Entretiens avec le Professeur Y. ( Pré-originales en exemplaire de luxe sur vélin pur fil) - - - - ... Entretiens avec le Professeur Y. ( Pré-originales en exemplaire de luxe sur vélin pur fil) - - - - ... Entretiens avec le Professeur Y. ( Pré-originales en exemplaire de luxe sur vélin pur fil) - - - - ...

Entretiens avec le Professeur Y. ( Pré-originales en exemplaire de luxe sur vélin pur fil) - - - - First publication in review before publication in volume, the following year, in bookstores. Luxury copy on vellum paper

CELINE Louis-Ferdinand

Published by Gallimard, La Nouvelle Revue Française, 1954
Used Couverture rigide

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5 volumes in 8° brochés conservés dans un bel emboitage de David Joset. Edition pré-originale du livre de Céline paru fin 1955 en cinq livraisons de La Nouvelle Revue Française numéros 18, 23, 24, 26, et 28, 1954/1955, un des quelques exemplaires sur vélin pur fil. "Au total, si vous regardez bien, vous verrez nombre d'écrivains finir dans la dèche, tandis que vous trouverez rarement un éditeur sous les ponts. N'est-ce pa cocasse? je parlais de tout ceci à Gaston, l'autre jour, Gaston Gallimard. et Gaston en connaît un bout, vous pensez !.Il trouvait, pour ce qui me concerne, que je devrais bien essayer de rompre le silence qui m'a fait tant de tort! .il est mécène, c'est entendu, Gaston. Mais il est commerçant aussi, Gaston. je voulais pas lui faire de peine." Un des livres les plus drôle de Celine. L'un même des meilleurs selon Pierre Macherey "A quoi pense la littérature" (1990) et Henri Godard "Une grande génération : Céline, Malraux, Guilloux, Giono, Montherlant, Malaquais, Sartre, Queneau, Simon", Gallimard, coll. « Blanche », 2003, qui en fait le meilleur écrit de Celine d'après-guerre. - - - - - - Interviews with Professor Y is a short text by Louis-Ferdinand Céline, published in 1955, which constitutes a sort of Ars poetica. Volume I of Féerie for another time not having received the expected success, Céline wanted to accompany the release of volume II (Normance, 1955) with maximum publicity and erase the damage caused by all her years of exile in Germany and Denmark. He therefore suggested that Gaston Gallimard write his own eulogy in the form of a short text close to the article of faith. These interviews, which ultimately form one, appeared in the Nouvelle Revue française in 1954, then in volume in 1955. This imaginary interview, as funny as it is wacky and fierce, is for Céline the opportunity for a great release of steam. , in which he speaks with passion about his style, his conception of literature, and spits all his gall on the world of letters. Convinced of being a cursed writer, mistreated by his own publisher - which will be a refrain of future Célinian works - Céline arranges a meeting with an author from Gallimard to play the game of "interviouwe" . His imaginary interlocutor, Professor Y, alias Colonel Réséda, whom he has chosen to be very hostile and mediocre - since he ends up losing his means and pissing himself -, appears as a poor "interviouweur" and a grotesque puppet; Céline has to ask him all the questions and repeat the answers to him. This interviouwe is a way of criticizing one's own publisher and the ambient literary climate. Note that the American and Jewish academic Milton Hindus, who met Céline in 1948, during her exile in Denmark, and tried to help her, appears to be the real model of Professor Y. Milton Hindus is also the author of L .-F. Céline as I saw it (The Crippled Giant, 1950), the first biographical book devoted to the writer. This parody of literary interviews conceals a vehement poetic art. Céline criticizes the tastes of the public, its attraction to the false, the inauthentic, its preference for chromos novels written by mediocre authors and in a mummified academic language. The only one to have understood the urgency of evolving as cinema intimates literature - as photography once did to painting -, he thinks he has disrupted the novel genre through his "emotional style" which he characterizes by the use of ellipsis and slang. This tiny but brilliant discovery consists of restoring the emotion of spoken language in writing. The metaphor of the metro whose rails are purposely profiled exposes the terrorist role that Céline gives himself with regard to readers: he wants to take them away at all costs in his emotional train . Rejected for his anti-Semitic pamphlets, he made open conflict with the public the cornerstone of his texts. Seller Inventory # LOEW295

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Title: Entretiens avec le Professeur Y. ( ...
Publisher: Gallimard, La Nouvelle Revue Française
Publication Date: 1954
Binding: Couverture rigide
Condition: Comme neuf
Edition: Edition originale

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CELINE Louis-Ferdinand
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Seller: Librairie Lalibela, Ckelles, PARIS, France

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Couverture rigide. Condition: Comme neuf. Edition originale. 5 volumes in 8° brochés conservés dans un bel emboitage de David Joset. Edition pré-originale du livre de Céline paru fin 1955 en cinq livraisons de La Nouvelle Revue Française numéros 18, 23, 24, 26, et 28, 1954/1955, un des quelques exemplaires sur vélin pur fil. "Au total, si vous regardez bien, vous verrez nombre d'écrivains finir dans la dèche, tandis que vous trouverez rarement un éditeur sous les ponts. N'est-ce pa cocasse? je parlais de tout ceci à Gaston, l'autre jour, Gaston Gallimard. et Gaston en connaît un bout, vous pensez !.Il trouvait, pour ce qui me concerne, que je devrais bien essayer de rompre le silence qui m'a fait tant de tort! .il est mécène, c'est entendu, Gaston. Mais il est commerçant aussi, Gaston. je voulais pas lui faire de peine." Un des livres les plus drôle de Celine. L'un même des meilleurs selon Pierre Macherey "A quoi pense la littérature" (1990) et Henri Godard "Une grande génération : Céline, Malraux, Guilloux, Giono, Montherlant, Malaquais, Sartre, Queneau, Simon", Gallimard, coll. « Blanche », 2003, qui en fait le meilleur écrit de Celine d'après-guerre. - - - - - - Interviews with Professor Y is a short text by Louis-Ferdinand Céline, published in 1955, which constitutes a sort of Ars poetica. Volume I of Féerie for another time not having received the expected success, Céline wanted to accompany the release of volume II (Normance, 1955) with maximum publicity and erase the damage caused by all her years of exile in Germany and Denmark. He therefore suggested that Gaston Gallimard write his own eulogy in the form of a short text close to the article of faith. These interviews, which ultimately form one, appeared in the Nouvelle Revue française in 1954, then in volume in 1955. This imaginary interview, as funny as it is wacky and fierce, is for Céline the opportunity for a great release of steam. , in which he speaks with passion about his style, his conception of literature, and spits all his gall on the world of letters. Convinced of being a cursed writer, mistreated by his own publisher - which will be a refrain of future Célinian works - Céline arranges a meeting with an author from Gallimard to play the game of "interviouwe" . His imaginary interlocutor, Professor Y, alias Colonel Réséda, whom he has chosen to be very hostile and mediocre - since he ends up losing his means and pissing himself -, appears as a poor "interviouweur" and a grotesque puppet; Céline has to ask him all the questions and repeat the answers to him. This "interviouwe" is a way of criticizing one's own publisher and the ambient literary climate. Note that the American and Jewish academic Milton Hindus, who met Céline in 1948, during her exile in Denmark, and tried to help her, appears to be the real model of Professor Y. Milton Hindus is also the author of L .-F. Céline as I saw it (The Crippled Giant, 1950), the first biographical book devoted to the writer. This parody of literary interviews conceals a vehement poetic art. Céline criticizes the tastes of the public, its attraction to the false, the inauthentic, its preference for "chromos" novels written by mediocre authors and in a mummified academic language. The only one to have understood the urgency of evolving as cinema intimates literature - as photography once did to painting -, he thinks he has disrupted the novel genre through his "emotional style" which he characterizes by the use of ellipsis and slang. This tiny but brilliant discovery consists of restoring the emotion of spoken language in writing. The metaphor of the metro whose rails are "purposely profiled" exposes the terrorist role that Céline gives himself with regard to readers: he wants to take them away at all costs in his "emotional train". Rejected for his anti-Semitic pamphlets, he made open conflict with the public the cornerstone of his texts. Seller Inventory # VEYH307

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