The Immoralist, by Andre Gide
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The Immoralist, by Andre Gide
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André Paul Guillaume Gide (French: [ɑ̃dʁe pɔl ɡijom ʒid]; 22 November 1869 – 19 February 1951) was a French author and winner of the Nobel Prize in Literature in 1947 "for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight".[1] Gide's career ranged from its beginnings in the symbolist movement, to the advent of anticolonialism between the two World Wars.Known for his fiction as well as his autobiographical works, Gide exposes to public view the conflict and eventual reconciliation of the two sides of his personality, split apart by a straitlaced education and a narrow social moralism. Gide's work can be seen as an investigation of freedom and empowerment in the face of moralistic and puritanical constraints, and centres on his continuous effort to achieve intellectual honesty.
The Immoralist, by Andre Gide- Amazon Sales Rank: #400681 in eBooks
- Published on: 2015-11-16
- Released on: 2015-11-16
- Format: Kindle eBook
Amazon.com Review With today's headlines and talk shows, it takes a lot to shock a reader--certainly more than was required in 1902, when André Gide's The Immoralist was first published. What was seen then as a story of dereliction translates today into a tale of introspection and fierce self-discovery. While traveling to Tunis with his new bride, the Parisian scholar Michel is overcome by tuberculosis. As he slowly convalesces, he revels in the physical pleasures of living and resolves to forgo his studies of the past in order to experience the present--to let "the layers of acquired knowledge peel away from the mind like a cosmetic and reveal, in patches, the naked flesh beneath, the authentic being hidden there."
But this is not the Michel his colleagues knew, nor the man Marceline married, and he must hide his new values under the patina of what he now reviles. Bored by Parisian society, he moves to a family farm in Normandy. He is happy there, especially in the company of young Charles, but he must soon return to the city and academe. Michel remains restless until he gives his first lecture and runs into Ménalque, who has long outraged society, and recognizes in him a reflection of his torment. Finally, Michel heads south, deeper into the desert, until, as he confides to his friends, he is lost in the sea of sand, under a clear, directionless sky.
What Gide's story lacks in sensationalism is fulfilled by his descriptive prose, which evokes the exotic nature of Michel's inner and outer journey: "I did not understand the forbearance of this African earth, submerged for days at a time and now awakening from winter, drunk with water, bursting with new juices; it laughed in this springtime frenzy whose echo, whose image I perceived within myself." --Joannie Kervran Stangeland
Language Notes Text: English, French (translation)
About the Author AndrE Gide (1869-1951) was a French author who won the Nobel Prize in Literature in 1947. He began his writings at the start of the symbolist movement and was most widely known for his fictional and autobiographical works. Among his best-known works are "The Counterfeiters, The Immoralist, Lafcadio's Adventures, Strait Is the Gate, "and the "Journals. "
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25 of 26 people found the following review helpful. Self-truth at Any Cost By Grace The Immoralist is straightforward in language and easy to read, but more complicated, more complex are its themes: Man's sense of morality towards society, family, himself. What happens when man's values conflict with those of society's? Whose interests should be served? Gide explores these themes through one man's odyssey of self-discovery. The protagonist is the learned and conflicted Michel who yearns for something more than the stable, predictable, familiar life he has always known, but no longer finds tolerable. It is after a life-threatening bout of tuberculosis that these feelings rise to the surface, intensify, and are more keenly felt.This hunger, still unidentified, takes him on a journey, both literal and figurative, where his search for self-awareness, or self-truth, carries him to distant and exotic locales. New experiences and mysterious encounters give way to a new aestheticism in which weakness, constraint, and life's banalities play no role. Heightened senses, unsuppressed impulses erode age-old human values that were once accepted blindly.A life less checked, though, can have consequences, as is the case for Michel, and for so many others like him. As Michel becomes stronger, his wife becomes weaker. Indeed, society becomes weaker. How can the newly strong fail to quash the weak in their path? The question one must ask, then, and Gide does, is whether a life without restraint has value. Is there something admirable in the old adage, "To thine own self be true"?One of the novel's most inspired moments is found in its ending. Without giving anything away, it is the last passage, after the reader has come full-circle, where Michel's journey seemingly ends. Will Michel embrace his new truth? The reader is left to wonder. The Immoralist is told in narrative, in Michel's own voice. It is self-confessional literature at its highest, and should be read by anyone who reads to think and be moved.
22 of 27 people found the following review helpful. Life is a banquet, and most poor suckers are starving.... By B. Morse I acquired Andre Gide's The Immoralist from a pile of free books set outside a used book store that was closing for good. I brought it home and set it aside for about a month before reading it.The 170-odd pages were very easy to digest, in terms of time and complexity. But the ideas filling them were intriguing, at least at first. A man marries, develops tuberculosis, convalesces, and decides to live life more deliberately, more fundamentally, and expose himself, his emotions, his experiences, down to their very foundation. He embraces the pain of sunburn for it's capacity to make a person feel, for the sensation it produces. He strips away all layers of clothing in the outdoors to plunge into an icy pool of water, to expose himself completely to the elements and the world around him. He gives up his scholarly pursuits to run a family farm, and experience a completely different type of life and industry.But here the intrigue of the premise becomes mired in an obviously closeted gay man (not uncommon for the turn of the 20th century) torn between duty to wife and honesty of desire. The second half of this brief novel is merely an endless parade of boys and men that draw Michel's attention and ardor. The desire to experience all in its most basic, honest form is lost in the lie that Michel obviously lives in suppressing his hidden desires and perpetuating his sham marriage.While Gide's concept was initally enough to draw me in and press me to read on, the latter half of the book left me apathetic to my inceptive appreciation of a very promising idea. I found the character of Michel to be hypocritical at best, and failed to feel any sympathy for his longing after the neverending parade of males that slip through his fingers, and his fickle interest in them. I felt some sympathy for Marceline, Michel's wife, but his narrative portrayal of her as more of an impedence and a nuisance gave me more cause to pity her than feel empathy for her eventually contracted case of tuberculosis, no matter how frail she grew; the author always managed to make her more of an annoyance to Michel than anything else, and her character never really has an opportunity of true definition.Gide has a very accessible way with prose, but not a very clear and concise focus on his story with this book, which is the first of his works that I have read. All in all, this book suffers from "When Harry Met Sally" syndrome...and disproves its initial 'thesis'. I would not recommend this book to others, save for anyone interested in examining the conflict of a closeted gay married man at the turn of the 20th century.
17 of 21 people found the following review helpful. Don't skimp for the cheaper thrift translation. By Eric Bryant I saw there was a Dover thrift edition for 2 dollars. Hard to argue with the price, but this translation is erudite and has a force of language that seems to me like it must mirror Gide's own impressionist force, despite my personal weakness with the French language. Gide was famous for his ability to invoke a single moment, a single image or feeling that puts the reader inside the existence of a character, even if only for a short time. This ability is translated quite well into this edition, and I must conclude (based on a fairly small sample of reading from both) that it is a superior translation.Who could fail to find some reflection of themself in the deathbed confessions of the protagonist Michel? The premise is that he is speaking in the first person to his good friends, and as the reader it feels like you have known this character for quite some time. His voice is unspecifically familiar, as if you might suspect one of your real-life friends to one day give you a similar account. You feel you have known this man for a long time, and you can't help but be fascinated by both the content of his story and in the loving, precise, and ecstatic way that he tells it.Up against this tone is a story that ends in depravity and woe, without any redemption for the character. To me, this is understandable and realistic. Life is not always an endless succession of learning experiences. At times it is the realization that some compromises cannot be avoided, and that true catharsis of ethics, morality, or emotion is only possible within very short time frames. Why not explore the life of a character who does not learn from his actions, or even repent of them at the end? He accepts his own frailties, his own limitations, and in this respect he continues to dig deep inside of our psyche for hidden insights that might have otherwise escaped us.I almost always prefer first person novels to those that occur in the third person. We live our life in the first person, and an objective narrator is always, at a certain point, a necessary fiction. This book stands with Nabokov's Lolita as a perfect example of the power that is sometimes unleashed by exploring a character through the eyes of the character himself.This is an original and well-written work, breathtaking in its use of language. Highly recommended.
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