Posts filed under 'Surrealism'

Marcel Schwob’s “Mimes” – Prologue, Mime I

Post one of Asymptote Blog's serial translation of a hallucinatory, undiscovered French work by a revered fin-de-siècle author

Read all the posts in Asymptote’s “Mimes” translation project here

“We rarely live our own life with pleasure. We almost always try to die of a death other than our own.” – Marcel Schwob, Spicilège

“Nous vivons rarement avec plaisir de notre vraie vie. Nous essayons presque toujours de mourir d’une autre mort que la nôtre.”

Marcel Schwob, a Jewish French writer beloved by Alfred Jarry, Jorge Luis Borges, and Michel Leiris, was born in 1867 and died at an early age in 1905. Scholar of ancient Greek and Latin literature, translator of Robert Louis Stevenson and Thomas De Quincey into French, specialist in fifteenth-century French literature (especially the poetry of outlaw poet François Villon)—Schwob steeped himself in the literature of the past while defying countless literary and philosophical boundaries in his own works. From Le Livre de Monelle, recently translated into English by Kit Schluter, which so influenced Michel Leiris that Leiris called reading it a “capital event” and based an episode of Aurora around it (Oeuvres, 17), to Schwob’s inquiry into the nature of argot, Schwob’s works mark an unprecedented, important turn in the history of French literature.

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“Damien, or, Intimations” by Louis Aragon Translated from the French by Damion Searls

“When I was young I brushed my teeth with a straight piece of bone, the bristles were thick and hard like a wheat field, until my mother would rub her finger over them and complain ‘Damien, that’s disgusting, you know you’re supposed to say when your brush is worn out!’ and throw the thing in the drawer of the painted sideboard. Later, in the years when I was still wearing long, striped bathing suits, we had slightly curved implements, the handles I mean. The bristles were in clusters separated by a little gap, like a flowerbed, and on the back there were little holes in the furrows and thin colored lines, like on the bathing suits… They lost their bristles very fast, and then my mother blamed me for getting rid of them too often. I don’t know why we didn’t throw away toothbrushes at our house. There was a drawer full of them, out of commission—a toothbrush graveyard. The sideboard Aunt Cécile had painted was a Campo Santo of objects: we put everything broken, or no longer used, in there… Then came the era of metal brushes. It was after I came back from the regiment. They were pitiful things. The others, the bone ones, turned yellow, but it didn’t help to call the steel in the new ones stainless, it aged very badly.” READ MORE…