Fiction of Gay Interest

Against the Grain (À Rebours)
Joris Karl Huysmans translator not identified
Publisher: Fortune Press
London, UK

Year


n.d. [1936]       first publ France: 1884
Cover / size: hardback / h 19.5 cm * w 14.3 cm / 222 pp

Dustjacket?   no

ISBN: n/a

Arbery Ref:   001173

Condition Good

[Undated, but 1936 edition; no 763 of 1000] Boards (orange with gilt lettering): front faded, particularly at edges, some markings; spine severely faded, marked near foot; back badly stained near top; corners dented. Book leans forward. Page edges roughly cut. Front endpaper slightly spotted, with inscription "P G L, Sincere Regards, Alan" [Alan Hull Walton who co-wrote an introduction to La-Bas from Huysmans for Fortune Press and who wrote a number of works about sexuality] Pages have odd marks, but generally clean.

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Huysmans: Against The Grain (1936)

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Plot / Content:                              Rating: g

This was the first translation to appear outside France but it uses the same text by an anonymous translator as the English version was published in Paris in 1926 (see above). The almost plotless story concerns an aristocrat whose disgust with human society drives him to lead an increasingly decadent and eccentric life. This edition includes a three page publisher's note (bylined Paris 1926) and an extensive preface written by Huysmans in 1903.

A Rebours was widely praised in France and abroad and Oscar Wilde is reported to have said it was among the best books ever written. It is also assumed to be the "poisonous French novel" that leads to the downfall of Dorian in Wilde's The Portrait of Dorian Gray. For further background, read the Wikipedia article.



Background / Biography:

J K Huysmans


Charles-Marie-Georges Huysmans (5 February 1848 – 12 May 1907) was a French novelist who published his works as Joris-Karl Huysmans (in some editions his name is given as Jorris Karl). continued on Wikipedia


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J K Huysmans





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"To judge by such family portraits as were preserved in the Chateau de Lourps, the races of the Floressas des Esseintes had been composed in olden days of stalwart veterans of the wars, grim knights with scowling visages. Imprisoned in the old-fashioned picture frames that seemed all too narrow to contain their broad shoulders, they glared out alarmingly at the spectator, who was equally impressed by the fixed stare in the eyes, the martial curl of the moustaches and the noble development of the chests encased in enormous steel cuirasses.

These were ancestral portrait; those representing subsequent generations were conspicuous by their absence. There was a gap in the series, a gap which one face alone served to fill and so connect the past and present, - mysterious, world-weary countenance. The features were heavy and drawn, the prominent cheek-bones touched with a spot of rouge, the hair plastered to the head and entwined with a spring of pearls, the slender neck rising from amid the pleatings of a stiff ruff."


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