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Proust Among the Stars: How To Read Him; Why Read Him?
Malcolm Bowie
The first book to address everyone who relishes reading Proust and wants to know more about how his writing works.This is a matchless close reading of a literary masterpiece, In Search of Lost Time, and a lesson in how to read the Great Books profitably and pleasurably.‘Read this excellent book’ Stuart Jeffries, Guardian‘Very refreshing… a splendidly tough-minded and generous introduction’ Gabriel Josipovici, Independent‘Brilliant’ Peter Conrad, Observer‘A splendidly thought-filled book’ Eric Griffiths, Evening StandardA book that recalls that Proust’s novel is one of the great exercises in speculative imagining in the world’s literature; and that its originality lies first in the quality of Proust’s textual invention, page after page, line after line. Art, death, sex, politics, loss, guilt, morality – all Proust’s major themes are here in all their glory, but revealed close up.
COPYRIGHT (#ulink_3370b208-bffd-5b3f-ba0f-dd1c463e5fac)
William Collins
An imprint of HarperCollinsPublishers,
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First published in Great Britain by HarperCollinsPublishers 1998
Copyright © Malcolm Bowie
Malcolm Bowie asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
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Source ISBN: 9780006863557
Ebook Edition © JUNE 2016 ISBN: 9780008193324
Version: 2016-06-06
PRAISE (#ulink_ef1e3ded-1b43-5b84-9505-6f104c02f3be)
More from the reviews
‘The great strength of the book lies in the way Professor Bowie traces the alternating rhythms of Proust’s sensibility in the looping movement of his complex sentences and of his meandering narrative … The overriding subject of Proust Among the Stars and its major contribution to Proust studies is a rhythm that lies both in “the periodic concentration and dispersal of the narrator’s sense of selfhood” and in the “alternating copiousness and restraint” of the novel’s deployment of language. Bowie’s discussions of the foldings and unfoldings in Proust’s sentences and in his convoluted storyline contribute to the sustained demonstration that Proust’s novel breathes, that it develops the sensible pulse of a living thing. A responsive reader soon begins to sense the alternating rhythms that propel the novel: solitude and society, elation and despair, plenitude and nothingness. Bowie encourages us to hear these vital rhythms in every aspect of Proust’s work … Like Baudelaire, Proust found a way which to describe the vast arena in which life, both individual and general, enacts its elaborate dance, alternating ceaselessly between sturdiness and precariousness. We all inhabit that arena. Yet without literary works as revealing as these, we barely recognise it.’
ROGER SHATTUCK, TLS
‘Very refreshing … read this splendidly tough-minded and generous introduction’
GABRIEL JOSIPOVICI, Independent
‘Just, discriminating, deft and learned.’
ROBIN PURVES, Glasgow Herald
‘Ripplingly intricate … Bowie is as at home with the intellectually complex (he has written on Mallarmé and the Art of Being Difficult), as with the indomitably tortuous (a surprisingly agreeable primer on Lacan), acutely shading in with expert deftness the cross-hatchings of feelings and commitment within A la recherche.’
ERIC GRIFFITHS, Evening Standard
‘Clear and inventively analytical’
ROBERT NYE, Scotsman
‘Subtle and beautiful’
PETER CONRAD, Observer
‘The love and knowledge Malcolm Bowie demonstrates in Proust Among the Stars makes this the book for existing and would-be buffs’
LISA APPIGNANESI, Independent, Books of the Year
‘A trenchant, affectionate and beautifully written study.’
EUAN CAMERON, Tablet
‘There are plenty of quotations from Proust in Bowie’s book; none, though, have drifted free from its moorings; all beat us back ceaselessly to what he calls that “three thousand page incantation, an insolently protracted exercise in word-magic”. Proust is worth it. Bowie’s book helps explain why.’
STUART JEFFRIES, Guardian
‘A searching attempt to grasp the nature of Proust’s vast project [written with] sheer passionate thoughtfulness. Bowie gives brilliant analyses of Proust’s long sentences, showing how the wavering movement of feeling in them can actually lift the reader up into an experience like the uneasy rise and culmination – or the frustration – of physical desire … The final chapter draws Bowie’s argument together through a reflection on the scene where Marcel and Albertine lie together at night on Balbec beach. This is where we find Proust “among the stars”. At one moment “the stars are a pure scattering of luminous points, and turn the narrator into a scatterbrain”. This images the book’s variety and richness. The next minute the stars have become constellations – symbols of the book’s colossal architecture. Bowie proceeds from here to a final, fascinating consideration of all the other meanings of ‘stars’ in Ala recherche. I think he gets three or four stars himself for this fresh and ardent book.’
DERWENT MAY, The Times
EPIGRAPH (#ulink_2872cce5-624f-5b46-bfad-691e8f42fd01)
Sind wir nicht auch ein Weltgebaude, so gut als der Sternenhimmel, und eines das wir besser kennen solten, und besser kennen könnten, sollte man denken, als das dort oben?
GEORG CHRISTOPH LICHTENBERG, Gedankenbücher
Are we too not a cosmic system, and one we know better, or at least ought to know better, than we do the heavenly firmament?
Notebooks
It would indeed give me a certain household joy to quit this lofty seeking, this spiritual astronomy, or search of stars, and come down to warm sympathies with you; but then I know well I shall mourn always the vanishing of my mighty gods.
RALPH WALDO EMERSON, ‘Friendship’
LET THE MILKY WAY BE SPLIT INTO THE MILKY WAY OF INVENTOR/EXPLORERS AND THE MILKY WAY OF INVESTOR/EXPLOITERS
VELIMIR KHLEBNIKOV, The Trumpet of the Martians
CONTENTS
COVER (#u28cc61a3-30d0-5641-97a6-aa3bc306f158)
TITLE PAGE (#u8058da19-e9f9-51f0-96b3-1e18a090bc5f)
COPYRIGHT (#ulink_01f92ca9-dc05-5e8d-b080-dad9f3c8b7a7)
PRAISE (#ulink_67ab1814-69cc-521d-973a-ba4a488a338f)
EPIGRAPH (#ulink_128624b7-2d90-5e34-acf6-db5a7766b589)
Note on Texts and Translations (#ulink_041fb148-2eba-541d-9b37-315333a5cb07)
Preface (#ulink_268ed102-a3a9-5ada-9760-7aa8d63a8672)
I Self (#ulink_35f5d9cc-c280-5eeb-a528-2b1491611444)
II Time
III Art
IV Politics
V Morality
VI Sex
VII Death
Epilogue
NOTES
ACKNOWLEDGEMENTS
FURTHER READING
INDEX
ABOUT THE AUTHOR
ABOUT THE PUBLISHER
Note on Texts and Translations (#ulink_a744ffcb-e3ff-53a9-9578-890185fa8910)
My Proust quotations are taken from the new Pléiade edition of A la recherche du temps perdu (4 volumes under the general editorship of Jean-Yves Tadié, Paris, Gallimard, 1987–9), and accompanied in my main text by volume number and page. English translations of each passage quoted are taken from C. K. Scott Moncrieff’s version as revised by Terence Kilmartin, and further revised, to take account of the additions and corrections made by Tadié and his team, by D. J. Enright (6 volumes, Chatto and Windus, 1992), and again accompanied by volume and number and page. I have silently corrected a number of minor errors in this admirable English version.
The novel itself, and its component volumes, are referred to by their French titles throughout:
A la recherche du temps perdu (In Search of Lost Time)
Du côté de chez Swann* (Swann’s Way)
A l’ombre des jeunes filles en fleurs (Within a Budding Grove)
Le Côté de Guermantes (The Guermantes Way)
Sodome et Gomorrhe (Sodom and Gomorrah)
La Prisonnière (The Captive)
Albertine disparue (The Fugitive)
Le Temps retrouvé (Time Regained)
* This volume is subdivided into ‘Combray’, ‘Un Amour de Swann’ (‘Swann in Love’), and ‘Noms de pays: le nom’ (‘Place-Names: The Name’).
Sources for all other quotations and references are provided in the Notes section (below, pp. 329–38).
Preface (#ulink_24319215-2a01-57b8-b244-215765e5bea2)
Le seul véritable voyage, le seul bain de Jouvence, ce ne serait pas d’aller vers de nouveaux paysages, mais d’avoir d’autres yeux, de voir l’univers avec les yeux d’un autre, de cent autres, de voir les cent univers que chacun d’eux voit, que chacun d’eux est; et cela nous le pouvons avec un Elstir, avec un Vinteuil, avec leurs pareils, nous volons vraiment d’étoiles en étoiles.
MARCEL PROUST, A la recherche du temps perdu
The only true voyage, the only bath in the Fountain of Youth, would be not to visit strange lands but to possess other eyes, to see the universe through the eyes of another, of a hundred others, to see the hundred universes that each of them sees, that each of them is; and this we can do with an Elstir, with a Vinteuil; with men like these we do really fly from star to star.
In Search of Lost Time
When it comes to the lives and the living quarters of great writers, I have done my share of snooping. Prague beckoned me because it was Kafka’s city, and Dublin because it was Joyce’s. To Monterey I went, my nostrils ready flared for the fish-stink of Steinbeck’s Cannery Row, and to Key West to booze in Hemingway’s favourite bars, and to Chawton in Hampshire to run a surreptitious hand across the table at which Emma and Persuasion were written. I have climbed Skiddaw in the footsteps of Keats, Helvellyn in those of Coleridge, and been driven by bus to the summit of Mont Ventoux, apologising self-importantly to the shade of Petrarch for not repeating the poet’s pedestrian ascent of 1336. In Ravenna I have paused before Dante’s tomb, and in Stinsford churchyard before the last resting place of Thomas Hardy’s heart. Lisbon was Pessoa, Mexico City was Octavio Paz, and Athens became Thucydides for a moment when a taxi-driver spoke of him as if he were a still-living family friend.
I report all this scurrying about of mine without feelings of pride or shame, for tourism has always struck me as a harmless passion, and the literary pilgrimage in particular as the very model of a wholesome leisure pursuit. Besides, my journeys seemed always to enhance rather than damage the pleasures of reading: standing there in yuppified, odourless, modern Monterey, I began to thirst again for the exuberant low life that Steinbeck’s writing conjures into being; the very smoothness of Jane Austen’s table reminded me of all that was edgy and abrasive in her prose.
Those were my excuses anyway. And they left me ill-prepared for my most recent visit to Cabourg on the Normandy coast. I had known this unremarkable town long ago, and had grown accustomed to the huge hump of its Grand Hotel looming up through the autumn mists. Then as now the hotel was the only peculiarity of the place, but it was of a type that numberless small resorts to the east and west also boasted. I would have shrugged in lofty indifference if I had been told that Cabourg was the main model for Proust’s enchanted Balbec, and would have refused to make any practical connection at all between the seaside temple to Eros that appears in his novel and the large commercial establishment perched greyly upon the promenade.
The first mistake I made, coming back to Cabourg after many years, was to order breakfast on the hotel terrace, alongside what was by then already known as the ‘promenade Marcel Proust’, and the second was to persuade myself almost successfully that I could see the celebrated ‘little band’ of young girls flitting back and forth on the otherwise deserted beach. Here was perdition indeed for any serious admirer of Proust’s A la recherche du temps perdu (1913–27). Here was a world of would-be Proustian experience that seemed not to require that the novel be read, a universe parallel to that of Proust’s text and maintained in being by the combined forces of gossip, travelogue and voyeuristic biographical speculation. Just as no one need see King Lear performed to find out roughly what goes on in the play, no one need embark on Proust’s long sentences and involved semantic textures to be charmed by Albertine and her friends, or by the petite madeleine, or by Mme Verdurin’s long climb from the bourgeoisie to the aristocracy. Knowledge of these things is amply available from commentaries on the novel; and Proust’s life, including his summer holidays, has been turned into such convincing and accessible near-novels by biographers like André Maurois and George Painter that the alchemical transformation he himself performed on that life can easily seem slack and shapeless in comparison.
I began to know in Cabourg a fear that I had not known at any other of my literary destinations. This was the fear that I might lose a supreme work of literature and never get it back; that I would resign myself to a non-reading knowledge of the novel, a Proust of tea-parties and table-talk, of selected short quotations and haunting images that had long ago drifted free of their original textual moorings. Obvious truths suddenly needed restating: if Proust’s life had been in some respects mad, his novel was madder; if Proust the man had been both a snob and an egalitarian, his novel pressed this contradiction to a point of sublime extremity; if homosexuality had brought everyday excitement and anxiety to Proust as a biographical subject, it had become exorbitantly fascinating to the novel’s narrator – a spur to scientific curiosity, an endless adventure of the imagination, an Eleusinian mystery cult. Why settle for an ordinary ‘writer’s life’ when this flagrant fiction was at hand? The little band were not Cabourg summer residents. The only place where Albertine and the others could live their Protean or Mephistophelian lives was on the farther shore of literary invention.
What follows, then, is an introduction to Proust’s bulky book, and a tribute to the imaginative energy that propels it page after page. While I have no wish to deprive Cabourg, Illiers-Combray, the boulevard Haussmann or the Père Lachaise cemetery of their status as places of pilgrimage, or as stations on Proust’s own journey towards artistic triumph, I shall argue here for the superior magnetism of his writing. My book offers a series of return routes to the dazzling procession of Proust’s paragraphs, and a series of modest shrines to plurality, paradox and contradiction. Those paragraphs, to be sure, send the reader outwards to the real world, but to a wide and various world, rather than to the thin thread of Proust’s biography.
A majestic respiratory rhythm is at work in A la recherche du temps perdu. On the one hand, the narrator of the novel has a mania for multiplicity, wants the world to contain more things rather than fewer, and stands guard over an unstoppable transformational machine. He speaks of the hundreds, thousands and millions of opportunities for new perception that the world affords, and of the novelist as an insatiable traveller in outer and inner space, always on the move and always driven by the demon of imagination to actualise the potential forms of things. How wrong I was, and how dishonest, this narrator cries in La Prisonnière, to begin the present volume so schematically and with such a thinned-down sense of what the world has in it: ‘ce n’est pas un univers, c’est des millions, presque autant qu’il existe de prunelles et d’intelligences humaines, qui s’éveillent tous les matins’ (III, 696; ‘it is not one universe, but millions, almost as many as the number of human eyes and brains in existence, that awake every morning’ (V, 212)).
On the other hand, everything is connected to everything else in the remembering or fantasising mind, and the oceanic swell which seems to bear the voyager onwards to ever-new destinations can easily bring him home to his habitual tastes and his over-familiar emotional landmarks. Structure, limitation and fewness have a way of reasserting themselves even as the narrator seeks to be convinced that an indefinite plurality of worlds lies at his feet. In Le Temps retrouvé a new parsimony is discovered on the other side of plenitude. The association of ideas, having taken the narrator on a long excursion, in due course brings him back:
le poète a eu raison de parler des «fils mystérieux» que la vie brise. Mais il est encore plus vrai qu’elle en tisse sans cesse entre les êtres, entre les événements, qu’elle entrecroise ces fils, qu’elle les redouble pour épaissir la trame, si bien qu’entre le moindre point de notre passé et tous les autres un riche réseau de souvenirs ne laisse que le choix des communications.
(IV, 607)
the poet was right when he spoke of the ‘mysterious threads’ which are broken by life. But the truth, even more, is that life is perpetually weaving fresh threads which link one individual and one event to another, and that these threads are crossed and recrossed, doubled and redoubled to thicken the web, so that between any slightest point of our past and all the others a rich network of memories gives us an almost infinite variety of communicating paths to choose from.
(VI, 428)
