Product Description

tr Alexis Lykiard, 2 vols in one w/bibliography &c

Product Details

• Amazon Sales Rank: #90521 in Books
• Published on: 1994-06-01
• Released on: 2004-02-02
• Original language: French
• Number of items: 1
• Binding: Paperback
• 340 pages

Features

• ISBN13: 9781878972125
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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Customer Reviews

The best translated edition of this amazing work!
"The Songs of Maldoror" is not a book--it is a searing, rambling, poisonous "derangement of all the senses" in masquerade. After more than a century it still has the power to shock, startle and repulse. Precisely imagined, "Maldoror" is a fairly obscure classic of late 19th century French literature, and is on par with Baudelaire, Rimbaud, Verlaine, Mallarme, etc. You must read this if you love those writers!

Maldoror is the narrator, and sometime character when the narrative shifts unexpectedly into third person, and the alter ego of the mysterious young Comte de Lautreamont--which was the pen name of Isidore Ducasse. Dead by 24, he left behind this time-bomb. Maldoror is a sadist, a murderer, a philosopher, an outcast from the normal order of life. He encourages readers to kidnap a child and torture it, to taste its tears and its blood--all within the first 30 pages. Right on! You are not dealing with a rational, predictable mind here.

One of the book's most fascinating aspects is its continuous imagery of animals, both everyday and exotic, majestic and absurd: sharks, turkeys, crabs, eagles, octopi, tigers, wovles, insects, serpents. These creatures are presented with the sharp eye of the biologist. By likening humanity to animals, Lautreamont achieves a double effect: man comes off as debased and at the same time, elevated: to be like an animal man must be rid of all his pretensions and vanities. It is this pretense to culture and civilized behavior that sicken Lautreamont/Maldoror.

Many passsages still shock and disgust--and yes, entertain with their feverish intensity, particularly the one in which Maldoror copulates with a man-eating shark. A church lantern turns into an angel, deteriorates into pus when Maldoror licks its face, and is soon only "an enormous loathsome wound."

Maldoror also despises God--ostensibly the creator of all this human stupidity and vice. "My poetry shall consist of attacks, by all means, upon that wild beast, man, and the Creator, who should never have begotten such vermin!" When Maldoror confronts God, Maldoror metamorphosizes into a giant octopus and clamps his monstrous new tentacles around His body...

This anti-theistic viewpoint is startling and refreshing compared to the religious aspects of Rimbaud and Baudelaire. This work is a must-read for those interested in avant-garde, bizarre literature; it is also the springboard for Surrealism (with the passage, "As beautiful as the chance meeting on a dissecting table of a sewing maching and an umbrella," Andre Breton saw the future of his imagination). This edition contains a good introduction about the work itself, its language, what "Lautreamont" means, earlier mistranslations, etc. Lykiard's translation is fantastic. Don't hesitate, get this book today!

a disturbing, twisted work of absolute genius
"maldoror" is one of the most intriguing, weird little books i've ever read. every surrealism fiend (like myself) should buy numerous copies of this book. lautreamont advances on every form of authority and convention with an aggressiveness and deadly seriousness that would have made jim morrison shudder, and we find ourselves shivering during parts of this dark but beautiful pearl of a book. maldoror, the outcast monster, is perhaps every alienated person we have scorned and ostracized because of their individuality or uniqueness. he is a furious and vicious being of total revolt, and by the end of this strangely dreamlike, automatic text, we have seen every barrier of civilization and every moral that lays the foundation of society trampled and spat upon. look especially for the scene where maldoror guns down some swimmers in the ocean and then proceeds to have sex with a whale. (i wonder if he wrapped it up!) when andre breton said this book seemed to exceed the limits of human capacity, he wasn't joking. if you're a misanthrope and a disaffected weirdo like myself, you simply cannot miss this. a sometimes startling yet essential celebration of ultimate freedom and absolute rebellion.

Tremendously Overrated (Both Book And Translation)
This review is of *Maldoror*, alone.

Lautreamont's *Maldoror* is legendary for its bold and complex phrasing and imagery, for its reputation of embodying Surrealism *avant la lettre*, and for its remarkably extreme, savage imagery. Less frequently remarked is its obvious debt to the earlier literature of the *Frenetiques*, such as Petrus Borel. Given the very few English translations of the latter, one may pardon those who do not read French for overestimating the originality of *Maldoror*. Francophones such as the Surrealists and Lykiard, however, have no such excuse.

The descriptions of *Maldoror* in the various reviews here describe the content and style of the work perfectly well, so I shall neither repeat them nor try to outdo them. Instead, I shall offer a slightly less breathlessly adoring view of the work, in general, and of Lykiard's translation of it, in particular.

My view of *Maldoror* is that it is primarily a parody of the extreme tendencies of the "dark side" of Romanticism, in general, and of Byron, in particular. Although Lykiard dismisses Mario Praz's view of Lautreamont and *Maldoror* rather abruptly, Praz's observations seem quite germane, to me:

"[Lautreamont/Ducasse is] a macabre humorist in whom it is impossible to distinguish where sincerity ends and mystification begins".

Those who doubt this observation should have a look at Ducasse's extant letters, many of which bear witness to his desire merely to be a successful writer, and to be judged by the literary critics of the day. In a word, Ducasse/Lautreamont appears to have been precisely the sort of careerist *litterateur* whom the Surrealists excoriated and excommunicated from their ranks with tedious regularity!

As for Lykiard's translation, it is adequate, but far from inspired. Although, as he trumpets *ad nauseam*, his version of *Maldoror* may be in the main less error-riddled than those of his competitors, it is frequently leaden and awkward. Compare, for instance, the following tin-eared rendition to the original, and then to Paul Knight's rendering of the same passage:

The original: "[...] car, à moins qu'il n'apporte dans sa lecture une logique rigoureuse et une tension d'esprit égale au moins à sa défiance, les émanations mortelles de ce livre imbiberont son âme comme l'eau le sucre".

Lykiard: "For unless he bring to his reading a rigorous logic and mental application at least tough enough to balance his distrust, the deadly issues of this book will lap up his soul as water does sugar".

Knight: "[...] for, unless he brings to his reading a rigorous logic and tautness of mind equal at least to his wariness, the deadly emanations of this book will dissolve his soul as water does sugar".

Granted, such evaluations involve much subjectivity, but there's no doubt in my mind which version reads both more accurately and more elegantly in English. Lykiard does, however, deserve credit for demonstrating Knight's faults, as well.

Lykiard's notes are not necessarily much better than his translations. To take but one instance, Lykiard tells us that "God is here (and *passim*) ironically addressed as *tu* rather than the more formal *vous*". If Lykiard were as clever as he'd like to appear, then he'd know that the French *always* address God as *tu*, and not as *vous*. Therefore, there is nothing ironic on its face about Lautreamont's usage, at all.

In sum, *Maldoror* is a sometimes powerful, but often puerile, *reductio ad absurdum* of *Frenetique*-era late Romanticism. Enjoy it for its over-the-top style and its infrequent passages of genuine and sincere poetic power. Do not, however, take it too seriously, because, although we shall never know for certain, my bet is that Ducasse/Lautreamont was little more than a prodigiously gifted adolescent who sought, as most adolescents do, simultaneously to shock and to impress the grown-ups.