series of case studies of periods (the Belle Époque, inter-war, early twenty-first century), authors (including Colette, Irène Nemirovsky, Françoise Sagan, Anna Gavalda) and the middlebrow nature of literary prizes. It concludes with a double reading of a single text, from the perspective of an academic critic, and from that of a middlebrow reader.

This book presents the stories of six intrepid women of science in eighteenth-century France whose lives and accomplishments--though celebrated in their lifetimes--have been largely written out of the history of their period: mathematician and philosopher Elisabeth Ferrand, astronomer Nicole Reine Lepaute, field naturalist Jeanne Barret, garden botanist and illustrator Madeleine Françoise Basseporte, anatomist and inventor Marie-Marguerite Biheron, and chemist Geneviève d'Arconville. By adjusting our lens we can find them. In a society where science was not yet an established profession for men, much less women, these six audacious and inspiring figures made their mark on their respective fields of science and on Enlightenment society, as they defied gender expectations and conventional norms. Their boldness and contributions to science were appreciated by such luminaries as Franklin, the philosophes, and many European monarchs. The book is written in an unorthodox style to match the women's breaking of boundaries.

In the late nineteenth century, numerous French plays, novels, cartoons, and works of art focused on Mormons. Unlike American authors who portrayed Mormons as malevolent "others," however, French dramatists used Mormonism to point out hypocrisy in their own culture. Aren't Mormon women, because of their numbers in a household, more liberated than French women who can't divorce? What is polygamy but another name for multiple mistresses? This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth's Twelve Wives (1890), and Stephana's Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance. This volume is a focused look at two bodies of work, the Tirs ("shooting paintings") and Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement.

In this work, Maïga gives space to the voices of sixteen black actresses who share their personal stories about the racism they had to endure in the world of contemporary French cinema. They discuss the stereotypes they’re often relegated to, and the problems they still face.

Between 1954 and 1962, Algerian women played a major role in the struggle to end French rule in one of the twentieth century's most violent wars of decolonisation. This is the first in-depth exploration of what happened to these women after independence in 1962. Based on new oral history interviews with women who participated in the war in a wide range of roles, from urban bombers to members of the rural guerrilla support network, it explores how female veterans viewed the post-independence state and its multiple discourses on 'the Algerian woman' in the fifty years following 1962. It also examines how these former combatants' memories of the anti-colonial conflict intertwine with, contradict or coexist alongside the state-sponsored narrative of the war constructed after independence. Making an original contribution to debates about gender, nationalism and memory, this book will appeal to students and scholars of history and politics.

Out of the Shadows demonstrates the importance of the role of women in the French Revolution. It traces the growth of female political awareness and depicts the determination of women of the working class to participate in the life of the new nation despite their government's obstinate denial of the rights of citizenship. The author examines in detail the grassroots involvement of women in the affairs of the country right up until the avalanche of repressive legislation passed in the spring of 1795.

Spare portraits of the Breton women of northwestern France in beautiful traditional dress. From high starched towers to elaborately pinned, tucked, and embroidered confections of handmade lace, the creations captured here by Charles Fréger are as delicate as they are distinctive. Fréger has photographed a series of portraits of Breton women of every generation from every region, wearing costumes and headdresses of endless variety. Each costume and headdress may indicate a wearer's village as well as age or status. They are worn for celebrations of marriage, birth, or a local saint's day, or to mark a period of mourning. Against a translucent gauze backdrop, young girls and women, both married and unmarried, mothers, sisters, and grandmothers, pose in costume for these stunning portraits. Although these headdresses were once worn daily, today they are part of a costume tradition upheld by women throughout Brittany in rites of passage, in Celtic circles, and at summer festivals, keenly attended by young and old. Some fifty headdresses are identified and described in a separate reference section, accompanied by specially commissioned illustrations. Fréger's exceptional photographs demonstrate Breton culture's wealth of pride, ingenuity, and personal expression.

Black women living in the French empire played a key role in the decolonial movements of the mid-twentieth century. Thinkers and activists, these women lived lives of commitment and risk that landed them in war zones and concentration camps and saw them declared enemies of the state. Annette K. Joseph-Gabriel mines published writings and untapped archives to reveal the anticolonialist endeavors of seven women. Though often overlooked today, Suzanne Césaire, Paulette Nardal, Eugénie Éboué-Tell, Jane Vialle, Andrée Blouin, Aoua Kéita, and Eslanda Robeson took part in a forceful transnational movement. Their activism and thought challenged France's imperial system by shaping forms of citizenship that encouraged multiple cultural and racial identities. Expanding the possibilities of belonging beyond national and even Francophone borders, these women imagined new pan-African and pan-Caribbean identities informed by black feminist intellectual frameworks and practices. The visions they articulated also shifted the idea of citizenship itself, replacing a single form of collective identity and political participation with an expansive plurality of forms of belonging.

This volume investigates how teaching practices can address the changing status of literature in the French classroom. Focusing on how women writing in French are changing the face of French Studies, opening the canon to not only new approaches to gender but to genre, expanding interdisciplinary studies and aiding scholars to rethink the teaching of literature, each chapter provides concrete strategies useful to a wide variety of classrooms and institutional contexts. Essays address how to bring French Studies and women's and gender studies into the twenty-first century through intersections of autobiography, gender issues and technology; ways to introduce beginning and intermediate students to the rich diversity of women writing in French; strategies for teaching postcolonial writing and literary theory; and interdisciplinary approaches to expand our student audiences in the United States, Canada, or abroad. In short, revisiting how we teach, why we teach, and what we teach through the prism of women's texts and lives while raising issues that affect cisgender women of the Hexagon, queer and other-gendered women, immigrants and residents of the postcolony attracts more openly diverse students. Whether new to the profession or seasoned educators, faculty will find new ideas to invigorate and diversify their pedagogical approaches.

These political, philosophical, and literary essays mark the first collection of theoretical writing from the acclaimed novelist and French feminist writer Monique Wittig. Wittig published her first novel, L'Opoponax in 1964. She won critical acclaim for her writing and became one of the founders of the Mouvement de libération des femmes (MLF) or Women's Liberation Movement. She also wrote, Le Corps lesbien (The Lesbian Body) and Brouillon pour un dictionnaire des amantes (Lesbian Peoples: Material for a Dictionary) with her partner Sande Zeig. She died in 2003.

This book explores the works of women writers and filmmakers across the African and African Diaspora world, reflecting on how the transnational sphere can serve to highlight voices that were at the margins of gender and race hierarchies. The book demonstrates how in discourse and theory Africana women are the centers of their own knowledge production and agency, as the artists and their characters point the way forward. Their multi-perspectivism leads to avenues of selective mutuality and influence, to generate transformative creative work, scholarship, and practices. Writers included are Sylvia Wynter, Edwidge Danticat, Werewere Liking, Chimamanda Ngozi Adiche, Sefi Atta, NoViolet Bulawayo, Nnedi Okorafor, Ama Ata Aidoo, Igiaba Scego, Leonara Miano, Gisèle Hountondji, Monique Ilboudo, and Maryse Condé, as well as the filmmaker, Kemi Adetiba.Over the course of the book, the contributors critically explore and update the canon on women in the African and African Diaspora Literary sphere, highlighting their contributions to theoretical debates, and providing substantive nuance to diasporic subjectivity. This book will be of interest to scholars of African and Africana Studies, comparative literature and women and gender studies.

In Unbecoming Language, Annabel L. Kim examines a corpus of French writing against difference. Inaugurated by Nathalie Sarraute and sustained in the work of Monique Wittig and Anne Garréta, this corpus highlights three generations of the twentieth and recent twenty-first centuries and the direct chain of influence between them. Kim considers these writers, and the story of literature's political potential, as a way of rereading and reinterpreting each writer's individual corpus--rearticulating the strain of anti-difference feminist thought that has been largely forgotten in our (Anglo-American) histories of French feminisms. Kim's close readings ultimately enliven the current conversation in French studies by serving as a provocation to return to reading literary texts deeply and closely, without subordinating literature to a pre-existing ideological framework--to let literature speak, to let it theorize. Tracking the influence of these writers on each other, Kim provides a new, original French feminist poetics and demonstrates that Sarraute, Wittig, and Garréta's work allows for a hollowing out of difference from within, allowing writers and readers to unbecome--to break free of identity and exist as subjectivities without subjecthood. In looking at these writers together, Kim provides a defense of literature as liberatory-- capable of effecting personal and political change--and gives readers an experience of literature's revolutionary possibilities.

During the nineteenth century, words like 'intersex' and 'trans' had not yet been invented to describe individuals whose bodies, or senses of self, conflicted with binary sex. But that does not mean that such people did not exist. In nineteenth-century France, case studies filled medical journals, high-profile trials captured headlines, and doctors staked their reputations on sex determinations only to have them later reversed by colleagues. While medical experts fought over what separated a man from a woman, novelists began to explore debates about binary sex and describe the experiences of gender-ambiguous characters. Anne Linton discusses over 200 newly-uncovered case studies while offering fresh readings of literature by several famous writers of the period, as well as long-overlooked popular fiction. This landmark contribution to the history of sexuality is the first book to examine intersex in both medicine and literature, sensitively relating historical 'hermaphrodism' to contemporary intersex activism and scholarship.

In recent years, the figure of the Muslim Woman has loomed large over mainstream feminist debate in France. Cast alternately as a Frenchwoman-in-the-making or a veiled threat, the Muslim Woman has become emblematic of France's relationship to those identified as its cultural others. But throughout these debates, and in spite of their scale and passion, one view has been glaringly absent: the view of French Muslim women themselves.Drawing on sociological, polemical and literary writings, this thoughtful and wide-ranging study examines the unacknowledged colonial roots of French feminist discourses on Islam and femininity, before bringing to light examples of French Muslim women's writing and activism that suggest alternative ways of being both French and a feminist.Shortlisted for the 2012 Gapper Prize, awarded annually by the Society for French Studies for the best book of its year by a scholar working in French studies in Britain or Ireland.

Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country's postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution. Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman. Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France's need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present.

A philosophical exploration of female submission, using insights from feminist thinkers--especially Simone de Beauvoir--to reveal the complexities of women's reality and lived experience. What role do women play in the perpetuation of patriarchy? On the one hand, popular media urges women to be independent, outspoken, and career-minded. Yet, this same media glorifies a specific, sometimes voluntary, female submissiveness as a source of satisfaction. In philosophy, even less has been said on why women submit to men and the discussion has been equally contradictory--submission has traditionally been considered a vice or pathology, but female submission has been valorized as innate to women's nature. Is there a way to explore female submission in all of its complexity--not denying its appeal in certain instances, and not buying into an antifeminist, sexist, or misogynistic perspective? We Are Not Born Submissive offers the first in-depth philosophical exploration of female submission, focusing on the thinking of Simone de Beauvoir, and more recent work in feminist philosophy, epistemology, and political theory. Manon Garcia argues that to comprehend female submission, we must invert how we examine power and see it from the woman's point of view. Historically, philosophers, psychoanalysts, and even some radical feminists have conflated femininity and submission. Garcia demonstrates that only through the lens of women's lived experiences--their economic, social, and political situations--and how women adapt their preferences to maintain their own well-being, can we understand the ways in which gender hierarchies in society shape women's experiences. Ultimately, she asserts that women do not actively choose submission. Rather, they consent to--and sometimes take pleasure in--what is prescribed to them through social norms within a patriarchy. Moving beyond the simplistic binary of natural destiny or moral vice, We Are Not Born Submissive takes a sophisticated look at how female submissiveness can be explained. [On ne naît pas soumise, on le devient]

The story of freedom pivots on the choices black women made to retain control over their bodies and selves, their loved ones, and their futures. The story of freedom and all of its ambiguities begins with intimate acts steeped in power. It is shaped by the peculiar oppressions faced by African women and women of African descent. And it pivots on the self-conscious choices black women made to retain control over their bodies and selves, their loved ones, and their futures. Slavery's rise in the Americas was institutional, carnal, and reproductive. The intimacy of bondage whet the appetites of slaveowners, traders, and colonial officials with fantasies of domination that trickled into every social relationship--husband and wife, sovereign and subject, master and laborer. Intimacy--corporeal, carnal, quotidian--tied slaves to slaveowners, women of African descent and their children to European and African men. In Wicked Flesh, Jessica Marie Johnson explores the nature of these complicated intimate and kinship ties and how they were used by black women to construct freedom in the Atlantic world. Johnson draws on archival documents scattered in institutions across three continents, written in multiple languages and largely from the perspective of colonial officials and slave-owning men, to recreate black women's experiences from coastal Senegal to French Saint-Domingue to Spanish Cuba to the swampy outposts of the Gulf Coast. Centering New Orleans as the quintessential site for investigating black women's practices of freedom in the Atlantic world, Wicked Flesh argues that African women and women of African descent endowed free status with meaning through active, aggressive, and sometimes unsuccessful intimate and kinship practices. Their stories, in both their successes and their failures, outline a practice of freedom that laid the groundwork for the emancipation struggles of the nineteenth century and reshaped the New World.

The beguines began to form in various parts of Europe over eight hundred years ago, around the year 1200. Beguines were laywomen, not nuns, and thus did not take solemn vows and did not live in monasteries. The beguines were a phenomenal movement that swept across Europe yet they were never a religious order or a formalized movement. But there were common elements that rendered these women distinctive and familiar, including their common way of life, their unusual business acumen, and their commitment to the poor and marginalized. These women were essentially self-defined, in opposition to the many attempts to control and define them. They lived by themselves or together in so-called beguinages, which could be single houses for as few as a handful of beguines or, as in Brugge and Amsterdam, walled-in rows of houses (enclosing a central court with a chapel) where over a thousand beguines might live--a village of women within a medieval town or city. And each region of Europe has its own beguine stories to tell. Among the beguines were celebrated spiritual writers and mystics, including Mechthild of Magdeburg, Beatrijs of Nazareth, Hadewijch of Brabant, and Marguerite Porete, who was condemned as a heretic and burned at the stake in Paris in 1310. She was not the only beguine suspected of heresy, and often politics were the driving force behind such charges. Certain clerics defended beguines against charges of heresy, while other women had to go undercover by joining a Benedictine or Cistercian monastery. Amazingly, many beguine communities survived for a long time despite oppression, wars, the plague, and other human and natural disasters. Beguines lived through--and helped propel--times of great transition and reform. Beguines courageously spoke to power and corruption, never despairing of God's compassion for humanity. They used their business acumen to establish and support ministries that extended education, health care, and other social services to the vulnerable. And they preached and taught of a loving God who desired a relationship with each individual person while calling to reform those who used God's name for personal gain. What strength of spirit protected the lives of these women and their beguinages? What can we learn from them? What might they teach us? The beguines have much to say to our world today. This book invites us to listen to their voices, to discover them anew.

Witches, Goddesses and Angry Spirits: The Politics of Spiritual Liberation in African Diaspora Women's Fiction explores African diaspora religious practices as vehicles for Africana women's spiritual transformation, using representative fictions by three contemporary writers of the African Americas who compose fresh models of female spirituality: Breath, Eyes, Memory (1994) by Haitian American novelist Edwidge Danticat; Paradise (1998) by African American Nobel laureate Toni Morrison; and I, Tituba, Black Witch of Salem (1992) by Guadeloupean author Maryse Condé.   Author Maha Marouan argues that while these authors' works burst with powerful female figures--witches, goddesses, healers, priestesses, angry spirits--they also remain honest in reminding readers of the silences surrounding African diaspora women's realities and experiences of violence, often as a result of gendered religious discourses. To make sense of Africana women's experiences of the diaspora, this book operates from a transnational perspective that moves across national and linguistic boundaries as it connects the Anglophone, the Francophone, and the Creole worlds of the African Americas. In doing so, Marouan identifies crucial shared thematic concerns regarding the authors' engagement with religious frameworks--some Judeo-Christian, some not--heretofore unexamined in such a careful, comparative fashion.

Although Renée Vivien led a life of wealth and privilege in belle epoque Paris, she often felt like an outsider because she was attracted to other women. Financially secure, she wrote books to suit her own taste rather than that of the literary market. The Woman with the Wolf (La dame à la louve), from 1904, shows her at the height of her powers. These fierce, surprising stories challenge moral hypocrisy and normative views about gender, beginning with the title work, which offers a coded representation of same-sex love in the seemingly inexplicable commitment between a woman and her canine companion. The following stories feature a reimagined fairy tale in which Prince Charming turns out to be a young woman, a western adventure whose narrator goes mad with thirst, and other unconventional narratives that range across time and space.

In the 1960s thousands of poor women of color on the (post) colonial French island of Reunion had their pregnancies forcefully terminated by white doctors; the doctors operated under the pretext of performing benign surgeries, for which they sought government compensation. When the scandal broke in 1970, the doctors claimed to have been encouraged to perform these abortions by French politicians who sought to curtail reproduction on the island, even though abortion was illegal in France. In The Wombs of Women--first published in French and appearing here in English for the first time--Françoise Vergès traces the long history of colonial state intervention in black women's wombs during the slave trade and post-slavery imperialism as well as in current birth control politics. She examines the women's liberation movement in France in the 1960s and 1970s, showing that by choosing to ignore the history of the racialization of women's wombs, French feminists inevitably ended up defending the rights of white women at the expense of women of color. Ultimately, Vergès demonstrates how the forced abortions on Reunion were manifestations of the legacies of the racialized violence of slavery and colonialism.

An essential guide to the role of women in the political life of France under the Fifth Republic. It shows that the unique political history of France ensures that it remains an important and exceptional example of women's participation in the politics of a Western European country. Its study is essential in order to have a complete understanding of women and politics today. This is the first English language study to capture the new enthusiasm engendered by the campaign for parity in 1992 which produced constitutional reform and a record number of deputies and ministers.

Today, the "fight to write"--the struggle to become the legitimate chronicler of one's own story--is being waged and won by women across mediums and borders. But such battles of authorship extend well beyond a single cultural moment. In her gripping study of unsung female narratives of the Algerian War, Mildred Mortimer excavates and explores the role of women's individual and collective memory in recording events of the violent anticolonial conflict. Presenting close readings of published works spanning five decades--from Assia Djebar's 1962 Children of the New World to Zohra Drif's 2014 Inside the Battle of Algiers: Memoir of a Woman Freedom Fighter-- Women Fight, Women Write traces stylistic and material transformations in Algerian women's writings as it reveals evolving attitudes toward memory, trauma, historical objectivity, and women's political empowerment. Refuting the stale binary of men in battle, women at home, these testimonial texts let women lay claim to the Algerian War story as participants and also as chroniclers through fiction, historical studies, and memoir. Algeria's patriarchal norms long kept women from speaking publicly about private matters, silencing their experiences of the war. Still, the conflict has ceaselessly sparked creative work. The country's dark decade of violent struggle between the Algerian army and Islamist fundamentalists in the 1990s brought the liberation struggle back into focus, inspiring and emboldening many more women to defiantly write. Women Fight, Women Write advances the broken silence, illuminating its vital historical revisions and literary innovations.

During the French Revolution, hundreds of domestic and working-class women of Paris were interrogated, examined, accused, denounced, arrested, and imprisoned for their rebellious and often hostile behavior. Here, for the first time in English translation, Dominique Godineau offers an illuminating account of these female revolutionaries. As nurturing and tender as they are belligerent and contentious, these are not singular female heroines but the collective common women who struggled for bare subsistence by working in factories, in shops, on the streets, and on the home front while still finding time to participate in national assemblies, activist gatherings, and public demonstrations in their fight for the recognition of women as citizens within a burgeoning democracy. Relying on exhaustive research in historical archives, police accounts, and demographic resources at specific moments of the Revolutionary period, Godineau describes the private and public lives of these women within their precise political, social, historical, and gender-specific contexts. Her insightful and engaging observations shed new light on the importance of women as instigators, activists, militants, and decisive revolutionary individuals in the crafting and rechartering of their political and social roles as female citizens within the New Republic.

As the twentieth century dawned and France entered an era of extraordinary labor activism and industrial competition, an insistently romantic vision of the Parisian garment worker was deployed by politicians, reformers, and artists to manage anxieties about economic and social change.Nostalgia about a certain kind of France was written onto the bodies of the capital's couture workers throughout French pop culture from the 1880s to the 1930s. And the midinettes-as these women were called- were written onto the geography of Paris itself, by way of festivals, monuments, historicpreservation, and guide books. The idealized working Parisienne stood in for, at once, the superiority of French taste and craft, and the political (and sexual) subordination of French women and labour. But she was also the public face of more than 80,000 real working women whose demands for betterlabour conditions were inflected, distorted, and, in some cases, amplified by this ubiquitous Romantic type in the decades straddling World War I.Working Girls bridges cultural histories of the Parisian imaginary and histories of French labour, and puts them in raucous dialogue with one another: a letter by a nineteen-year-old seamstress, a speech by a government minister; a frothy Parisian guide by a bon vivant, the minutes of a unionmeeting; a bawdy cafe-concert song, a policy brief on garment working conditions.

Contents: Marie de France; Gormonda de Monpeslier; Marguerite de Navarre; Hélisenne de Crenne; Charlotte de Bourbon, Princess of Orange; Georgette de Montenay; Marie de Romieu; Catherine des Roches; Gabrielle de Coignard; Anne de Marquets; Madame de Mornay; Marie de Gournay; Madeleine de Scudéry; Madame de Saint-Balmon; Françoise Pascal; Françoise d'Aubigné; Madame de Sévigné; Madame de Villedieu; Cahterine Durand; Anne-Marguerite Du Noyer; Ann-Thérèse de Lambert; Madame de Gomez; Marie-Anne Fiquet Du Boccage; Françoise de Graffigny; Marie-Jeanne Riccoboni; Louise d'Epinay; Isabelle de Charrière; Charlotte Elisabeth Aïssé; Olympe de Gouges; Elisabeth Vigée-Le Brun. Part of the Series: Women Writers of the World by Katharina M. Wilson, ed. First published in 2000. Also in the series: Women Writers in Pre-Revolutionary France, Strategies of Emacipation edited by Colette H. Winn and Donna Kuizcuga and Russian Women Writers, Vols, 1 and 2 edited by Christine D. Tomei.

Ils sont tous deux Martiniquais. Ils ont tous deux lutte contre le colonialisme et l'heritage de la traite et de l'esclavage. L'un est celebre par la Republique francaise (Cesaire), l'autre presque ignore (Fanon). L'analyse croisee de leur biographie et de leurs ecrits eclaire les debats les plus actuels sur la memoire des femmes et des hommes d'origine africaine et les difficultes a se debarrasser de l'alienation coloniale. Aime Cesaire (1913-2008 ; Cadastre 1961, Tragedie du roi Christophe 1963), le poete et le chantre de la negritude, depute-maire de Fort-de-France, s'eleve avec vigueur et lyrisme contre le passe de la colonisation. Il milite en faveur d'une autonomie negociee au sein de la Republique metropolitaine. Ses prises de position, tant litteraires, memorielles que politiques, marquent fortement la communaute antillaise et plus generalement la diaspora africaine. Frantz Fanon (1925-1961 ; Peau noire, masques blancs 1959, L'an V de la revolution algerienne 1959, Les damnes de la terre 1961), medecin et psychiatre, se confronte aux faux-semblants identitaires des colonises dans les departements d'Outre-mer et d'Afrique du Nord : ses consultations psychiatriques lui revelent les stigmates infliges par leur statut aux Antillais et aux immigres maghrebins et saheliens. Il denonce les pratiques asservissantes qu'impose l'assimilation et devient ainsi le porte-parole des generations contestataires. Ces deux fils de la Martinique ont atteint une dimension universelle qui aujourd'hui particulierement nous donne la mesure et l'intelligence des attentes et des enjeux de l'ere post-coloniale.

Renowned author and feminist Hélène Cixous talks about her love of animals and their role in her childhood growing up in Algeria. Lessons that she learned through the trials of youth with her dog and cats, lessons about the cruelty of the world and the meaning of freedom.

This book constitutes the first volume of a two-volume intellectual biography of Auguste Comte, the founder of modern sociology and a philosophical movement called positivism. Volume One offers a reinterpretation of Comte's 'first career' (1798-1842), when he completed the scientific foundation of his philosophy. It describes the interplay between Comte's ideas and the historical context of post-revolutionary France, his struggles with poverty and mental illness, and his volatile relationships with friends, family and colleagues, including such famous contemporaries as Saint-Simon, the Saint-Simonians, Guizot and John Stuart Mill. Pickering shows that the man who called for a new social philosophy based on the sciences was not only ill at ease in the most basic human relationships, but also profoundly questioned the ability of the purely scientific spirit to regenerate the political and social world.

An illustrated edition of Gertrude Stein's most well-known work, The Autobiography of Alice B. Toklas, bursting with the bright, sophisticated, and fanciful images of artist Maira Kalman Considered one of the richest and most irreverent biographies in history, The Autobiography of Alice B. Toklas was written by Gertrude Stein in the style and voice of her life partner, Alice B. Toklas. Published in 1933 and narrated by Alice, this autobiography begins with her initial move to France in 1907, the day after which she meets Gertrude, sparking a relationship that lasts for nearly four decades. Recounting the vibrant and literary life the two make for themselves among the Parisian avant-garde, Alice opens the doors to the prominent salons they held in their home at rue de Fleurus, hosting fellow expatriate American writers such as Ernest Hemingway, T. S. Eliot, and Ezra Pound as well as artists Pablo Picasso, Henri Matisse, and Man Ray, and speaks of the twilight of the Paris Belle Epoque. In this edition, the wildly talented Maira Kalman brings this glittering Parisian world to life, and celebrates Stein and Toklas in vivid color. Her whimsical and inimitable illustrations complement the wit and humor of Stein's narrative, and elevate the exciting intrigues of these famous women and their friends. Inviting readers to experience this book in a completely new way, the illustrated edition of The Autobiography of Alice B. Toklas will prompt a contemporary reading of this cherished and singular classic.

"One is not born a woman, but becomes one", Simone de Beauvoir. A symbol of liberated womanhood, Simone de Beauvoir's unconventional relationships inspired and scandalised her generation. A philosopher, writer, and feminist icon, she won prestigious literary prizes and transformed the way we think about gender with The Second Sex. But despite her successes, she wondered if she had sold herself short. Her liaison with Jean-Paul Sartre has been billed as one of the most legendary love affairs of the twentieth century. But for Beauvoir it came at a cost: for decades she was dismissed as an unoriginal thinker who 'applied' Sartre's ideas. In recent years new material has come to light revealing the ingenuity of Beauvoir's own philosophy and the importance of other lovers in her life. This ground-breaking biography draws on never-before-published diaries and letters to tell the fascinating story of how Simone de Beauvoir became herself.

The semi-autobiographical, Caribbean novel that explores shifting race relations in early twentieth-century colonial Martinique. Following in the tradition of Richard Wright's Black Boy, Joseph Zobel's semi-autobiographical 1950 novel Black Shack Alley chronicles the coming-of-age of Jose, a young boy grappling with issues of power and identity in colonial Martinique. As Jose transitions from childhood to young adulthood and from rural plantations to urban Fort-de-France on a quest for upward mobility, he bears witness to and struggles against the various manifestations of white supremacy, both subtle and overt, that will alter the course of his life. His ally in this struggle is his grandmother, M'man Tine, who fights her own weariness to release at least one child from the plantation village, a dirt street lined with the shacks of sugarcane workers. Zobel's masterpiece, the basis for the award-winning film Sugar Cane Alley, is a powerful testament to twentieth-century life in Martinique, with a foreword by award-winning Martinican author Patrick Chamoiseau.

"Pascal has long been regarded as one of the most brilliant and versatile of the world's thinkers. This chronological and carefully annotated survey explores the full range of his intellectual achievements. It also includes a chapter on his life." "Renowned as mathematician, physicist, scourge of Jesuit moral theology, and staunch, though perceptive, champion of Christianity, Pascal devoted himself in full measure to science and religion. His work on conic sections, the probability calculus, number theory, cycloid curves and hydrostatics is considered in detail. So, too, is his notorious prize competition on the cycloid and its aftermath." "The author's analysis of the Provincial Letters and the unfinished Thoughts emphasises their many distinctive features, both thematic and technical. He discusses Pascal's lesser known works, all of them pertaining to theology or the philosophy of religion." "Blaise Pascal contains a chapter on the famous wager argument and a wide-ranging bibliography." Title Summary field provided by Blackwell North America, Inc.

Camille Claudel (1864-1943) was a gifted 19th-century French sculptor who worked for Auguste Rodin (1840-1917), became his lover, and eventually left him to gain recognition for herself in the art world. After she crumbled under the combined weight of social reproof, deprivations, and art world prejudices, her family had her committed to an asylum, where she died 30 years later. Although Claudel's life has been romanticized in print and on film, a fully researched biography has never been written until this one. The book draws upon much unpublished material, including letters and photographs that confirm the brilliance of her sculpture, clarify her relationship with Rodin (who did not exploit her, but, in fact, supported her work throughout his life), and reveal the true story of her confinement in a mental institution. Claudel's fascinating life touches many aspects of women's issues: creativity, struggle for recognition, conflict with social values, and art world inequities. Illustrated with personal family photographs, this is an intimate and moving tribute to an artist whose life and work have, until now, been misinterpreted and undervalued.

Elizabeth Hawes's passionate pursuit of Camus began with her college thesis. A biography-memoir, Camus, a Romance reveals the man behind the famous name: the French-Algerian of humble birth and Mediterranean passions; the TB-stricken exile who edited the World War II resistance newspaper Combat; the pied noir in anguish over the Algerian War; the Don Juan who loved a multitude of women; the writer in search of a truer voice. These form only the barest outlines of the rich tapestry of Camus's life, which Elizabeth Hawes chronicles alongside her own experience following in his footsteps, meeting his friends and family, and trying to enter his solitude.

Charlemagne was the first emperor of medieval Europe and almost immediately after his death in 814 legends spread about his military and political prowess and the cultural glories of his court at Aix-la-Chapelle. This biography reconstructs Charlemagne's life from documentary sources, charting his conquests of Saxon and Lombard land, the establishments of a new form of government with laws, coinage and a polished language. Intended for the general reader.

In this definitive history, William R. Keylor traces the tumultuous relationship between Charles de Gaulle and a host of other key twentieth-century figures: his former mentor Marshal Philippe Petain, who headed the collaborationist government in the southern French city of Vichy as the German army occupied the northern two-thirds of the country; Sir Winston Churchill, the British prime minister whose government supported and financed de Gaulle and the Free French, but who clashed with the French leader on a number of hot-button issues; and, most critically, the six American presidents from FDR to Nixon. Keylor uses the metaphor "thorn in the side" to emphasize the fact that challenges from the intrepid French leader were often an annoyance to the Americans, who all had many more important issues to deal with--World War II for Roosevelt and Truman, the Cold War for Eisenhower, and the Vietnam War for Kennedy and Johnson. Richard Nixon alone had an excellent relationship, but the two men overlapped for only four months before de Gaulle's retirement. Thoroughly researched and deeply knowledgeable, this gripping book will appeal to all readers interested in contemporary French and US history.

François Lesure's "critical biography" of Claude Debussy (Fayard, 2003) is widely recognized by scholars as the most comprehensive and reliable account of that composer's life and career as well as of the artistic milieu in whichhe worked. This encyclopedic volume draws extensively on Debussy's complete correspondence (at that time unpublished), a painstaking tracking of contemporary reviews and comments in the press, and an examination of other primary documents-including private diaries-that had not been available to previous biographers. As such, Lesure's book presents a wealth of new information while debunking a number of myths that had developed over the years since the composer's death in 1918.The present English translation and revised edition, by Debussy authority Marie Rolf, augments Lesure's numerous notes with several thousand new ones by Rolf, providing more precise information oncrucial and sometimes contentious points. It also reflects Debussy scholarship that has appeared since 2003, updating Lesure's seminal work. Rolf's translation-the first ever-will make Lesure's findings accessible to scholars, musicians, and music lovers in English-speaking lands and around the world.FRANÇOIS LESURE (1923-2001) was the Director of the Music division of the Bibliothèque nationale de France, Professor of Musicology at the Université libre de Bruxelles, and Chair of Musicology at the École pratique des Hautes Études.MARIE ROLF is senior associate dean of graduate studies and professor of music theory at the Eastman School of Music and a memberof the editorial board for the Ouvres complètes de Claude Debussy.

The captivating, deeply reported true story of how one of the most notorious novels ever written-Marquis de Sade's 120 Days of Sodom-landed at the heart of one of the biggest scams in modern literary history. "Reading The Curse of the Marquis de Sade, with the Marquis, the sabotage of rare manuscript sales, and a massive Ponzi scheme at its center, felt like a twisty waterslide shooting through a sleazy and bizarre landscape. This book is wild."-Adam McKay, Academy Award-winning filmmaker. Described as both "one of the most important novels ever written" and "the gospel of evil," 120 Days of Sodom was written by the Marquis de Sade, a notorious eighteenth-century aristocrat who waged a campaign of mayhem and debauchery across France, evaded execution, and inspired the word "sadism," which came to mean receiving pleasure from pain. Despite all his crimes, Sade considered this work to be his greatest transgression. The original manuscript of 120 Days of Sodom, a tiny scroll penned in the bowels of the Bastille in Paris, would embark on a centuries-spanning odyssey across Europe, passing from nineteenth-century banned book collectors to pioneering sex researchers to avant-garde artists before being hidden away from Nazi book burnings. In 2014, the world heralded its return to France when the scroll was purchased for millions by Gerard Lheritier, the self-made son of a plumber who had used his savvy business skills to upend France's renowned rare-bookmarket. But the sale opened the door to vendettas by the government, feuds among antiquarian booksellers, manuscript sales derailed by sabotage, a record-breaking lottery jackpot, and allegations of a decade-long billion-euro con, the specifics of which, if true, would make the scroll part of France's largest-ever Ponzi scheme. Told with gripping reporting and flush with deceit and scandal, The Curse of the Marquis de Sade weaves together the sweeping odyssey of 120 Days of Sodom and the spectacular rise and fall of Lheritier, once the "king of manuscripts" and now known to many as the Bernie Madoff of France. At its center is an urgent question for all those who cherish the written word- As the age of handwriting comes to an end, what do we owe the original texts left behind?

Winner of the Duff Cooper Prize Winner of the Elizabeth Longford Prize A FINANCIAL TIMES, SPECTATOR, SUNDAY TIMES, and TELEGRAPH BOOK OF THE YEAR "In crafting the finest one-volume life of de Gaulle in English, Julian Jackson has come closer than anyone before him to demystifying this conservative at war with the status quo, for whom national interests were inseparable from personal honor." --Richard Norton Smith, Wall Street Journal "Masterly...makes for awesome reading...an outstanding biography."--Max Hastings, Sunday Times In the early summer of 1940, when France was overrun by German troops, one junior general who had fought in the trenches in Verdun refused to accept defeat. He fled to London, where he took to the radio to address his compatriots back home. "Whatever happens," he said, "the flame of French resistance must not be extinguished and will not be extinguished." At that moment, Charles de Gaulle entered history. For the rest of the war, de Gaulle insisted he and his Free French movement were the true embodiment of France. Through sheer force of personality he inspired French men and women to risk their lives to resist the Nazi occupation. Sometimes aloof but confident in his leadership, he quarreled violently with Churchill and Roosevelt. Yet they knew they would need his help to rebuild a shattered Europe. Thanks to de Gaulle, France was recognized as one of the victorious Allies when Germany was finally defeated. Then, as President of the Fifth Republic, he brought France to the brink of a civil war over his controversial decision to pull out of Algeria. He challenged American hegemony, took France out of NATO, and twice vetoed British entry into the European Community in his pursuit of what he called "a certain idea of France." Julian Jackson's magnificent biography, the first major reconsideration in over twenty years, captures this titanic figure as never before. Drawing on the extensive resources of the recently opened de Gaulle archives, Jackson reveals the conservative roots of de Gaulle's intellectual formation, sheds new light on his relationship with Churchill, and shows how he confronted riots at home and violent independence movements from the Middle East to Vietnam. No previous biography has so vividly depicted this towering figure whose legacy remains deeply contested.

René Descartes is best remembered today for writing 'I think, therefore I am', but his main contribution to the history of ideas was his effort to construct a philosophy that would be sympathetic to the new sciences that emerged in the seventeenth century. To a great extent he was the midwife to the Scientific Revolution and a significant contributor to its key concepts. In four major publications, he fashioned a philosophical system that accommodated the needs of these new sciences and thereby earned the unrelenting hostility of both Catholic and Calvinist theologians, who relied on the scholastic philosophy that Descartes hoped to replace. His contemporaries claimed that his proofs of God's existence in the Meditations were so unsuccessful that he must have been a cryptic atheist and that his discussion of skepticism served merely to fan the flames of libertinism. This is the first biography in English that addresses the full range of Descartes' interest in theology, philosophy and the sciences and that traces his intellectual development through his entire career.

Erik Satie's (1866-1925) music appeals to wide audiences and has influenced both experimental artists and pop musicians. Little about Satie was conventional, and he resists classification under easy headings such as "classical music". Instead of pursuing the path of a professional composer, Satie initially earned a living as a café pianist and moved in bohemian circles which prized satire, popular culture and experiment. Small wonder that his music is fundamentally new in conception. It is music which is not always designed to be listened to attentively: music which can be machine-like but is to be played by humans. For Satie, music was part of a wider concept of artistic creation,as evidenced by his collaborations with leading avant-garde artists and in works which cross traditional genre boundaries such as his texted piano pieces. His music was created in some of the most exciting and creatively stimulating environments of the late nineteenth and early twentieth century: Montmartre and Montparnasse. Paris was the artistic centre of Europe, and Satie was a notorious figure whose music and ideas are inextricably linked with the City of Light. This book situates Satie's work within the context and sonic environment of contemporary Paris. It shows that the influence of street music, musicians and poets interested in new technology, contemporary innovations and radical politics are all crucial to an understanding of Satie. Music from the ever-popular Gymnopédies to newly discovered works are discussed, and an online supplement features rare pieces recorded especially for the book.CAROLINE POTTER is Reader in Music at Kingston University London. A graduate in both French and Music, she has published widely on French music since Debussy and was Series Advisor to the Philharmonia Orchestra's Paris2014-15 season.

The bestselling author of Catherine de Medici returns to sixteenth-century Europe in this evocative and entertaining biography that recreates a remarkable era of French history and brings to life a great monarch--Francis I--who turned France into a great nation. Catherine de Medici's father-in-law, King Francis of France, was the perfect Renaissance knight, the movement's exemplar and its Gallic interpreter. An aesthete, diplomat par excellence, and contemporary of Machiavelli, Francis was the founder of modern France, whose sheer force of will and personality molded his kingdom into the first European superpower. Arguably the man who introduced the Renaissance to France, Francis was also the prototype Frenchman--a national identity was modeled on his character. So great was his stamp, that few countries even now are quite so robustly patriotic as is France. Yet as Leonie Frieda reveals, Francis did not always live up to his ideal; a man of grand passions and vision, he was also a flawed husband, father, lover, and king. With access to private archives that have never been used in a study of Francis I, Frieda explores the life of a man who was the most human of the monarchs of the period--and yet, remains the most elusive.

A recent French biography begins, Who doesn't know Nadar? In France, that's a rhetorical question. Of all of the legendary figures who thrived in mid-19th-century Paris-a cohort that includes Victor Hugo, Baudelaire, Gustave Courbet, and Alexandre Dumas-Nadar was perhaps the most innovative, the most restless, the most modern. The first great portrait photographer, a pioneering balloonist, the first person to take an aerial photograph, and the prime mover behind the first airmail service, Nadar was one of the original celebrity artist-entrepreneurs. A kind of 19th-century Andy Warhol, he knew everyone worth knowing and photographed them all, conferring on posterity psychologically compelling portraits of Manet, Sarah Bernhardt, Delacroix, Daumier and countless others-a priceless panorama of Parisian celebrity. Born Gaspard-Felix Tournachon, he adopted the pseudonym Nadar as a young bohemian, when he was a budding writer and cartoonist. Later he affixed the name Nadar to the fa ade of his opulent photographic studio in giant script, the illuminated letters ten feet tall, the whole sign fifty feet long, a garish red beacon on the boulevard. Nadar became known to all of Europe and even across the Atlantic when he launched "The Giant," a gas balloon the size of a twelve-story building, the largest of its time. With his daring exploits aboard his humongous balloon (including a catastrophic crash that made headlines around the world), he gave his friend Jules Verne the model for one of his most dynamic heroes. The Great Nadar is a brilliant, lavishly illustrated biography of a larger-than-life figure, a visionary whose outsized talent and canny self-promotion put him way ahead of his time.

No biographer could ask for a more colorful or difficult subject than the painter and revolutionary Gustave Courbet. One of the fathers of Realism, a style he created with his huge canvases of his birthplace in Ornans (After Dinner at Ornans, 1949; Funeral at Ornans, 1850, and The Stonebreakers, 1850), Courbet chose his subjects from ordinary life and portrayed them with the same monumental dignity as the great men of history. A man with big appetites for life, women, and politics, he frequently found himself at odds with French authorities, especially during the period of the Commune when he and his friends pulled down the Vendome Column. Impressionism and Modernism would be unthinkable without his fierce opposition to the academies of art. This biography by one of the most reliable students of French art paints a large and fascinating canvas, which Courbet dominates but never overwhelms.

Vincent J. Pitts chronicles the life and times of one of France's most remarkable kings in the first English-language biography of Henri IV to be published in twenty-five years. An unwelcome heir to the throne, Henri ruled over a kingdom plagued by religious civil war and political and economic instability. By the end of his reign in 1610 he had pacified his warring country, restored its prosperity, and reclaimed France's place as a leading power in Europe. Pitts draws upon the rich scholarship of recent decades to tell the captivating story of this pivotal French king. From boyhood, Henri was destined to be leader and protector of the Huguenot movement in France. He served as chief of the Calvinist party and fought for the Huguenot forces in the bloody Wars of Religion before an extraordinary sequence of dynastic mishaps left the Protestant warlord next in line for the French crown. Henri was forced to renounce his faith in support of his claim to the Catholic throne and to unite his deeply divided country. A master of political maneuvering, Henri restored order to a country in the throes of great religious, political, and economic upheaval. He was assassinated in 1610 by a Catholic zealot. Vincent Pitts expertly recounts this history and skillfully untangles its complex set of personalities and events. Pitts engages the vast amount of literature relating to the king himself as well as the large body of recent scholarship on France during this time. The result is a fascinating biography of a French king and a comprehensive history of sixteenth-century France.

"A marvelous chronicle of Breton lives and life, seen largely through the eyes of a child grown old, remembering how it used to be, in the years between the two world wars. The memoirs are magnificent. . . . The affectionate and touching portraits are not just of one family. . . . but of a whole people. . . . Like that faintly sweet, strong apple liqueur, this book should be savored slowly--set aside and picked up again, chapters read and re-read."--Neil Pickett, The New Republic "A rich and moving memoir. . . . We can see why this book won acclaim and a prize in France; it should win our hearts here too."--Robert Kirsch, Los Angeles Times "A marvelous book."--Audrey C. Foote, Washington Post Book World "A landmark in the art of storytelling. Read it aloud; some passages will bring a catch to your voice. The superb translation by June Guicharnaud echoes the rhythms and tones of spoken language."--Gloria Levitas, The New York Times Book Review "The Horse of Pride is solid, detailed, and satisfying, like Breton crochet lace. . . . It speaks to the heart. That is the language beyond language."--Naomi Bliven, The New Yorker "A book lovely in every respect; a jewel."--Edmund Fuller, The Wall Street Journal

Jacques Schiffrin changed the face of publishing in the twentieth century. As the founder of Les Éditions de la Pléiade in Paris and cofounder of Pantheon Books in New York, he helped define a lasting canon of Western literature while also promoting new authors who shaped transatlantic intellectual life. In this first biography of Schiffrin, Amos Reichman tells the poignant story of a remarkable publisher and his dramatic travails across two continents. Just as he influenced the literary trajectory of the twentieth century, Schiffrin's life was affected by its tumultuous events. Born in Baku in 1892, he fled after the Bolsheviks came to power, eventually settling in Paris, where he founded the Pléiade, which published elegant and affordable editions of literary classics as well as leading contemporary writers. After Vichy France passed anti-Jewish laws, Schiffrin fled to New York, later establishing Pantheon Books with Kurt Wolff, a German exile. Following Schiffrin's death in 1950, his son André continued in his father's footsteps, preserving and continuing a remarkable intellectual and cultural legacy at Pantheon. In addition to recounting Schiffrin's life and times, Reichman describes his complex friendships with prominent figures including André Gide, Jean-Paul Sartre, Peggy Guggenheim, and Bernard Berenson. From the vantage point of Schiffrin's extraordinary career, Reichman sheds new light on French and American literary culture, European exiles in the United States, and the transatlantic ties that transformed the world of publishing.

Louis XIV was a man in pursuit of glory. Not content to be the ruler of a world power, he wanted the power to rule the world. And, for a time, he came tantalizingly close. Philip Mansel's King of the World is the most comprehensive and up-to-date biography in English of this hypnotic, flawed figure who continues to captivate our attention. This lively work takes Louis outside Versailles and shows the true extent of his global ambitions, with stops in London, Madrid, Constantinople, Bangkok, and beyond. We witness the importance of his alliance with the Spanish crown and his success in securing Spain for his descendants, his enmity with England, and his relations with the rest of Europe, as well as Asia, Africa, and the Americas. We also see the king's effect on the two great global diasporas of Huguenots and Jacobites, and their influence on him as he failed in his brutal attempts to stop Protestants from leaving France. Along the way, we are enveloped in the splendor of Louis's court and the fascinating cast of characters who prostrated and plotted within it. King of the World is exceptionally researched, drawing on international archives and incorporating sources who knew the king intimately, including the newly released correspondence of Louis's second wife, Madame de Maintenon. Mansel's narrative flair is a perfect match for this grand figure, and he brings the Sun King's world to vivid life. This is a global biography of a global king, whose power was extensive but also limited by laws and circumstances, and whose interests and ambitions stretched far beyond his homeland. Through it all, we watch Louis XIV progressively turn from a dazzling, attractive young king to a belligerent reactionary who sets France on the path to 1789. It is a convincing and compelling portrait of a man who, three hundred years after his death, still epitomizes the idea of le grand monarque.

The youngest daughter of Algerian immigrants, Fatima Daas is raised in a home where love and sexuality are considered taboo. Living in the majority-Muslim suburb of Clichy-sous-Bois, she goes from unstable student to maladjusted adult, doing four years of therapy - her longest relationship. But as she gains distance from her family, she grapples more directly with her attraction to women and how it fits with her religion, which she continues to practice. When Nina comes into her life, she doesn't know exactly what she needs but feels that something crucial has been missing. [Available in translation by Lara Vergnaud, The Last One]

Michel Bouquet -- Marina de Brantes -- Jean-Claude Casadesus -- Olivier Dassault -- Alain Decaux -- Françoise Dorin -- Alexis Grüss -- Michel Guérard -- Jean-Paul Guerlain -- Christiane Head -- Antoine Hébrard -- Axel Kahn -- Paul Lombard -- Marthe Mercadier -- Christophe Michalak -- Luc Montagnier -- Michèle Morgan -- Manuel Peyrondet -- Alain Rey -- Patrick Roger -- Jean Tulard -- Guy Vallancien.

An intelligent, authoritative, and often surprising biography of the most famous of French monarchs, by an acclaimed biographer and historian. This stylish and incisive narrative presents readers with a fresh perspective on one of the most fascinating kings in European history. Louis XIV's story has all the ingredients of a Dumas classic: legendary beginnings, beguiling women, court intrigue, a mysterious prisoner in an iron mask, lavish court entertainments, the scandal of a mistress who was immersed in the dark arts, and a central character who is handsome and romantic, but with a frighteningly dark side to his character. Louis believed himself to be semi-divine. His self-identification as the Sun King, which was reflected in iconography by the sun god, Apollo, influenced every aspect of Louis's life: his political philosophy, his wars, and his relationships with courtiers and subjects. As a military strategist, Louis's capacity was ambiguous, but he was an astute politician who led his country to the heights of sophistication and power--and then had the misfortune to live long enough to see it all crumble away. As the sun began to set upon this most glorious of reigns, it brought a gathering darkness filled with the anguish of dead heirs, threatened borders, and a populace that was dangerously dependent upon--but greatly distanced from--its king.

How does exile beget writing, and writing exile? What kind of writing can both be fuelled by absence and prolong it? Exile, which was meant to imprison her, paradoxically gave Madame de Staël a freedom that enabled her to be as active a dissident as any woman in the late eighteenth and early nineteenth centuries was capable of being. Repeatedly banished for her nonconformism, she felt she had been made to suffer twice over, first for political daring and then for daring, as a woman, to be political (a particularly grave offence in the eyes of the misogynist Napoleon). Yet her outspokenness - in novels, comparative literary studies, and works of political and social theory - made her seem as much a threat outside her beloved France as within it, while her friendship with statesmen, soldiers, and literary figures such as Byron, Fanny Burney, Goethe, and Schiller simply added to her dangerous celebrity. She preached the virtues of liberalism and freedom wherever she went, turning the experiences of her enforced absence into an arsenal to use against all who tried to suppress her. Even Napoleon, perhaps her greatest foe, conceded, from his own exile on St Helena that she would last. Her unremitting activity as a speaker and writer made her into precisely the sort of activist no woman at that time was permitted to be; yet she paradoxically remained a reluctant feminist, seeming even to connive at the inferior status society granted her sex at the same time as vociferously challenging it, and remaining torn by the conflicting demands of public and private life.

During his lifetime, Auguste Escoffier changed the course of culinary history and extended the fame of French cuisine throughout the world. In Memories of My Life, Escoffier provides a record of his life, his philosophy, and his art.

Gisèle Halimi was an influential and highly regarded French-Tunisian lawyer, writer and feminist. This biography traces her childhood growing up Tunisia. She became famous for defending Djamila Boupacha (a former militant for the Algerian Liberation Front) who was raped by French soldiers. She wrote a book with Simone de Beauvoir on the subject. This edition is introduced and translated by Dorothy S. Blair. ([Le lait de l'oranger]

When the French designer Christian Dior presented his first collection in Paris in 1947, he changed fashion forever. Dior's "New Look" created a striking, romantic vision of femininity, luxury, and grace, making him--and his last name--famous overnight. One woman informed Dior's vision more than any other: his sister, Catherine, a Resistance fighter, concentration camp survivor, and cultivator of rose gardens who inspired Dior's most beloved fragrance, Miss Dior. Yet the story of Catherine's remarkable life--so different from her famous brother's--has never been told, until now. Drawing on the Dior archives and extensive research, Justine Picardie's Miss Dior is the long-overdue restoration of Catherine Dior's life. The siblings' stories are profoundly intertwined: in Occupied France, as Christian honed his couture skills, Catherine dedicated herself to the Resistance, ultimately being captured by the Gestapo and sent to Ravensbruck, the only Nazi camp solely for women. Seeking to trace Catherine's story as well as her influence on her brother, Picardie traveled to the significant places of Catherine's life, including Les Rhumbs, the Dior family villa with its magnificent gardens; the House of Dior in Paris; and La Colle Noire, Christian's chateâu that he bequeathed to his sister. Inventive and captivating, and shaped by Picardie's own journey, Miss Dior examines the legacy of Christian Dior, the secrets of postwar France, and the unbreakable bond between two remarkable siblings. Most important, it shines overdue recognition on a previously overlooked life, one that epitomized courage and also embodied the astonishing capacity of the human spirit to remain undimmed, even in the darkest circumstances. Includes Black-and-White Illustrations.

My Kingdom for a Guitar is a novel based on the remarkable life of Cameroonian-born writer and musician Francis Bebey. Born in Douala, Cameroon, Bebey studied in Paris and New York. He found fame when his first novel, Le Fils d'Agatha Moudio (Agatha Moudio's Son), was published in 1967, and that fame continued to grow with the release of his first album in 1969. He would go on to become one of the best-known singer-songwriters of Africa, whose groundbreaking style merged Cameroonian makossa with classical guitar, jazz, and pop. Narrated by Bebey's daughter, Kidi, My Kingdom for a Guitar is a tribute to her late father and his family. Through a combination of recollections and fiction, it offers the reader a chance to witness the admiration of a daughter for her father and the love of a man for his music.

Marking the 200th anniversary of his death, Napoleon is an unprecedented portrait of the emperor told through his engagement with the natural world. "How should one envisage this subject? With a great pomp of words, or with simplicity?" --Charlotte Brontë, "The Death of Napoleon" The most celebrated general in history, Napoleon Bonaparte (1769-1821) has for centuries attracted eminent male writers. Since Thomas Carlyle first christened him "our last Great Man," regiments of biographers have marched across the same territory, weighing campaigns and conflicts, military tactics and power politics. Yet in all this time, no definitive portrait of Napoleon has endured, and a mere handful of women have written his biography--a fact that surely would have pleased him. With Napoleon, Ruth Scurr, one of our most eloquent and original historians, emphatically rejects the shibboleth of the "Great Man" theory of history, instead following the dramatic trajectory of Napoleon's life through gardens, parks, and forests. As Scurr reveals, gardening was the first and last love of Napoleon, offering him a retreat from the manifold frustrations of war and politics. Gardens were, at the same time, a mirror image to the battlefields on which he fought, discrete settings in which terrain and weather were as important as they were in combat, but for creative rather than destructive purposes. Drawing on a wealth of contemporary and historical scholarship, and taking us from his early days at the military school in Brienne-le-Château through his canny seizure of power and eventual exile, Napoleon frames the general's story through the green spaces he cultivated. Amid Corsican olive groves, ornate menageries in Paris, and lone garden plots on the island of Saint Helena, Scurr introduces a diverse cast of scientists, architects, family members, and gardeners, all of whom stood in the shadows of Napoleon's meteoric rise and fall. Building a cumulative panorama, she offers indelible portraits of Augustin Bon Joseph de Robespierre, the younger brother of Maximilien Robespierre, who used his position to advance Napoleon's career; Marianne Peusol, the fourteen-year-old girl manipulated into a Christmas-Eve assassination attempt on Napoleon that resulted in her death; and Emmanuel, comte de Las Cases, the atlas maker to whom Napoleon dictated his memoirs. As Scurr contends, Napoleon's dealings with these people offer unusual and unguarded opportunities to see how he grafted a new empire onto the remnants of the ancien régime and the French Revolution. Epic in scale and novelistic in its detail, Napoleon, with stunning illustrations, is a work of revelatory range and depth, revealing the contours of the general's personality and power as no conventional biography can.

The definitive biography of the great soldier-statesman by the New York Times bestselling author of The Storm of War--winner of the Los Angeles Times Book Prize for Biography and the Grand Prix of the Fondation Napoleon Austerlitz, Borodino, Waterloo: his battles are among the greatest in history, but Napoleon Bonaparte was far more than a military genius and astute leader of men. Like George Washington and his own hero Julius Caesar, he was one of the greatest soldier-statesmen of all times. Andrew Roberts's Napoleon is the first one-volume biography to take advantage of the recent publication of Napoleon's thirty-three thousand letters, which radically transform our understanding of his character and motivation. At last we see him as he was: protean multitasker, decisive, surprisingly willing to forgive his enemies and his errant wife Josephine. Like Churchill, he understood the strategic importance of telling his own story, and his memoirs, dictated from exile on St. Helena, became the single bestselling book of the nineteenth century. An award-winning historian, Roberts traveled to fifty-three of Napoleon's sixty battle sites, discovered crucial new documents in archives, and even made the long trip by boat to St. Helena. He is as acute in his understanding of politics as he is of military history. Here at last is a biography worthy of its subject: magisterial, insightful, beautifully written, by one of our foremost historians.

Vividly evoking the political and social upheavals of post-Revolutionary France, Hibbert captures the vibrant characters who made history, not only on the battlefield but also in the bedroom, including Josephine, the charming Creole from Martinique; the plain and pliant Marie-Louise of Austria; and Marie Walewska, the sumptuous young Polish countess. of illustrations, 16 in color.

The iconic French singer comes to life in this biography, which captures Edith Piaf's immense charisma along with the time and place that gave rise to her international career. Raised by turns in a brothel, a circus caravan, and a working-class Parisian neighborhood, Piaf began singing on the city's streets, where she was discovered by a Champs Elysées cabaret owner. She became a star almost overnight, seducing all of Paris with her passionate voice, and No Regrets explores her meteoric rise; her tumultuous love affairs; and her struggles with drugs, alcohol, and illness. Piaf was an unlikely student of poetry and philosophy who aided Resistance efforts in World War II, wrote the lyrics for nearly 100 songs, including La vie en rose, and was a crucial mentor to younger singers such as Yves Montand and Charles Aznavour. Burke demonstrates how, with her courage, her incomparable art, and her universal appeal, the little sparrow endures as a symbol of France and a source of inspiration to entertainers the world over.

For many, cooking is simply the mechanical act of reproducing standard recipes. To Maryse Condé, however, cooking implies creativity and personal invention, on par with the complexity of writing a story. A cook, she explains, uses spices and flavors the same way an author chooses the music and meaning of words. In Of Morsels and Marvels, Condé takes us on a literary journey around places she has travelled to in India, Indonesia, and South Africa. She highlights the tastes and culinary traditions that are fascinating examples of a living museum. Such places, Condé explains, provide important insights into lesser-known aspects of contemporary life. One anecdote illustrates what becomes of the standard Antillean dishes of fish stew and goat curry by two Antilleans who own a restaurant in Sydney, Australia. Cuisine changes not only according to the individual cook but also adapts to foreign skies under which it is created. The author also recounts personal memories of her lifelong relationship with cooking, such as when Adélia, her family's servant, wrongly blames little Maryse for mixing raisins with fish and using her imagination in the kitchen. Blending travel with gastronomy, this enchanting volume from the winner of the 2018 Alternative Nobel Prize will delight all who marvel at the wonders of the kitchen or seek to taste the world. Richard Philcox (Translator).

A book about Jean and Melvin McNair, two American hijakcers who took control of a plane in 1972 and landed in Algeria with a ransom of one million dollars to join the international branch of the Black Panther Party. They lived in exile in France until their arrest in 1976. This work examines the working classes and Black populations in France and the issues of class and race on both sides of the Atlantic.

In the 1890s, the Pasteur Institute established a network of laboratories that stretched across France's empire, from Indochina to West Africa. Quickly, researchers at these laboratories became central to France's colonial project, helping officials monopolize industries, develop public health codes, establish disease containment measures, and arbitrate political conflicts around questions of labor rights, public works, and free association. Pasteur's Empire shows how the scientific prestige of the Pasteur Institute came to depend on its colonial laboratories, and how, conversely, the institutes themselves became central to colonial politics. This book argues that decisions as small as the isolation of a particular yeast or the choice of a laboratory animal could have tremendous consequences on the lives of Vietnamese and African subjects, who became the consumers of new vaccines or industrially fermented intoxicants. Simultaneously, global forces, such as the rise of international standards and American competitors pushed Pastorians to their imperial laboratories, where they could conduct studies that researchers in France considered too difficult or controversial. Chapters follow not just Alexandre Yersin's studies of the plague, Charles Nicolle's public health work in Tunisia, and Jean Laigret's work on yellow fever in Dakar, but also the activities of Vietnamese doctors, African students and politicians, Syrian traders, and Chinese warlords. It argues that a specifically Pastorian understanding of microbiology shaped French colonial politics across the world, allowing French officials to promise hygienic modernity while actually committing to little development. In bringing together global history, imperial history, and science and technology studies, Pasteur's Empire deftly integrates micro and macro analyses into one connected narrative that sheds critical light on a key era in the history of medicine.

Part hidden history, part love letter to creative innovation, this is the true story of an unlikely friendship between a dancer, Loie Fuller, and a scientist, Marie Curie, brought together by an illuminating discovery.   At the turn of the century, Paris was a hotbed of creativity. Technology boomed, delivering to the world electric light, the automobile, and new ways to treat disease, while imagination blossomed, creating Art Nouveau, motion pictures, and modernist literature. A pivotal figure during this time, yet largely forgotten today, Loie Fuller was an American performance artist who became a living symbol of the Art Nouveau movement with her hypnotic dances and stunning theatrical effects. Credited today as the pioneer of modern dance, she was perennially broke, never took no for an answer, spent most of her life with a female partner, and never questioned her drive. She was a visionary, a renegade, and a loyal friend.   In the early 1900s, she heard about Marie Curie's discovery of a glowing blue element and dreamed of using it to dazzle audiences on stage. While Loie's dream wouldn't be realized, her connection with Marie and their shared fascination with radium endured. Radiant is the true story of Marie Curie and Loie Fuller, two revolutionary women drawn together at the dawn of a new era by a singular discovery, and the lifelong friendship that grew out of their shared passion for enlightenment.

A major new biography of this enduringly popular artist by the world's foremost scholar of his life and work Expertly researched and beautifully written by the world's leading authority on Auguste Renoir's life and work, Renoir fully reveals this most intriguing of Impressionist artists. The narrative is interspersed with more than 1,100 extracts from letters by, to, and about Renoir, 452 of which come from unpublished letters. Renoir became hugely popular despite great obstacles: thirty years of poverty followed by thirty years of progressive paralysis of his fingers. Despite these hardships, much of his work is optimistic, even joyful. Close friends who contributed money, contacts, and companionship enabled him to overcome these challenges to create more than 4,000 paintings. Renoir had intimate relationships with fellow artists (Caillebotte, Cézanne, Monet, and Morisot), with his dealers (Durand-Ruel, Bernheim, and Vollard) and with his models (Lise, Aline, Gabrielle, and Dédée). Barbara Ehrlich White's lifetime of research informs this fascinating biography that challenges common misconceptions surrounding Renoir's reputation. Since 1961 White has studied more than 3,000 letters relating to Renoir and gained unique insight into his personality and character. Renoir provides an unparalleled and intimate portrait of this complex artist through images of his own iconic paintings, his own words, and the words of his contemporaries. "Barbara White is a biographer of courage, seriousness and unrelenting honesty. She has read and dissected about 3,000 letters about Renoir written by him, his friends, his family, as well as the newspapers of the day. Practically every member of the Renoir family has entrusted their personal documents to her - a pledge of trust totally deserved. Whenever I am asked a question about Auguste, I write to Barbara to ask her opinion or call on her knowledge, since she has become an indisputable reference for me. She is always careful and verifies facts and contexts by every route possible. The Renoir family, and Auguste himself, are very lucky that Barbara is so passionate about her subject, and I feel personally lucky to know her. I thank her from the bottom of my heart for this work of a lifetime - a magnificent success. I am very pleased that her book has been edited by the quality editors at Thames & Hudson, as it will remain a point of reference for many generations to come." - Sophie Renoir (great-granddaughter of Auguste Renoir, granddaughter of his eldest son Pierre, and daughter of Renoir's grandson Claude Renoir, Jr.), June 7, 2017.

"Who knew that such a tiny bottle housed so many secrets?" --Michael Tonello, author of Bringing Home the Birkin Tilar J. Mazzeo, author of the New York Times bestseller The Widow Clicquot (an Amazon Best of the Month book in October 2008) returns with a captivating history of the world's most famous, seductive, and popular perfume: Chanel No. 5. Mazzeo's sweeping story of the iconic scent (known as "le monstre" in the fragrance industry) stretches from Coco Chanel's early success to the rise of the seminal fragrance during the 1950s to the confirmation of its bestseller status in today's crowded perfume market. "Here is the life of one of the 20th century's most interesting and deeply complicated women, a fascinating cultural history, and the story of an extraordinary perfume." --Chandler Burr, New York Times scent critic and author of The Perfect Scent

Newton's explanations of natural laws shattered the way mankind perceived the universe, and hence were not immediately embraced. How can anyone warm to a force that could not be seen or touched? But for two women, separated by time and space but joined in their passion for Newtonian physics,that force drove them to great achievements. Brilliant, determined, and almost entirely self-taught, they dedicated their lives to explaining and disseminating Newton's discoveries.Robyn Arianrhod's Seduced by Logic tells the dual biography of Emilie du Chatelet and Mary Somerville, who, despite living a century apart, were connected by their love for mathematics and their places at the heart of the most advanced scientific society of their age. When Newton published hisrevolutionary theory of gravity in 1687, most of his Continental peers rejected it for its reliance on physical observation and mathematical insight and its lack of religious or metaphysical hypotheses. But the brilliant French aristocrat and intellectual Emilie du Chatelet and some of her earlyeighteenth-century Enlightenment colleagues - including her lover, Voltaire - realized the Principia Mathematica had changed everything, marking the beginning of theoretical science as a predictive, quantitative, and secular discipline. Emilie devoted herself to furthering Newton's ideas in France,and her translation of the Principia became the accepted French version of his work. Almost a century later, in Scotland, Mary Somerville taught herself mathematics and rose from genteel poverty to become a world authority on Newtonian physics. Living in France, she became acquainted with the workof one of Newton's proteges, Pierre Simon Laplace, and translated his six-volume Celestial Mechanics into English. It remained the standard astronomy text for the next century, and was considered the most influential work since Principia.Combining biography and history of science, Seduced by Logic not only reveals the fascinating story of two incredibly talented women, but also brings to life a period of dramatic political and scientific change. With lucidity and skill, Arianrhod reveals the intimate links between the unfoldingNewtonian revolution and the origins of intellectual and political liberty.

One day an illiterate Algerian immigrant in Lyon gave his son, Azouz Begag, a book, saying, "This book is a bird." How Begag took flight on the wings of learning is one of the stories that unfolds in this captivating autobiographical novel of growing up amid the multicultural complexities of contemporary France. Determined to leave behind the poverty of his shantytown life, Begag works to become a star pupil at the local primary school--earning the jealousy and rejection of his Arab playmates even as he contends with the anti-Arab racism of his French peers. Begag's moving and often comical account of negotiating a path between the competing cultural spaces encountered during his childhood is a compelling tale of coming of age in a world of ethnic and racial tensions. A story for all ages, it is also very much of the moment, offering unique insights into the reweaving of the social fabric of France in response to growing ethnic diversity.

Maryse Condé is one of the best-known and most beloved French Caribbean literary voices. The author of more than twenty novels, she was shortlisted for the Man Booker International Prize in 2015 and has long been recognized as a giant of black feminist literature. While Condé has previously published an autobiography of her childhood, What Is Africa to Me? tells for the first time the story of her early adult years in Africa--years formative not only for her, but also for African colonies appealing for their own independence. What Is Africa to Me? traces the late 1950s to 1968, chronicling Condé's life in Sékou Touré's Guinea to her time in Kwame N'Krumah's Ghana, where she rubbed shoulders with Malcolm X, Che Guevara, Julius Nyerere, and Maya Angelou. Accusations of subversive activity resulted in Condé's deportation from Ghana. Settling down in Sénégal, Condé ended her African years with close friends in Dakar, including filmmakers, activists, and Haitian exiles, before putting down more permanent roots in Paris. Condé's story is more than one of political upheaval, however; it is also the story of a mother raising four children as she battles steep obstacles, of a Guadeloupean seeking her identity in Africa, and of a young woman searching for her freedom and vocation as a writer. What Is Africa to Me? is a searing portrait of a literary genius--it should not be missed.

The Widow Clicquot is the New York Times bestselling business biography of the visionary young widow who built a champagne empire, became a legend in her tumultuous times, and showed the world how to live with style. Tilar J. Mazzeo brings to life the woman behind the label, Barbe-Nicole Clicquot Ponsardin, in this utterly intoxicating book that is as much a fascinating journey through the process of making this temperamental wine as a biography of a uniquely tempered and fascinating woman.

Available in English for the first time, the latest astonishing, bestselling, and award-winning book by Annie Ernaux. The Years is a personal narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present-even projections into the future-photos, books, songs, radio, television and decades of advertising, headlines, contrasted with intimate conflicts and writing notes from six decades of diaries. Local dialect, words of the times, slogans, brands and names for the ever-proliferating objects, are given voice here. The voice we recognize as the author's continually dissolves and re-emerges. Ernaux makes the passage of time palpable. Time itself, inexorable, narrates its own course, consigning all other narrators to anonymity. A new kind of autobiography emerges, at once subjective and impersonal, private and collective. On its 2008 publication in France, The Years came as a surprise. Though Ernaux had for years been hailed as a beloved, bestselling and award-winning author, The Years was in many ways a departure- both an intimate memoir "written" by entire generations, and a story of generations telling a very personal story. Like the generation before hers, the narrator eschews the "I" for the "we" (or "they", or "one") as if collective life were inextricably intertwined with a private life that in her parents' generation ceased to exist. She writes of her parents' generation (and could be writing of her own book)- "From a common fund of hunger and fear, everything was told in the "we" and impersonal pronouns."

The epic battle immortalized by William Shakespeare in his classic Henry V is the background for this breathtaking tale of heroism, love, devotion, and duty from the legendary author of the Richard Sharpe novels and the Saxon Tales. This extraordinary adventure will captivate from page one.

An ambitious and highly entertaining novel of revisionist history from the author of the international bestseller HHhH, Laurent Binet's Civilizations is nothing less than a strangely believable counterfactual history of the modern world, fizzing with ideas about colonization, empire-building, and the eternal human quest for domination. It is an electrifying novel by one of Europe's most exciting writers. Freydis is a woman warrior and leader of a band of Viking explorers setting out to the south. They meet local tribes, exchange skills, are taken prisoner, and get as far as Panama. But nobody ultimately knows what became of them. Fast forward five hundred years to 1492 and we're reading the journals of Christopher Columbus, mid-Atlantic on his own famous voyage of exploration to the Americas, dreaming of gold and conquest. But he and his men are taken captive by Incas. Even as their suffering increases, his faith in his superiority, and in his mission, is unshaken. Thirty years later, Atahualpa, the last Inca emperor, arrives in Europe in the ships stolen from Columbus. He finds a continent divided by religious and dynastic quarrels, the Spanish Inquisition, Luther's Reformation, capitalism, the miracle of the printing press, endless warmongering between the ruling monarchies, and constant threat from the Turks. But most of all he finds downtrodden populations ready for revolution. Fortunately, he has a recent bestseller as a guidebook to acquiring power--Machiavelli's The Prince. The stage is set for a Europe ruled by Incas and Aztecs, and for a great war that will change history forever.

"[A] remarkable biography....Moorehead deftly wields periods detail...to tell the story of a captivating woman who kept her sense of self amid the vicissitudes of politics." --Vogue From acclaimed biographer Caroline Moorhead comes Dancing to the Precipice, a sweeping chronicle of the remarkable life of Lucie de la Tour du Pin--"an astute, thoroughly engaging biography of a formidable woman" (Boston Globe) who, over the span of some 80 years, was witness to, and often a participant in the major social upheavals of eighteenth-century French history.

The novels of Joanne Harris are a literary feast for the senses. Five Quarters of the Orange represents Harris's most complex and sophisticated work yet -- a novel in which darkness and fierce joy come together to create an unforgettable story. When Framboise Simon returns to a small village on the banks of the Loire, the locals do not recognize her as the daughter of the infamous Mirabelle Dartigen -- the woman they still hold responsible for a terrible tragedy that, look place during the German occupation decades before. Althrough Framboise hopes for a new beginning. She quickly discovers that past and present are inextricably intertwined. Nowhere is this truth more apparent than in the scrap book of recipes site has inherited from her dead mother. With this book, Framboise re-creates her mother's dishes, which she serves in her small creperie. And yet as she studies the scrapbook -- searching for clues to unlock the contradiction between her mother's sensuous love of food and often cruel demeanor -- she begins to recognize a deeper meaning behind Mirabelle's cryptic scribbles. Whithin the journal's tattered pages lies the key to what actually transpired the summer Framboise was nine years old. Rich and dark. Fire Quarters of the Orange is a novel of mothers and daughters of the past and the present, of resisting, and succumbling, and an extraordinary work by a masterful writer.

Note: The Girl with No Shadow was published in the UK as The Lollipop Shoes Be careful what you wish for . . . Hailed as an "irresistible confection" (Entertainment Weekly), "as sweet, rich and utterly satisfying as a fine truffle" (Wall Street Journal), and "an amazement of riches" (New York Times), Chocolat won the hearts of readers and critics everywhere. At last, Joanne Harris returns with The Girl with No Shadow, an exquisite treat that continues the story that began in her international bestseller. Since she was a little girl, the wind has dictated every move Vianne Rocher has made, buffeting her from place to place, from the small French village of Lansquenet-sous-Tannes to the crowded streets of Paris. Cloaked in a new identity, that of widow Yanne Charbonneau, she opens a chocolaterie on a small Montmartre street, determined to still the wind at last and keep her daughters, Anouk and the baby, Rosette, safe. Her new home above the chocolate shop offers calm and quiet: no red sachets hang by the door; no sparks of magic fill the air; no Indian skirts with bells hang in her closet. Conformity brings with it anonymity-- and peace. There is even Thierry, the stolid businessman who wants to take care of Yanne and the children. On the cusp of adolescence, an increasingly rebellious and restless Anouk does not understand. But soon the weathervane turns . . . and into their lives blows the charming and enigmatic Zozie de l'Alba. And everything begins to change. Zozie offers the brightness Yanne's life needs. Anouk, too, is dazzled by this vivacious woman with the lollipop-red shoes who seems to understand her better than anyone-- especially her mother. Yet this friendship is not what it seems. Ruthless, devious, and seductive, Zozie has plans that will shake their world to pieces. And with everything she loves at stake, Yanne must face a difficult choice: Run, as she has done so many times before, or stand and confront this most dangerous enemy. . . .

This wild and entertaining novel expands on the true story of the West Indian slave Tituba, who was accused of witchcraft in Salem, Massachusetts, arrested in 1692, and forgotten in jail until the general amnesty for witches two years later. Maryse Condé brings Tituba out of historical silence and creates for her a fictional childhood, adolescence, and old age. She turns her into what she calls "a sort of female hero, an epic heroine, like the legendary 'Nanny of the maroons,'" who, schooled in the sorcery and magical ritual of obeah, is arrested for healing members of the family that owns her. CARAF Books: Caribbean and African Literature Translated from French.

While not historical fiction, an adventure story in translation. A stolen diamond and three right feet, wearing shoes of a non-existent brand, that wash ashore in Scotland set into motion the first plot of Island of Point Nemo, a rollicking Jules Verne-like adventure narrative that crosses continents and oceans, involves multilingual codes, a world-famous villain, and three eccentrically loopy detectives. Running parallel is the story of B@bil Books, an e-reader factory in France filled with its own set of colourful characters.

In Jean de Florette and Manon of the Springs, Marcel Pagnol (called by Andre Malraux "one of the great writers of our generation" and by Jean Renoir "the leading film artist of his age") achieve the fullest and most satisfying expression of a story that haunted him for years, a Provencal legend of vengeance exacted by a mysterious sheperdess. Pagnol brings to his treatment of this powerful, moving story his dramatist's sense of place, ambience, and character and his keen understanding of the Provencal countryside and its people. Richwith twists and ramifications, Jean de Florette and Manon of the Springs sets an idealistic city man against two secretive and deceitful Provencal country men in a superbly realized story of a struggle for life, of crime and punishment, of betrayal and revenge, and of judgment and forgiveness. In this edition, illustrated with images from the acclaimed film adaptation by Claude Berri, North Point presents Pagnol's enduring story in W.E. van Heyningen's exact and sensitive translation. Biblical in its cadences, epic in its sweep to destiny, and old fashioned in development of character and plot, this saga charts the destruction of a Provencal family.

"Woman is born free and lives equal to man in her rights," declared Olympe de Gouges in 1791. Throughout the French Revolution, women, inspired by a longing for liberty and equality, played a vital role in stoking the fervor and idealism of those years. In her compelling history of the Revolution, Lucy Moore paints a vivid portrait of six extraordinary women who risked everything for the chance to exercise their ambition and make their mark on history. At the heart of Paris's intellectual movement, Germaine de Staël was a figure like no other. Passionate, fiercely intelligent and as consumed by love affairs as she was by politics, she helped write the 1791 Constitution at the salon in which she entertained the great thinkers of the age. At the other end of the social scale, her working-class counterparts patrolled the streets of Paris with pistols in their belts. Théroigne de Méricourt was an unhappy courtesan when she fell in love with revolutionary ideals. Denied a political role because of her sex, she nevertheless campaigned tirelessly until a mob beating left her broken in both mind and body. Later came the glittering merveilleuses, whose glamour, beauty and propensity for revealing outfits propelled them to the top of post-revolutionary society. Exuberant, decadent Thérésia Tallien reportedly helped engineer Robespierre's downfall. In so doing, she and her fellow "sans-chemises" ushered in a new world that combined sexual license with the amorality of the new Republic.

France, 1939 - In the quiet village of Carriveau, Vianne Mauriac says goodbye to her husband, Antoine, as he heads for the Front. She doesn't believe that the Nazis will invade France ... but invade they do, in droves of marching soldiers, in caravans of trucks and tanks, in planes that fill the skies and drop bombs upon the innocent. When a German captain requisitions Vianne's home, she and her daughter must live with the enemy or lose everything. Without food or money or hope, as danger escalates all around them, she is forced to make one impossible choice after another to keep her family alive. Vianne's sister, Isabelle, is a rebellious eighteen-year-old girl, searching for purpose with all the reckless passion of youth. While thousands of Parisians march into the unknown terrors of war, she meets Gäetan, a partisan who believes the French can fight the Nazis from within France, and she falls in love as only the young can completely. But when he betrays her, Isabelle joins the Resistance and never looks back, risking her life time and again to save others. With courage, grace, and powerful insight, bestselling author Kristin Hannah captures the epic panorama of World War II and illuminates an intimate part of history seldom seen: the women's war. The Nightingale tells the stories of two sisters, separated by years and experience, by ideals, passion and circumstance, each embarking on her own dangerous path toward survival, love, and freedom in German-occupied, war-torn France--a heartbreakingly beautiful novel that celebrates the resilience of the human spirit and the durability of women. It is a novel for everyone, a novel for a lifetime. Goodreads Best Historical Novel of the Year * People's Choice Favorite Fiction Winner * #1 Indie Next Selection * A Buzzfeed and The Week Best Book of the Year Praise for The Nightingale: "Haunting, action-packed, and compelling." --Christina Baker Kline, #1New York Times bestselling author "Absolutely riveting!...Read this book." --Dr. Miriam Klein Kassenoff, Director of the University of Miami Holocaust Teacher Institute "Beautifully written and richly evocative." --Sara Gruen, #1New York Times bestselling author "A hauntingly rich WWII novel about courage, brutality, love, survival--and the essence of what makes us human." --Family Circle "A heart-pounding story." --USA Today "An enormous story. Richly satisfying.I loved it." --Anne Rice "A respectful and absorbing page-turner." --Kirkus Reviews "Tender, compelling...a satisfying slice of life in Nazi-occupied France." --Jewish Book Council "Expect to devour The Nightingale in as few sittings as possible; the high-stakes plot and lovable characters won't allow any rest until all of their fates are known." --Shelf Awareness "I loved The Nightingale." --Lisa See, #1 New York Times bestselling author "Powerful...an unforgettable portrait of love and war." --People. A #1 New York Times bestseller, Wall Street Journal Best Book of the Year, and soon to be a major motion picture, this unforgettable novel of love and strength in the face of war has enthralled a generation.

An unforgettable story of resilience and resistance set during WWII and present-day France on a secluded island off the coast of Brittany An unforgettable story of resilience and resistance set during WWII and present-day France on a secluded island off the coast of Brittany Natalie Morgen made a name for herself with a memoir about overcoming her harsh childhood after finding a new life in Paris. After falling in love with a classically trained chef, they moved together to his ancestral home, a tiny fishing village off the coast of Brittany. But then Francois-Xavier breaks things off with her without warning, leaving her flat broke and in the middle of renovating the guesthouse they planned to open for business. Natalie's already struggling when her sister, Alex, shows up unannounced. The sisters form an unlikely partnership to save the guesthouse, reluctantly admitting their secrets to each other as they begin to heal the scars of their shared past. But the property harbors hidden stories of its own. During World War II, every man of fighting age on the island fled to England to join the Free French forces. The women and children were left on their own...until three hundred German troops took up residence, living side-by-side with the French women on the tiny island for the next several years. When Natalie and Alex unearth an old cookbook in a hidden cupboard, they find handwritten recipes that reveal old secrets. With the help of locals, the Morgen sisters begin to unravel the relationship between Violette, a young islander whose family ran the guesthouse during WWII, and Rainier, a German military customs official with a devastating secret of his own.

An acclaimed bestseller and international sensation, Patrick Suskind's classic novel provokes a terrifying examination of what happens when one man's indulgence in his greatest passion--his sense of smell--leads to murder. In the slums of eighteenth-century France, the infant Jean-Baptiste Grenouille is born with one sublime gift--an absolute sense of smell. As a boy, he lives to decipher the odors of Paris, and apprentices himself to a prominent perfumer who teaches him the ancient art of mixing precious oils and herbs. But Grenouille's genius is such that he is not satisfied to stop there, and he becomes obsessed with capturing the smells of objects such as brass doorknobs and fresh-cut wood. Then one day he catches a hint of a scent that will drive him on an ever-more-terrifying quest to create the "ultimate perfume"--the scent of a beautiful young virgin. Told with dazzling narrative brilliance, Perfume is a hauntingly powerful tale of murder and sensual depravity. Translated from the German by John E. Woods.

Capturing the violence, tragedy, history, and drama of the French Revolution, this novel focuses on the families and loves of three men who led the Revolution--Danton, the orator; Robespierre, the cold rationalist; and Desmoulins, a fellow conspirator.

A mesmerizing tale of art and passion in Belle Époque France As a woman, aspiring sculptor Camille Claudel has plenty of critics, especially her ultra-traditional mother. But when Auguste Rodin makes Camille his apprentice--and his muse--their passion inspires groundbreaking works. Yet, Camille's success is overshadowed by her lover's rising star, and her obsessions cross the line into madness. Rodin's Lover brings to life the volatile love affair between one of the era's greatest artists and a woman entwined in a tragic dilemma she cannot escape.

For fans of Kristin Hannah's The Nightingale and Martha Hall Kelly's Lilac Girls, this powerful novel of fate, resistance, and family--by the international bestselling author of The Sweetness of Forgetting and When We Meet Again--tells the tale of an American woman, a British RAF pilot, and a young Jewish teenager whose lives intersect in occupied Paris during the tumultuous days of World War II. When newlywed Ruby Henderson Benoit arrives in Paris in 1939 with her French husband Marcel, she imagines strolling arm in arm along the grand boulevards, awash in the golden afternoon light. But war is looming on the horizon, and as France falls to the Nazis, her marriage begins to splinter, too. Charlotte Dacher is eleven when the Germans roll into the French capital, their sinister swastika flags snapping in the breeze. After the Jewish restrictions take effect and Jews are ordered to wear the yellow star, Charlotte can't imagine things getting much worse. But then the mass deportations begin, and her life is ripped forever apart. Thomas Clarke joins the British Royal Air Force to protect his country, but when his beloved mother dies in a German bombing during the waning days of the Blitz, he wonders if he's really making a difference. Then he finds himself in Paris, in the shadow of the Eiffel Tower, and he discovers a new reason to keep fighting--and an unexpected road home. When fate brings them together, Ruby, Charlotte, and Thomas must summon the courage to defy the Nazis--and to open their own broken hearts--as they fight to survive. Rich with historical drama and emotional depth, this is an unforgettable story that will stay with you long after the final page is turned.

By the early 1940s, when Ukrainian-born Irène Némirovsky began working on what would become Suite Française-the first two parts of a planned five-part novel-she was already a highly successful writer living in Paris. But she was also a Jew, and in 1942 she was arrested and deported to Auschwitz: a month later she was dead at the age of thirty-nine. Two years earlier, living in a small village in central France-where she, her husband, and their two small daughters had fled in a vain attempt to elude the Nazis-she'd begun her novel, a luminous portrayal of a human drama in which she herself would become a victim. When she was arrested, she had completed two parts of the epic, the handwritten manuscripts of which were hidden in a suitcase that her daughters would take with them into hiding and eventually into freedom. Sixty-four years later, at long last, we can read Némirovsky's literary masterpiece The first part, A Storm in June, opens in the chaos of the massive 1940 exodus from Paris on the eve of the Nazi invasion during which several families and individuals are thrown together under circumstances beyond their control. They share nothing but the harsh demands of survival-some trying to maintain lives of privilege, others struggling simply to preserve their lives-but soon, all together, they will be forced to face the awful exigencies of physical and emotional displacement, and the annihilation of the world they know. In the second part, we enter the increasingly complex life of a German-occupied provincial village. Coexisting uneasily with the soldiers billeted among them, the villagers-from aristocrats to shopkeepers to peasants-cope as best they can. Some choose resistance, others collaboration, and as their community is transformed by these acts, the lives of these these men and women reveal nothing less than the very essence of humanity. Suite Française is a singularly piercing evocation-at once subtle and severe, deeply compassionate and fiercely ironic-of life and death in occupied France, and a brilliant, profoundly moving work of art.

This extremely well-received series set in central France during World War II, A French Village explores the story of French collaboration, resistance, and simple survival during the German occupation. The series illuminates the agonizing choices people face when survival means treachery and resistance torture and death. This is the first of the "novelization" of the French television series. It follows the series closely and has become a popular series in France.

The final adventure in the beloved and bestselling Margaret of Ashbury trilogy, which began with A Vision of Light and In Pursuit of the Green Lion. Margaret of Ashbury is ready to settle down; the medieval healer is looking forward to an uneventful life in the country. And, indeed, life with her true love and a brood of rambunctious children is nearly perfect--except for her husband Gregory's ever-meddling family. Finding himself deep in debt once again, Gregory's father has plotted to sell Margaret's daughter off in marriage to save his woodlands from a greedy abbot. In a panic, Margaret turns to her old friend Brother Malachi to help save her daughter by whatever means necessary. The tension within the feuding family rouses an ancient being that dwells in a spring at the center of the disputed woodland. The watery creature has its own plans, and its eye is on Margaret's infant son. Favorite characters return, the stakes are high, and the air is thick with intrigue and danger. Written with the historical accuracy, supernatural plot twists, and humor that Riley's readers have grown to love, The Water Devil is a high-spirited adventure that brings Margaret's odyssey to a satisfying conclusion.

The dramatic lives of two bold, independent adventurers--Paul Gauguin and his grandmother Flora Tristan, a trailblazing women's suffragist--are imagined by "one of the master storytellers of our time". In 1844, Flora Tristan embarked on a tour of France to campaign for workers' and women's rights. In 1891, her grandson Paul Gauguin set sail for Tahiti, determined to escape civilization and paint primitive masterpieces. Flora died before her grandson was born, but their travels and obsessions unfold side by side in this deft, utterly absorbing novel. Flora, the illegitimate child of a wealthy Peruvian father and French mother, grows up in poverty, and after fleeing a brutal husband, journeys to Peru to demand her inheritance. On her return, she makes her name as a popular writer and a champion of the downtrodden, setting herself the arduous task of touring the French countryside to recruit members for her Workers' Union. Paul, struggling painter and stubborn visionary, abandons his wife and five children for life in the South Seas, where his dreams of paradise are poisoned by syphilis, the stifling forces of French colonialism, and a chronic lack of funds, though he has his pick of teenage Tahitian lovers and paints some of his greatest works.

Set amid the champagne vineyards of northern France during the darkest days of World War II. Perfect for fans of Kristin Hannah's The Nightingale and Julia Kelly's The Light Over London. Champagne, 1940: Inès has just married Michel, the owner of storied champagne house Maison Chauveau, when the Germans invade. As the danger mounts, Michel turns his back on his marriage to begin hiding munitions for the Résistance. Inès fears they'll be exposed, but for Céline, half-Jewish wife of Chauveau's chef de cave, the risk is even greater--rumors abound of Jews being shipped east to an unspeakable fate. When Céline recklessly follows her heart in a desperate bid for happiness, and Inès makes a dangerous mistake with a Nazi collaborator, they risk the lives of those they love--and the champagne house that ties them together. New York, 2019: Liv Kent has just lost everything when her eccentric French grandmother shows up unannounced, insisting on a trip to France. But the older woman has an ulterior motive--and a tragic, decades-old story to share. When past and present finally collide, Liv finds herself on a road to salvation that leads right to the caves of the Maison Chauveau. A spellbinding and exceptional tale of love, courage, and betrayal, "once you start reading this moving novel, you will not be able to put it down until you reach the last page" (Armando Lucas Correa, author of The German Girl).