263 - QUENEAU (Raymond), 1903–1976.

QUENEAU (Raymond), 1903–1976. A fine set of 4 handwritten letters signed “R. Queneau,” addressed to MOULOUDJI (1922–1994), 1957–1960, 4 pp., in-8 on NRF letterhead. An interesting collection illustrating Raymond Queneau’s role as Mouloudji’s reader and editor at Gallimard. - January 24, 1957. Queneau has just read *Les Larmes* and is unreservedly enthusiastic about the manuscript, which he finds “excellent”: “'It has all sorts of qualities, notably that of revealing your personality as it grows stronger and more assertive.'" He acknowledges the progress made since *La Grande Sortie*, noting that Mouloudji has now shed “certain writing tics that were a bit 1945”. Above all, he praises the new mastery of the narrative, “told with authority [...] it’s a particularly successful and moving blend of pathos and burlesque. Bravo.” His conclusion is unambiguous regarding the editorial decision: “Naturally, we’re accepting it with enthusiasm.” - July 21, 1958. The actual editorial phase begins. Queneau informs Mouloudji that Gaston Gallimard wrote to him on July 9: the publishing house is only waiting for the final version of the manuscript, to which the author had told him he had made “significant revisions.” - August 26, 1958. While proofreading the manuscript of *La Guerre buissonnière* before it went to typesetting, Queneau again noted “a number of oversights.” Eager to spare Mouloudji the expense of proofreading corrections and to avoid delaying publication, he advises him to make one final revision and invites him to come discuss it at Rue S[ébastien]-B[ottin]. But these technical observations in no way diminish his opinion of the book: “Once again, I find *La Guerre buissonnière* to be one of the best things I’ve read by you.”” - September 27, 1960. Queneau finally reports on his reading of a new manuscript: ““I enjoyed it as much as I enjoy everything you write,”” before raising two specific reservations. The first concerns the numerous allusions to *La Guerre buissonnière*, which might make the new book appear to be its sequel or its “*Volume 2*” —a solution he considers commercially unwise, since *La Guerre buissonnière* “has not been as successful as one might expect.” The second concerns the condition of the manuscript itself, which is riddled with “typos, awkward sentences,” and “slips of the pen,” requiring a careful proofreading. Despite these reservations, Queneau assures us that he spoke “very favorably of the text to Gaston Gallimard” and hopes that Mouloudji will soon receive good news about his manuscript. This is a particularly vivid account, as seen through Queneau’s eyes, of the evolution of Mouloudji’s career as a writer—a career that is today somewhat overshadowed by his legacy as a singer, composer, and performer. Enclosed is a large greeting card from Gallimard Publishing with Queneau’s handwritten, signed greetings for Lucienne and Armand (with a small handwritten note beneath the underlined date “1974” reading “but she looks like she’s sulking”; he is probably referring to the Etruscan female head depicted on the card).