PROUST Marcel (1871-1924) CORRECTED PROOFS with autograph corrections and additi…
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PROUST Marcel (1871-1924)

CORRECTED PROOFS with autograph corrections and additions for Du côté de chez Swann (1913); 16-page in-8 booklet (273-288). Proof book for the first edition of Du côté de chez Swann (Grasset, 1913). It contains autograph corrections and 7 autograph marginal additions, the last of which is continued on a glued paper. The notebook (numbered 13) bears at the head the stamp of Ch. Colin, printer in Mayenne, dated August 9, 1913, with the mention "Épreuves en 3e". It belongs to the second part, Un amour de Swann, and corresponds to pages 218-232 of the Tadié edition of the Bibl. de la Pléiade. Swann takes tea at Odette's house; Odette looks like Botticelli's Zephora; exchange of letters. One evening, not finding Odette at Verdurin's, Swann searches for her in the night, finds her holding a bouquet of catleyas, and others adorning her bodice; she becomes his mistress; the metaphor "faire catleya"; Swann comes to her house every night... The first important addition (p. 273) concerns the first letter that Swann receives from Odette, where he "recognized at once that large handwriting in which an affectation of British stiffness imposed an appearance of discipline on shapeless characters which might have meant to less discerning eyes the disorder of thought, the inadequacy of education, the lack of frankness and will. Swann had forgotten his cigarette case at Odette's house"... Another (p. 277), with two redactions crossed out, concerns another letter "which she had sent him at noon from the 'Maison Dorée' (it was the day [of the first farewell performance of Delaunay where the Verdurins had taken him in the evening with Odetteelle began crossed out] of the Paris-Murcia Feast given for the flooded people of Murcia) began"... On the last page (288), Swann, returning from an evening out, dismisses his friends: "They were astonished; and, in fact, Swann was no longer the same. They were astonished; and, in fact, Swann was no longer the same. No letter was ever received from him in which he asked to know a woman. He no longer paid any attention to any woman, and refrained from going to places where people met. In a restaurant, in the country, he had the opposite attitude to the one by which, only yesterday, he would have been recognized and which had always seemed to be his. A passion is so much like a momentary and different character in us, which replaces the other and abolishes the hitherto invariable signs by which it was expressed! On the other hand, what was invariable now was that wherever Swann was, he would not fail to go and join Odette. The path that separated him from her was the one he inevitably travelled, and like the very slope, irresistible and rapid, of his life. In fact, often... PROVENANCE Horace Finaly Library

70 

PROUST Marcel (1871-1924)

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Louis-Ferdinand CÉLINE. Manuscripts (carbon copies) with autograph additions and corrections for Féerie pour une autre fois, [ca. 1950]; 20 folios in-fol. (34 x 21 cm) and 148 folios in-4 (28 x 20 cm), in sheets. Important set of duplicates of the manuscript with additions and corrections for the final version of the novel. The genesis of Féerie pour une autre fois, which began in Denmark in 1946, was a laborious process right up to its publication in 1952. Henri Godard has identified at least four versions, with intermediate ones. Somewhat later, Céline chose to divide his book into two parts. In Féerie I, Céline recalls the last months of the Occupation in Paris, and his incarceration in Denmark. These fragments relate to the finalization of the definitive version, prior to its typing in 1950. Céline wrote his manuscript in ballpoint pen, using carbon paper to make a duplicate. On this duplicate, particularly on the first fragment, in black carbon on large sheets, Céline made numerous (and sometimes important) autograph corrections and additions in blue ballpoint pen; he also inserted a few entirely autograph sheets. There are numerous variants with the final text (the Lucette of the manuscript becomes Arlette in the edition), as well as passages that have been crossed out; most of the corrections have been integrated into the edited text, while some have been omitted. The second set, in blue carbon on in-4 sheets, is less corrected. The manuscript is paginated, with a few extra pages; we refer in square brackets to the corresponding pages in Volume IV of Romans dans la Bibliothèque de la Pléiade (1993), recently renamed Romans 1952-1955. 119-137 (20ff., 34 x 21 cm.) [Pl. 41-47]. "10,000! 100,000! 200,000 grills! you could see France now! [...] These are the people they're sending, assesseuses, from the Quai [des Nerveux crossed out and corrected:] Zysthérie, from Paris, to revive the Saints in". Page 127, Céline pins an autograph 6-line crest: "Je m'en fous de l'appartement Goudeau [Gaveneau in the edition]!"... Page 132 is entirely autograph: "huit jours de plus! ils étaient plus mille d'assassins! 300.000!"... 326-359 [Pl. 100-109] "le 115! et le 40 donc, saperlipope! [...] plundered, outraged, stalked, inked, dirtied, a thousand satanies, exiled, a thousand" 404-438 [Pl. 119-127] "Oh with Féerie all is other! [...] crumbled in '39!... and my bricks dis? find bricks again" 447-455 [Pl. 128-130] "He congratulated himself. [...] not just the shutters...! the whole guitoune!.. everything was wobbly, musty..." 476-496 [Pl. 135-139] "but still, what a treat! [...] There are unhappy people! There are people in rotten hovels! There are selfish people!" 561-600 [Pl. 151-159] "Treated! the fangs I saw! the fangs! I saw the fangs of people [...] There are sounds that no longer exist! but the piano, the notes! the notes a finger! a finger! go! go!" 671-680 [Pl. 173-175] "let's look for them for the morgue... we'll see by their faces... [...] his vein! the impasse Trainée! I must situate everything for you!"