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Henri Duchemin and His Shadows
[Paperback - 2015]
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Category: Fiction
Sub-category: Short Stories
Additional Category: Historical Fiction - Literary Fiction
Publisher: Nyrb Classics | ISBN: 9781590178324 | Pages: 160
Shipping Weight: .172 | Dimensions: 5.05 x .37 x 7.97 inches

An NYRB Classics Original 

Emmanuel Bove was one of the most original writers  to come out of twentieth-century France and a popular  success in his day. Discovered by Colette, who arranged for the publication of his first novel, My Friends, Bove enjoyed a busy literary career, until the German occupation silenced him. During his lifetime, his novels and stories were admired by Rilke, the surrealists, Camus, and Beckett, who said of him that “more than anyone else he has an instinct for the essential detail.”

Henry Duchemin and His Shadows is the ideal introduction to Bove’s world, with its cast of stubborn isolatoes who call to mind Melville’s Bartleby, Walser’s “little men,” and Rhys’s lost women. Henri Duchemin, the protagonist of the collection’s first story, “Night Crime,” is ambivalent, afraid of appearing ridiculous, desperate for money: in other words, the perfect prey. Criminals, beautiful women, and profiteers threaten the sad young men of Bove’s stories, but worse yet are the interior voices and paranoia that propel them to their fates. The poet of the flophouse and the dive, the park bench and the pigeon’s crumb, Bove is also a deeply empathetic writer for whom no defeat is so great as to silence desire.

Emmanuel Bove, born in Paris as Emmanuel Bobovnikoff in 1898, died in his native city on Friday 13 July 1945, the night on which all of France prepared for the large-scale celebration of the first 'quatorze juillet' since World War II. He would probably have taken no part in the festivities. Bove was known as a man of few words, a shy and discreet observer. His novels and novellas were populated by awkward figures, 'losers' who were always penniless. In their banal environments, they were resigned to their hopeless fate. Bove's airy style and the humorous observations made sure that his distressing tales were modernist besides being depressing: not the style, but the themes matched the post-war atmosphere precisely.

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