Decadence: Obscure literature of the fin de siecle and Belle Epoque - and other literary obsession

Due to its significant stylistic differences from prior movements, such as Romanticism and Naturalism, I believe French Decadent literature is a critical step between literature in the 19th and 20th Centuries. As such, we must study it if we want to understand the rise of Modernism and the upheaval it created in the arts at the turn of the 20th Century. This post is a brief initial stab at what I've picked up from reading French Decadent literature. Henri de Toulouse-Lautrec, Monsieur Louis Pascal , 1893 (detail) While Decadent writing displayed some aspects of the dominant literary schools of the 19th Century – Romanticism and Naturalism – its writers went well beyond either movement’s boundaries and into new ground. Naturalism’s journalistic, detailed descriptions can be found in Decadent literature. However, Decadent writers use this tool to probe interior psychology rather than present external social reality. On the other hand, both Decadent literature and Romanticism are repl...

Edgar Degas,  Dans un cafe , 1875-1876 As part of a self-assigned project (see last post), I read several Paul Alexis novellas in place of his contribution to the 1880 Naturalist anthology, Evenings at Médan . One of them was The End of Lucie Pellegrin (translator Richard Robinson, Snuggly Books), in which all the principal characters are sex workers. The novella reminded me of something I’d noticed a while ago: the focus on – even preoccupation with – sex workers in French literature of the fin de siècle.  Consider, in the same year Alexis released his novella, Naturalist leader Emile Zola published Nana , a novel peopled with prostitutes and courtesans. J.-K. Huysmans’ first novel was Marthe: The Story of a Whore (1876) which - maybe in hopes of a succès de scandale? - he’d rushed to publish before Edmond de Goncourt finished La Fille Elisa (1877). As for French Decadent authors, sex workers were common fixtures in their novels and stories about the demimonde throughout t...

As mentioned in a prior post, I’d given myself an assignment to read J.-K. Huysmans’ novels in the order in which they were written. My objective was to track his progression from a Naturalist writer in Emile Zola’s orbit to the author who wrote À rebours , the novel some refer to as “the Decadent bible”.  I skipped Huysmans’ first effort, Le drageoir aux épices (1874) and started with his first two novels: Marthe: The Story of a Whore (1876) and The Vatard Sisters (1879). After that was "Sac au dos", his contribution to Evenings at Médan , an 1880 anthology of French Naturalism comprised of stories by six different authors. As a mini-survey of French Naturalism, I gave myself a sub-assignment to read all six stories in Evenings at Médan .  Unfortunately, there’s no English version of the anthology. I was able to read the stories by Zola (“The Attack on the Mill”) and Guy de Maupassant (“Boule de Suif”) via English language anthologies of each authors’ short stories. Howev...

My sub-assignment of reading J.-K. Huysmans’ novels in order of publication now takes me to Naturalist anthology Evenings at Médan (1880). Its six stories are set during the Franco-Prussian War (1870/71), a stunning defeat so embarrassing to France that Russia’s invasion of Ukraine pales by comparison. Oddly, some cite the year of this defeat as the beginning of the Belle Epoque in which France’s culture and economy soared on a wave of optimism.  The authors collected in the anthology contributed one story each, and all are disciples of Emile Zola. Having read novels by half of them, I gave myself a sub-sub-assignment of seeking out translations of all six stories (the anthology itself is not available in an English volume). Huysmans’ contribution is “Knapsacks”, a satirical tale of ne’er-do-well Parisian Eugene Lejantel who is conscripted at the start of the war. Due to the army’s disorganization (a central cause of its humiliating defeat in reality), the conscripts immediately c...