Foreign literature of the 20th century (Edited by V.M. Tolmachev) XV. French literature of the second half of the 20th century. Famous French writers The most famous French writers of the 20th century

French literature is one of the treasuries of world culture. It deserves to be read in all countries and in all centuries. Problems raised in their works French writers, have always worried people, and there will never come a time when they will leave the reader indifferent. Epochs, historical settings, costumes of characters change, but passions, the essence of relationships between men and women, their happiness and suffering remain unchanged. The tradition of the seventeenth, eighteenth and nineteenth centuries was continued by modern French writers and literary figures of the 20th century.

Commonality of Russian and French literary schools

What do we know about European wordsmiths in the relatively recent past? Of course, many countries have made a significant contribution to the overall cultural heritage. Great books were also written by Britain, Germany, Austria, and Spain, but in terms of the number of outstanding works, the first places are, of course, occupied by Russian and French writers. The list of them (both books and authors) is truly huge. It is no wonder that there are multiple publications, there are many readers, and today, in the age of the Internet, the list of film adaptations is also impressive. What is the secret of this popularity? In both Russia and France there are long-standing humanistic traditions. As a rule, the focus of the plot is not on a historical event, no matter how outstanding it may be, but on a person, with his passions, virtues, shortcomings, and even weaknesses and vices. The author does not undertake to condemn his characters, but prefers to let the reader draw his own conclusions about what fate to choose. He even pities those of them who chose the wrong path. There are many examples.

How Flaubert felt sorry for his Madame Bovary

Gustave Flaubert was born on December 12, 1821 in Rouen. The monotony of provincial life was familiar to him from childhood, and even in his mature years he rarely left his town, only once committing long journey to the East (Algeria, Tunisia), and, of course, visited Paris. This French poet and writer wrote poems that seemed to many critics then (this opinion still exists today) to be too melancholic and languid. In 1857, he wrote the novel Madame Bovary, which became notorious at the time. The story of a woman who sought to break out of the hateful circle of everyday life and therefore cheated on her husband, then seemed not just controversial, but even indecent.

However, this plot, alas, is quite common in life, performed by the great master, and goes far beyond the scope of the usual obscene anecdote. Flaubert tries, and with great success, to penetrate into the psychology of his characters, towards whom he sometimes feels anger, expressed in merciless satire, but more often - pity. His heroine dies tragically, the despised and loving husband, apparently (this is more likely to be guessed than indicated by the text) knows about everything, but sincerely grieves, mourning his unfaithful wife. And Flaubert and other French writers XIX centuries, quite a lot of works were devoted to issues of fidelity and love.

Maupassant

With the light hand of many literary writers he is considered almost the founder of romantic eroticism in literature. This opinion is based on some moments in his works containing immodest, by the standards of the 19th century, descriptions of scenes of an intimate nature. From today's art historical perspective, these episodes look quite decent and, in general, are justified by the plot. Moreover, this is not the main thing in the novels, novels and stories of this wonderful writer. The first place in importance is again occupied by relationships between people and such personal qualities as depravity, the ability to love, forgive and simply be happy. Like other famous French writers, Maupassant studies the human soul and reveals the necessary conditions his freedom. He is tormented by the hypocrisy of “public opinion”, created precisely by those who themselves are by no means impeccable, but impose their ideas of decency on everyone.

For example, in the story “Zolotar” he describes the story touching love a French soldier to a black colonial woman. His happiness did not materialize; his relatives did not understand his feelings and were afraid of possible condemnation from their neighbors.

The writer's aphorisms about war are interesting, which he likens to a shipwreck, and which should be avoided by all world leaders with the same caution as ship captains avoid reefs. Maupassant shows his powers of observation by contrasting low self-esteem excessive complacency, considering both of these qualities to be harmful.

Zola

No less, and perhaps much more shocking to the reading public was the French writer Emile Zola. He willingly based the plot on the life of courtesans (“The Trap”, “Nana”), the inhabitants of the social bottom (“The Belly of Paris”), described in detail the hard life of coal miners (“Germinal”) and even the psychology of a murderous maniac (“The Beast Man” ). Unusual general literary form, selected by the author.

He combined most of his works into a twenty-volume collection, which received common name Rougon-Macquart. With all the variety of subjects and expressive forms, it represents something unified that should be perceived as a whole. However, any of Zola’s novels can be read separately, and this will not make it any less interesting.

Jules Verne, science fiction writer

Another French writer, Jules Verne, does not need special presentation, he became the founder of the genre, which later received the definition of “sci-fi”. What did this amazing storyteller not think of, who foresaw the emergence of nuclear submarines, torpedoes, lunar rockets and other modern attributes that became the property of mankind only in the twentieth century. Many of his fantasies today may seem naive, but the novels are easy to read, and this is their main advantage.

In addition, the plots of modern Hollywood blockbusters about dinosaurs resurrected from oblivion look much less plausible than the story of antediluvian dinosaurs that never went extinct on a single Latin American plateau, found by brave travelers (“ lost World"). And the novel about how the Earth screamed from a merciless prick of a giant needle completely goes beyond genre boundaries, being perceived as a prophetic parable.

Hugo

The French writer Hugo is no less fascinating in his novels. His characters find themselves in a variety of circumstances, revealing bright personality traits. Even negative heroes(for example, Javert from Les Misérables or Claude Frollo from Cathedral Notre Dame of Paris") have a certain charm.

The historical component of the story is also important, from which the reader will learn a lot with ease and interest. useful facts, in particular, about the circumstances French Revolution and Bonapartism in France. Jean Voljean from Les Miserables became the personification of simple-minded nobility and honesty.

Exupery

Modern French writers, and literary scholars include all the writers of the “Heminway-Fitzgerald” era as such, have also done a lot to make humanity wiser and kinder. The twentieth century did not spoil Europeans with peaceful decades, and memories of the Great War of 1914-1918 soon received a reminiscence in the form of another global tragedy.

Didn't stay away from the fight honest people the whole world against fascism and the French writer Exupery - a romantic, creator of the unforgettable image of the Little Prince and a military pilot. The posthumous popularity of this writer in the USSR in the fifties and sixties could be the envy of many pop stars who performed songs, including those dedicated to his memory and his main character. And today, the thoughts expressed by a boy from another planet still call for kindness and responsibility for one’s actions.

Dumas, son and father

There were actually two of them, father and son, and both were wonderful French writers. Who is not familiar with the famous musketeers and their true friend D'Artagnan? Many film adaptations have glorified these characters, but none of them have been able to convey the charm of the literary source. The fate of the prisoner of the Chateau d'If will not leave anyone indifferent (“The Count of Monte Cristo”), and other works are very interesting. They will also be useful for young people whose personal development is just beginning; there are more than enough examples of true nobility in the novels of Dumas the Father.

As for his son, he didn’t put him to shame either famous family. Novels "Doctor Servan", "Three strong men" and other works clearly highlighted the peculiarities and bourgeois features of his contemporary society, and "The Lady of the Camellias" not only enjoyed well-deserved readership, but also inspired the Italian composer Verdi to write the opera "La Traviata", it formed the basis of its libretto.

Simenon

Detective will always be one of the most read genres. The reader is interested in everything about it - who committed the crime, the motives, the evidence, and the inevitable exposure of the perpetrators. But there is a difference between detective and detective. One of best writers of the modern era, of course, is Georges Simenon, the creator of the unforgettable image of the Parisian police commissioner Maigret. The artistic device itself is quite common in world literature; the image of a detective-intellectual with an indispensable feature of his appearance and recognizable behavior has been exploited more than once.

Simenon's Maigret differs from many of his “colleagues” in the kindness and sincerity characteristic of French literature. He is sometimes ready to meet halfway people who have stumbled and even (oh, horror!) to violate certain formal articles of the law, while still remaining faithful to it in the main thing, not in the letter, in its spirit (“And yet the hazel tree turns green”).

Simply a wonderful writer.

Gra

If we take a break from the past centuries and again mentally return to modern times, then the French writer Cedric Gras, a great friend of our country, deserves attention, devoting two books to Russian Far East and its residents. Having seen many exotic regions of the planet, he became interested in Russia, lived in it for many years, learned the language, which undoubtedly helps him get to know the notorious “mysterious soul,” about which he is already finishing writing a third book on the same topic. Here Gra found something that, apparently, he so lacked in his prosperous and comfortable homeland. He is attracted by a certain “strangeness” (from a European point of view) of the national character, the desire of men to be courageous, their recklessness and openness. For the Russian reader, the French writer Cedric Gras is interesting precisely because of this “look from the outside,” which is gradually becoming more and more ours.

Sartre

Perhaps there is no other French writer so close to the Russian heart. Much in his work is reminiscent of another great literary figure of all times and peoples - Fyodor Mikhailovich Dostoevsky. Jean-Paul Sartre's first novel, Nausea (many consider it his best), affirmed the concept of freedom as an internal category, not subject to external circumstances, to which a person is doomed by the very fact of his birth.

The author's position was confirmed not only by his novels, essays and plays, but also by personal behavior demonstrating complete independence. A man of leftist views, he nevertheless criticized the policies of the USSR post-war period, which did not prevent him, in turn, from abandoning the prestigious Nobel Prize, awarded for allegedly anti-Soviet publications. For the same reasons, he did not accept the Order of the Legion of Honor. Such a nonconformist deserves respect and attention; he is certainly worth reading.

Vive la France!

Many other outstanding French writers are not mentioned in the article, not because they are less deserving of love and attention. You can talk about them endlessly, enthusiastically and enthusiastically, but until the reader himself picks up the book and opens it, he does not fall under the spell of the wonderful lines, sharp thoughts, humor, sarcasm, light sadness and kindness emitted by the pages . There are no mediocre peoples, but there are, of course, outstanding ones who have made a special contribution to the world treasury of culture. For those who love Russian literature, it will be especially pleasant and useful to become familiar with the works of French authors.

France is a country that is ahead of others. It was here that the first revolutions took place, and not only social, but also literary, which influenced the development of art throughout the world. and poets achieved unprecedented heights. It is also interesting that it was in France that the work of many geniuses was appreciated during their lifetime. Today we will talk about the most significant writers and poets of the 19th century- the beginning of the 20th century, and also lift the veil over interesting moments their lives.

Victor Marie Hugo (1802-1885)

It is unlikely that other French poets can match the scope of Victor Hugo. A writer who was not afraid to raise sensitive social topics in his novels, and at the same time a romantic poet, he lived long life, saturated creative successes. Hugo was not only recognized as a writer during his lifetime - he became rich by practicing this craft.

After Notre Dame, his fame only grew. Are there many writers in the world who were able to live for 4 years on the street? In the 79th year of his life (on Victor Hugo’s birthday) they erected a triumphal arch- actually under the writer’s windows. 600,000 admirers of his talent passed through her that day. Soon the street was renamed Avenue Victor-Hugo.

After himself, Victor Marie Hugo left not only beautiful works and a large inheritance, 50,000 francs of which were bequeathed to the poor, but also strange point in the will. He ordered the capital of France, Paris, to be renamed Hugopolis. Actually, this is the only point that was not fulfilled.

Théophile Gautier (1811-1872)

When Victor Hugo struggled with classicist criticism, he was one of its most prominent and loyal supporters. French poets received an excellent addition to their ranks: Gautier not only had an impeccable command of writing technique, but also discovered new era in the art of France, which subsequently influenced the whole world.

Having published his first collection in best traditions romantic style, Théophile Gautier at the same time excluded traditional themes from his poems and changed the vector of poetry. He did not write about the beauty of nature, eternal love and politics. Moreover, the poet declared the technical complexity of the verse to be the most important component. This meant that his poems, while remaining romantic in form, were not essentially romantic - feelings gave way to form.

The last collection, “Enamels and Cameos,” which is considered the pinnacle of Théophile Gautier’s work, also included the manifesto of the “Parnassian school” - “Art.” He proclaimed the principle of “art for art’s sake,” which French poets accepted unconditionally.

Arthur Rimbaud (1854-1891)

The French poet Arthur Rimbaud inspired more than one generation with his life and poetry. He ran away from home several times to Paris, where he met Paul Verlaine, sending him the poem “The Drunken Ship.” The friendly relationship between the poets very soon grew into love. This is what caused Verlaine to leave the family.

During Rimbaud’s lifetime, only 2 collections of poetry were published and, separately, his debut poem “The Drunken Ship,” which immediately brought him recognition. It is interesting that the poet’s career was very short: he wrote all his poems between the ages of 15 and 21. And after Arthur, Rimbaud simply refused to write. Flatly. And he became a merchant, selling spices, weapons and... people until the end of his life.

Famous French poets and Guillaume Apollinaire are recognized heirs of Arthur Rimbaud. His work and persona inspired Henry Miller's essay “A Time for Assassins,” and Patti Smith constantly talks about the poet and quotes his poems.

Paul Verlaine (1844-1896)

French poets of the late 19th century chose Paul Verlaine as their “king,” but there was little of a king in him: a rowdy and a reveler, Verlaine described the unsightly side of life - dirt, darkness, sins and passions. One of the “fathers” of impressionism and symbolism in literature, the poet wrote poems, the beauty of which no translation can convey.

No matter how vicious the French poet was, Rimbaud played a huge role in his future fate. After meeting young Arthur, Paul took him under his wing. He looked for housing for the poet, even rented a room for him for some time, although he was not wealthy. Their love affair lasted several years: after Verlaine left the family, they traveled, drank and indulged in pleasure as best they could.

When Rimbaud decided to leave his lover, Verlaine shot him in the wrist. Although the victim refused to make a statement, Paul Verlaine was sentenced to two years in prison. He never recovered after that. Due to the impossibility of refusing the company of Arthur, Rimbaud Verlaine was never able to return to his wife - she obtained a divorce and completely ruined him.

Guillaume Apollinaire (1880-1918)

The son of a Polish aristocrat, born in Rome, Guillaume Apollinaire belongs to France. It was in Paris that he lived his youth and mature years, until his death. Like other French poets of that time, Apollinaire was looking for new forms and possibilities, striving for shocking - and succeeded in this.

After publication prose works in the spirit of deliberate immoralism and the mini-collection of poetry “Bestiary, or Orpheus’s Cortege,” published in 1911, Guillaume Apollinaire publishes the first full-fledged poetry collection"Alcohols" (1913), which immediately attracted attention for its lack of grammar, baroque imagery and changes in tone.

The collection “Caligrams” went even further - all the poems included in this collection were written amazingly: The lines of the works are arranged in different silhouettes. The reader sees a woman in a hat, a dove that flies over a fountain, a vase of flowers... This form conveys the essence of the verse. The method, by the way, is far from new - the British began to give form to poetry in the 17th century, but at that moment Apollinaire anticipated the advent of “automatic writing”, which the surrealists loved so much.

The term “surrealism” belongs specifically to Guillaume Apollinaire. He appeared after the production of his “surrealist drama” “The Tits of Tiresias” in 1917. From that time on, the circle of poets with him at the head began to be called surrealists.

André Breton (1896-1966)

The meeting with Guillaume Apollinaire became significant. This happened at the front, in a hospital, where young Andre, a physician by training, served as an orderly. Apollinaire received a concussion (a shell fragment hit his head), from which he never recovered.

Since 1916, Andre Breton has taken an active part in the work of the poetic avant-garde. He meets Louis Aragon, Philippe Soupault, Paul Eluard, and discovers the poetry of Lautréamont. In 1919, after the death of Apollinaire, shocking poets began to organize around Andre Breton. Also this year, a joint work with Philippe Soupault, “Magnetic Fields,” written using the “automatic writing” method, was published.

Since 1924, after the proclamation of the first Manifesto of Surrealism, Andre Breton became the head of the movement. The Bureau of Surrealist Research opens in his house on Avenue Fontaine, and magazines begin to be published. This was the beginning of a truly international movement - similar bureaus began to open in many cities around the world.

The French communist poet Andre Breton actively campaigned for his supporters to join the Communist Party. He believed so much in the ideals of communism that he was even honored with a meeting with Leon Trotsky in Mexico (although at that time he had already been expelled from the Communist Party).

Louis Aragon (1897-1982)

Apollinaire's faithful ally and comrade-in-arms, Louis Aragon became for Andre Breton right hand. A French poet, a communist until his last breath, in 1920 Aragon published his first collection of poems, Fireworks, written in the style of surrealism and Dada.

After the poet joined Communist Party in 1927, together with Breton, his work was transformed. He in some way becomes the “voice of the party”, and in 1931 he is prosecuted for the poem “Red Front”, imbued with a dangerous spirit of incitement.

Louis Aragon's History of the USSR also belongs to Peru. He defended the ideals of communism until the end of his life, although he last works returned a little to the traditions of realism, not painted in “red.”

The twentieth century.

The publication of the Decadent magazine (1886–1889) became the realization of the established mythology of decadence. The crisis mood of the “end of the century”, the popularization of the work of F. Nietzsche largely determined the quest of French writers in the early years. 20th century The tragic farce of A. Jarry (1837–1907) The King of Ubu (staged on December 10, 1896) is considered the first-born of the theatrical avant-garde.

Writers of the “right” orientation, sometimes with a touch of chauvinism, saw the strengthening of the nation as an opportunity to overcome the crisis. In the works of M. Barres (1862–1923), a subtle stylist, mystical motifs are combined with radical nationalist ones (the Cult of I trilogy, 1892; the Novel of National Energy trilogy, 1897, 1900, 1902). At the same time, a number of Catholic writers emerged. The works of the writer and critic P.S.J. Bourget (1852–1935), heavy in style and full of didacticism, are aimed at protecting religious values ​​(Etap, 1902; The Meaning of Death, 1915). In the first decades of the 20th century. The activity of such Catholic thinkers and writers as J. Maritain (1882–1973), G. Marcel (1889–1973) (dramas Man of God, 1925; The Destroyed World, 1933), J. Bernanos (1888–1948) (novels Under the sun of Satan, 1926; Diary of a rural priest, 1936), F. Mauriac (1885–1970) (novels Teresa Dequeiro, 1927; A Ball of Snakes, 1932). The poet and publicist S. Péguy (1873–1914) comes to Catholicism (The Mystery of Mercy of Joan of Arc, 1910; Embroidery of Saint Genevieve, 1913). The doctrine of the one soul of humanity (unanimism) formed the basis of the literary group “Abbey” formed in 1906 "; it included C. Wildra (1882–1971), J. Duhamel (1884–1966), J. Chenevier (1884–1972) and others. The founder of the group, J. Romain (1885–1972), belongs to the book People. good will(27 volumes: 1932–1946), which became a summary of world history for 25 years (1908–1933). A. France (1844–1924) spoke out against the clerical-nationalist worldview (Church and the Republic, 1904). His novels (The Crime of Sylvester Bonnard, 1881; Modern history, 1897–1901; Penguin Island, 1908; The Gods Thirst, 1912) are marked by irony, sometimes cynicism, bordering on satire.

The decline of culture, the leitmotif of decadence in the avant-garde gave way to aspiration to the future, the pathos of total renewal. “Surrealist drama” by G. Apollinaire (1880–1918) Breasts of Tiresias (post. 1917) continues the line of King Ubu Jarry. The plays of J. Giraudoux (1882–1944), A. de Monterlant (1895–1972), J. Anouilh (1910–1987) and J. Cocteau (1889–1963) form the basis of the avant-garde repertoire of 1920–1930. The drama and poetry of Apollinaire had a decisive influence on the work of the surrealist group. 1924 includes the Manifesto of Surrealism by A. Breton (1896–1966), the founder and leader of the new movement. Developing the ideological basis of Dadaism, the surrealists abandoned the logical structure of a work of art (the poetry of R. Desnos, 1900–1945; R. Krevel, 1900–1935). The search for new sources of inspiration leads to the discovery of the technique of automatic writing (collection Magnetic Fields (1919) by Breton and F. Soupault, 1897–1990). In an attempt to remove the subject from the creative process, the surrealists created joint works (Immaculate Conception (1930) by Breton and P. Eluard, 1895–1952; Set aside the works (1930) by Breton, Eluard and R. Char, 1907–1988; 152 proverbs for the needs of the day (1925) Eluard and B. Pere, 1899–1959). The group's periodicals were associated with their political activity (the magazine "Surrealist Revolution", 1924-1929; "Surrealism in the Service of the Revolution", 1930-1933). The works of the poet, essayist and screenwriter J. Cocteau, the poet and playwright A. Artaud (1896–1948), the creator of the “theater of cruelty” (The Theater and Its Double, 1938) are close to surrealism. L. Aragon (1897–1982) began his creative activity with the Dadaists and surrealists (collection of poems Fireworks, 1920; novel The Parisian Peasant, 1926), but, like many other artists, after some time he left the group. An active member of the Breton group was A. Malraux (1901–1976), whose novels of the 1930s are close to the existential worldview (Conditions human existence, 1933; Years of Contempt, 1935; Nadezhda, 1937, etc.).

Around the magazines “La Nouvelle Revue Française” in 1909 a group of authors emerged led by A.P.G. Gide (1869–1951) and P. Claudel (1868–1955). The magazine published plays by the Catholic writer Claudel (dramas The Golden Head, 1890; Annunciation, 1912; collection Tree, 1901), essays by P. Valery (1871–1945), early works R. Martin du Garat (1881–1958), novel by Alain-Fournier (1886–1914) Grande Meaulnes (1913). The originality of the prose writer Gide manifested itself in the novel Earthly Dishes (1897) and was most fully embodied in the novel Counterfeiters (1925): its characters discuss the composition of the work they are inside.

With the outbreak of the First World War, the dominant theme of anti-war works became the tragic clash of culture and civilization. The motives for the absorption of culture by civilization and the rejection of war are especially persistent in the works of J. Duhamel (Life of the Martyrs, 1917; Civilization, 1918; later - Archangel of Adventure, 1955), R. Dorgeles (1885–1973) ( Wooden crosses, 1919), R. Rolland (farce Lilyuli, 1919; story Pierre and Luce, 1920; novel Clerambault, 1920), in the works of gr. “Clarte” (1919–1928) (A. Barbussa, 1873–1935; R. Lefebvre, 1891–1920; P. Vaillant-Couturier, 1892–1937; J.R. Bloch, 1884–1947; etc.).

During the interwar period, the novel-river became popular (Roland, Martin du Gard, J. Romain, Duhamel, etc.). In 1927, the publication of M. Proust’s (1871–1922) novel In Search of Lost Time, which began before the war (1913), was completed, the main focus of which is the hero’s stream of consciousness; life in it is presented at the existential, concrete-personal, intimate-sensual levels. The aesthetic and philosophical views of the writer, embodied in the novel and expressed in theoretical works(Against Sainte-Beuve, ed. 1954, etc.) feed French culture to this day.

In the 1930s, writers of “right-wing” orientation appeared, with a reputation as collaborators: A. de Monterlant (1895–1972) (novels Dream, 1922; Bestiaries, 1926; Bachelors, 1934; plays The Dead Queen, 1942; Master of the Order of Santiago, 1945 and etc.); P. Drieu la Rochelle (1893–1945) (essay Fascist Socialism, 1934; The European Frenchman, 1944, etc.; novel Gilles, 1939, etc.), P. Moran (1888–1976). L.F. Selin (1894–1961) (Journey to the End of the Night, 1932; Death on Credit, 1936) transformed the language of prose, actively using colloquial, slang for urban marginal groups.

In con. 1930 – early In the 1940s, the early works of J.-P. Sartre (1905–1980) (Nausea, 1938; Flies, 1943), A. Camus (1913–1960) (The Outsider, 1942; Caligula, 1944) were created, marking the emergence of existentialism. They sound a call to revolt against the meaninglessness of existence, against the fate of the “man of the crowd.” Existentialism is distinguished by the convergence of a literary work with a philosophical treatise. Turning to parables and allegories, writers of this movement recreate a philosophical conflict in prose and drama.

The literary process in French literature was interrupted by the events of World War II. During the years of the fascist occupation of France, an extensive underground literature emerged. The manifesto of the Midnight Publishing House (“Les Editions de Minuit”) (1942), written by P. de Lescure (1891–1963), proclaimed its determination to resist the occupiers. The publishing house published 40 books by Resistance writers before 1945, including: The Lovers of Avignon by E. Triolet, The Black Notebook by F. Mauriac, Dead time K. Avlina, The Path through Disaster by J. Maritain, Panopticon of L. Aragon, Thirty-three sonnets created in prison by J. Cassou and others. The underground press is developing: the literary weekly newspaper “Le Lettre Française” (1942–1972), the magazine “Resistance” " and "La panse libre" (under the direction of J. Decourt, 1910–1942; J. Polan, 1884–1968). In September 1942, a manifesto of the National Writers' Front, written by J. Decour, appeared. In 1941, the “Rochefort School” of poets was born (J. Bouyer, b. 1912; R. Guy Cadoux, 1920–1951; M. Jacob, 1876–1944; P. Reverdy, 1889–1960), which asserted in its declaration the need to protect poetry , the principle of bringing poets together beyond ideologies. The work of A. de Saint-Exupéry (1900–1944), a military pilot, is associated with the Resistance: Planet of People, 1939; Military pilot, 1942, A little prince, 1943.

The liberation of Paris on August 25, 1944 was the signal for the beginning of a gradual revival cultural life France. IN literary life post-war France there was a tendency towards ideological unity and a similar understanding of the tasks of art by different writers. Vercors's (1902–1991) underground story, The Silence of the Sea (1942), became a bestseller. For changing historical novel its philosophical variety and documentary genres, parable forms and variants of the “novel of ideas” come; the novel is politicized. In his programmatic article For Engaged Literature (1945), Sartre spoke out against those who do not socially accept meaningful art, “biased” literature. However, already in 1947, J. Duhamel’s book Torment of Hope. The chronicle 1944–1945–1946 notes divisions in the writing community. The end of the 1940s is associated with the collapse of post-war hopes, in the beginning. During the 1950s, a feeling of internal crisis spread. The break between Sartre and Camus after the release of the last Man in Revolt (1951) becomes significant.

In parallel, in the artistic practice of the absurdists, there is a rethinking of the values ​​of existentialism. The plays The Bald Singer (1950) by E. Ionesco and Waiting for Godot (1953) by S. Beckett are considered manifestos of absurdism (namely the theater of the absurd, “antitheater”). The concept of absurdity as the main characteristic of the existential situation in which things happen human life, goes back to the philosophical works of A. Camus (The Myth of Sisyphus, 1942) and J.P. Sartre (Being and Nothingness, 1943), and partly to their early artistic work (The Stranger (1942) by Camus; Nausea (1938) by Sartre). However, in the literature of absurdism, this concept has been subjected to a radical revision: in contrast to the work of existentialists, for whom the category of absurdity is inseparable from the philosophy of rebellion against the “human lot,” adherents of absurdism (such as A. Adamov, 1908–1970; J. Vauthier, 1910– 1992) are alien to the mood of rebellion, as well as any kind of “big ideas”. Riot does not change anything in the absurd world of plays by J. Genet (1910–1986) (Maids, 1947; Balcony, 1954; Negroes, 1958).

“Aliterature” comes to the forefront (Modern aliterature (1958) by C. Mauriac, b. 1914): it receives theoretical justification in the programmatic texts of N. Sarraute (1902–1999) (Era of Suspicion, 1956), A. Robbe-Grillet (b. . 1922) (The Future of the Novel, 1956; On Several Outdated Concepts, 1957), creators of the “new novel”. His first samples went unnoticed (Tropisms (1946), Portrait of an Unknown (1947) N. Sarraute). Neo-Romanists polemicized with tradition, accompanying works of art theoretical speeches in which they emphasized their non-ideological nature.

The “new novel” was developed in the newest novel, associated primarily with the writers of the Tel Kel group, united around a magazine with the same name (published since 1960). The group saw its task in the search for new forms excluded from literary context, in rejecting the literature of “evidence.” The Telkelites actively popularized the works of A. Artaud, J. Bataille (1897–1962), and F. Ponge (1899–1988), which formed the theoretical basis of their views. Along with turning to structuralism and semiotics, the group promoted social role literature (“from literature that represents to literature that transforms”). Refusing, like the neo-novelists, “plot” and “intrigue,” they, moreover, follow the path of depersonalization of the narrator (Drama (1965) and Numbers (1968) by Sollers).

In 1950, with the publication of the novel The Blue Hussar by R. Nimier (1925–1962), “ lost generation"", "generation of hussars", a special phenomenon in post-war French literature. In con. In the 1950s–1960s, the most popular novels of the poet, prose writer, literary theorist and essayist R. Queneau (1903–1976) were published (Zazi on the Metro, 1959; Blue Flowers, 1965; The Flight of Icarus, 1968), who debuted back in the 1930s. His works are marked by sophisticated language play and a comic interpretation of events. The work of the “Hussars” and Queneau, each somewhat marginal against the background of the general opposition of French literature of that time, nevertheless found its followers.

An important phenomenon literary situation This period became a clear orientation of the writer towards the reading group: “neo-novelists” to the elite, others to the inexperienced. Among the transitional phenomena - family romance A. Troyat (born 1911) (The Egletiere Family, 1965–1967) and a cycle of historical novels by M. Druon (born 1918) (Damned Kings, 1955–1960). A special place is occupied by the work of F. Sagan (born 1935), who made her debut with resounding success novel Hello, Sadness (1954). The theme of love dominates her novels (Signal of Surrender, 1965; A Little Sunshine in cold water, 1969), short stories (collection Tender Look, 1979) and even “military” prose (novel Exhausted, 1985).

The traditional novel is still centered on man in his relationship with the world, and the narrative is based on the “story” being told. The genre of autobiography is becoming popular (Memories of inner life(1959) and New Memoirs of Inner Life (1965) by F. Mauriac; trilogy by J. Green (born 1900) Out at Dawn (1963), A Thousand Open Roads (1964), A Distant Land (1966)) and an autobiographical novel (Antimemoirs (1967) by A. Malraux), autobiographical motifs in the narrative (The Rezo Family ( 1949–1972) E. Bazina, born 1911). Polemically autobiographical F. Nurisier (born 1927) (Petite bourgeois, 1964; One French history, 1966). TO autobiographical genre addressed by A. Robbe-Grillet (Returning Mirror, 1984) and F. Sollers (b. 1936) (Portrait of a Player, 1984). The lyrical beginning in French literature of the 1960s was combined with a philosophical, objectifying movement - one that tried to determine the place of man in modern scientific and technological civilization (Island (1962), Reasonable Animal (1967) by R. Merkle; People or Animals (1952) , Silva (1961) Vercoras). In the 1960s, “new realism” entered French poetry (Ship's Journal (1961), Documents (1966) by F. Venaya (born 1936); collection by B. Delvaye, J. Godot, G. Belle, etc.).

The late 1960s were defined by an atmosphere of student unrest and labor strikes. A particularly notable phenomenon in French literature was the debate about dramatic arts, the peak of which came at the festival in Avignon in 1968. Characteristic of this time was the desire of the playwright and director A. Gatti (born 1924) to establish “an open and passionate relationship between art and politics,” embodied in his plays (Public song in front of two electric chairs, 1962; A Lonely Man, 1964; Passion by General Franco, 1967; In Vietnam, 1967). The greatest resonance was staged in the fall of 1968 by R. Planchon's play The Ridicule and Torment of the most famous of French tragedies, “The Cid” by Corneille, accompanied by the “cruel” execution of the playwright and the free distribution of canned culture. Young playwrights updated the experience of A. Artaud. The cultural 1970s and 80s were defined by the “revolution of 1968.” In literary terms, these were decades after the heyday of the “new novel”: its opposition to the traditional, tough in the end. 1950s, gradually smoothing out. The “new novel” gives way to the traditional one after 1970. However, its formulas penetrate into the work of writers far from the “anti-novel”, and the “newest novel” (Laws, Asch (both 1973) by F. Sollers; Eden, Eden, Eden (1972) by P. Guyot; The Taking-Prose of Constantinople (1965) and Little Revolutions (1971) by J. Ricardo, born 1932) and textual (“structuralist”) writing became its genetic continuation, proclaiming “not the description of adventures, but the adventures of descriptions” (Ricardou). The same Ricardo develops the theory of generators - lexical units that, having an implicit formal (homonyms, anagrams) or semantic (denoting objects that have a common quality) connection, build a narrative about themselves.

N. Sarraute polemicizes not only with the “traditional”, but also with the “newest” novel, remaining at the level of tropisms, elusive and indefinable movements of the soul (Do you hear them?, 1972; Childhood, 1983; You Don’t Love Yourself, 1989 ). K. Simon continues his program, significantly adjusting it, approaching the theory of generators (Battle of Fersal, 1969; Conductor Bodies, 1971) and moving away from it in later books - Object Lesson, 1975; Georgiki, 1981; Invitation, 1987). L. Aragon's novels of the 1960s–70s are called experimental (Death in earnest, 1965; Blanche, or Oblivion, 1967; Theater/novel, 1974), existing in the context of “literature of inner vision” (T.V. Balashova), which inherits creativity N. Sarrot. The novels of J.-M.-G. Leclezio (born 1940) of the 1960s–1980s recreate the picture of the subjective perception of the world as catastrophically hostile. The short stories of J.-L. Trassard (born 1933) are built on tropisms, on the absence of events (collection Streams without a name or meaning, 1981). The genre of the short story was transformed in the 1970–1980s towards a fragment of poetic prose (Rooms with a View of the Past (1978), Breathless (1983) by Trassard; A Teacher from France (1988) by J. Joubert, born 1928; A Man for Another Man (1977) A. Bosquet, 1919–1998).

The work of D. Salnav (born 1940) combines attention to tradition with experiment (Doors in the city of Gubio, 1980); The novel Journey to Amsterdam, or the Rules of Conversation (1977) belongs to the feminist movement in literature. In her collection of short stories, Cold Spring (1983), and the novel A Haunted Life (1986), the plot is barely outlined, but connections with the 19th century appear in the manner of narration. Neoclassical forms of narrative are seen in the works of P. de Mandiarga, P. Modiano (born 1945), M. Tournier (born 1924), R. Camus (born 1946). Mandiargues artistically embodies the theoretical interest of J. Bataille (Literature and Evil, 1957; Tears of Eros, 1961) and P. Klossowski (b. 1905) (The Garden, My Neighbor, 1947; Deferred Vocation, 1950) in erotic literature. Mandiarg made his debut with prose poems (In the Vile Years, 1943), wrote successful novels (Sea Lily, 1956; Motorcycle, 1963; In the Fields, 1967), but gave preference to the short story (Night Museum, 1946; Wolf Sun, 1951; Fire of the Fire, 1964; Under the Wave, 1976). Following Mandiargues, P. Grenville (born 1947) makes baroque his aesthetic principle (Fire Trees, 1976). But the writers began. The 1970s are not alien to traditional “descriptions” (The Hawk from May (1972) by J. Career; The Man-Eater (1973) by J. Shesex, born 1934). In the 1970s, R. Camus made his debut (Passage, 1975). The adventures of life and text form the content of his essay novels (Across, 1978; Buena Vista Park, 1980).

In French literature of the 20th century. The Kafkaian tradition is very influential, adopted, in particular, by V. Pius (Irradiator, 1974; Pompey, 1985). surreal, unexplained events occur in Man Among the Sands (1975) and in the short stories of J. Joubert (collection Teacher from France, 1988). To History bat(1975), the debut of P. Fletjo, the foreword was written by J. Cortazar. A grotesque allegory is woven into the plot of her works (The History of the Abyss and the Spyglass, 1976; The History of a Painting, 1978; The Fortress, 1979; Metamorphoses of the Queen, 1984). S. Germain turned to the fairy-tale element ( Night book, 1985; Days of Wrath, 1989; Medusa Child, 1991). M. Gallo's novel The Progenitor Bird (1974) and the cycle of “History” by J. Queirol (History of the Meadow, 1969; History of the Desert, 1972; History of the Sea, 1973) revive the traditions of Catholic literature.

In prose after the “new novel”, the process of thinking about the very manner of writing affected even such writers who were far from wanting to update the narrative technique, such as B. Clavel (The Silence of the Arms, 1974), A. Stil (We will love each other tomorrow, 1957; Collapse, 1960), E. Triolet (Machinations of Fate, 1962), A. Lanou (When the Sea Retreats, 1969), F. Nurisier (Death, 1970), E. Robles (Stormy Age, 1974; Norma, or Heartless Exile, 1988) . Vercors, after novels and stories that inherit the rationalistic traditions of French prose (Weapons of Darkness, 1946; Wrathful, 1956; On This Shore, 1958–1960), writes The Raft of the Medusa (1969), where he searches for extraordinary artistic solutions.

R. Gary (1914–1980), continuing to write in the traditional manner (Goodbye Gary Cooper, 1969; White Dog, 1971; Kites, 1980), which emerged in his early novels (European Education, 1945; Roots of the Sky, 1956) , under the pseudonym E. Azhar, published novels of a new style (Bolshoy Laskun, 1974; Whole Life Ahead, 1975). But his innovation rather lies in the mainstream not of the “new novel”, but of the experiments of R. Queneau, just like the book Capital Letters (vol. 1–2: 1967, 1974) by J., which found itself at the center of literary discussions at the turn of the 1960–1970s. Graca. The “hussars” movement is reasserting itself central figure which became P. Besson (born 1956) (Slight sorrows of love, 1974; I know many stories, 1974; House of the lonely young man, 1979; Have you seen my gold chain?, 1980; Letter to a Lost Friend, 1980).

The turn to the historical novel, evident in the works of L. Aragon ( Holy Week, 1959), M. Yourcenar (Memoirs of Adrian, 1951; Philosopher's Stone, 1968) and J.-P. Chabrol (God's Madmen, 1961), after 1968 he was especially fruitful (The Fearless and Black-faced Thieves (1977), Camizar Castanet (1979) by A. Shamson; Pillars of Heaven (1976–1981) by B. Clavel ; Jeanne of the Sovereign, or the Vicissitudes of Constancy (1984) by P. Laine; Anne Boleyn (1985) by Vercors).

Along with the flourishing of the historical and regional novel (Garrican (1983), The Gold of the Earth (1984), Amarok (1987) by B. Klevel; The Predator (1976) by G. Krussi), feminist literature was formed during this period. An attempt to create a “female” language of prose (manifesto of sisters F. and B. Gru Feminine plural, 1965) led either to the displacement of men from the artistic world or to the exploitation male characters feminine by E. Cixus (Inside, 1969; Third Body, 1970; Neutral, 1972; Breathing, 1975) and B. Gru (Part of Life, 1972; Such as it is, 1975; Three Quarters of Life, 1984). However, most novels dedicated to a woman’s relationship with the world are alien to aggressive feminism (The Key at the Door (1972) by M. Cardinal; The Ice Woman (1981) by A. Ernault; When an Angel Winks (1983) by F. Malle-Joris, etc.) . The novels of M. Duras (born 1914) were perceived in the force field of feminism.

In connection with the experimental sentiments in post-war French literature, mass literature expanded its audience. However, sometimes rebellious motives began to sound in it, and work with language began. Indicative in this sense are the detective stories of San Antonio, J. Simenon (the cycle about Maigret, 1919–1972), T. Narcejac, P. Boileau, J.-P. Manchette, J. Vautrin. Transforms the sentimental “love” novel by P. Koven. Absurdist storytelling (novels by D. Boulanger) became widespread.

“Tension bordering on despair” (T.V. Balashova) of French poetry of the 1960s was replaced by a new awareness of the life-affirming function of poetry. If in prose the 1970s–1980s were marked by the return of the hero and plot, then poetry turns to the landscape, making it the center philosophical reflection. J. Roubaud (b. 1932), who was initially carried away by theoretical searches (collection Epsilon, 1967; Thirty-one in a cube, 1973), in the 1980s rather struggled with form on the path to “naivety” and to the “lyrical tradition” (R .Davre) (Dream, 1981; Something Terrible, 1986). J. Rista (b. 1943) experiments with archaic poetics, remaining faithful, like Roubaud, love theme(On the coup d'état in literature with examples from the Bible and ancient authors, 1970; Ode to hasten the coming of the universe, 1978; Entering the bay and capturing the city of Rio de Janeiro, 1980). B. Vargaftig (born 1934) debuted with the collection Everywhere at Home (1965), close to the “new realism”, but the material component quickly disappeared from the space of his poetry (Eve of Maturity, 1967; Utori, 1975; Description of Elegy, 1975; Glory and the Pack, 1977). The poetry of the 1980s is characterized by an “anti-surrealist” revolt - against a functional approach to poetry, against overly metaphorical language. Since the early 1990s, even the poetry of the recognized experimenter I. Bonnefoy has returned to narrative (collection Snow Beginning and Final, 1991).

One of the extreme manifestations of the literary practice of postmodernism (emerging in the 1960s), characterized by abundant use of intertextual connections, was the “rewriting of the classics.” For example, P. Menet (Madame Bovary shows her claws, 1988), J. Selyakh (Emma, ​​oh Emma! 1992), R. Jean (Mademoiselle Bovary, 1991) offer their own options for the development of the classic plot, changing the time of action, conditions, introducing into the novel world the figure of the author himself, Flaubert.

The prose of the 1990s includes a variety of traditions of 20th century French literature. Books continue to be published by Leclezio (Onitsha, 1991), P. Kinyar (b. 1948) (All the Mornings of the World, 1991), R. Camus (Hunter of Light, 1993), O. Rolen (b. 1947) (The Invention of the World, 1993 ), Sollers (The Secret, 1993), Robbe-Grillet (The Last Days of Corinth, 1994). Particularly successful are novels that continue the line of existentialists, partly by B. Vian (1920–1959), directed against the “consumer society”, the glossy world of advertising pictures (99 francs (2000) by F. Beigbeder, born 1965). The juxtaposition of utopian and apocalyptic motifs distinguishes the narrative of M. Houellebecq (born 1958) (Elementary Particles, 1998; Platform, 2001). The French press highlights the work of Houellebecq and other lesser-known modern writers the term "depressionism". The popularity of the last two authors is not last resort associated with scandals arising around the release of their books.

In the 20th century French-language literature from African countries and the Antilles is developing intensively. The works of writers from the colonies gaining independence recreate the atmosphere of socio-cultural dialogue, often conflict.

Alexey Evstratov

Every year on March 20, International Francophonie Day is celebrated. This day is dedicated French, spoken by more than 200 million people around the world.

We took advantage of this opportunity and propose to remember the best French writers of our time, representing France in the international book arena.

Frederic Beigbeder . Prose writer, publicist, literary critic and editor. His literary works, with descriptions modern life, a person’s tossing around in the world of money and love experiences very quickly won fans around the world. The most sensational books, “Love Lives for Three Years” and “99 Francs,” were even filmed. The novels “Memoirs of an Unreasonable Young Man”, “Holidays in a Coma”, “Stories on Ecstasy”, “Romantic Egoist” also brought well-deserved fame to the writer. Over time, Beigbeder founded his own literary award, the Flora Prize.

Michel Houellebecq . One of the most widely read French writers beginning of the XXI century. His books have been translated into nearly three dozen languages, and he is extremely popular among young people. Perhaps this is due to the fact that the writer managed to touch on the pain points of modern life. His novel “Elementary Particles” (1998) received the Grand Prix, and “Map and Territory” (2010) received the Prix Goncourt. They were followed by “Platform”, “Lanzarote”, “The Possibility of an Island”, etc., and each of these books became a bestseller.

The writer's new novel"Submission" tells of the collapse of the modern political system of France in the near future. The author himself defined the genre of his novel as “political fiction.” The action takes place in 2022. A Muslim president comes to power democratically, and the country begins to change before our eyes...

Bernard Werber . Cult science fiction writer and philosopher. His name on the cover of the book means only one thing - a masterpiece! The total worldwide circulation of his books is more than 10 million! The writer is best known for the trilogies “Ants”, “Thanatonautes”, “We Gods” and “The Third Humanity”. His books have been translated into many languages, and seven novels have become bestsellers in Russia, Europe, America and Korea. The author has a lot to his credit literary prizes, incl. Jules Verne Prize.

One of the most sensational books of the writer -"Empire of Angels" where fantasy, mythology, mysticism and real life the most ordinary people. The main character of the novel goes to heaven, undergoes the “Last Judgment” and becomes an angel on Earth. According to heavenly rules, he is given three human clients, whose lawyer he must subsequently become the Last Judgment…

Guillaume Musso . A relatively young writer, very popular among French readers. Each of his new works becomes a bestseller, and films are made based on his works. The deep psychologism, piercing emotionality and vivid figurative language of the books fascinate readers all over the world. The action of his adventure and psychological novels takes place all over the world - in France, the USA and other countries. Following the heroes, readers go on adventures full of dangers, investigate mysteries, plunge into the abyss of the heroes’ passions, which, of course, gives a reason to look into their inner world.

Based on the writer's new novel"Because I love you" - the tragedy of one family. Mark and Nicole were happy until their little daughter - their only, long-awaited and adored child - disappeared...

Mark Levy . One of the most famous novelists, whose works have been translated into dozens of languages ​​and published in huge editions. The writer is a laureate of the national Goya Prize. Steven Spielberg paid two million dollars for the rights to film his first novel, Between Heaven and Earth.

Literary critics note the versatility of the author’s work. In his books - “Seven Days of Creation”, “Meet Again”, “Everyone Wants to Love”, “Leave to Return”, “Stronger than Fear”, etc. - the theme of selfless love and sincere friendship, the secrets of old mansions and intrigue is often encountered , reincarnation and mysticism, unexpected twists in storylines.

Writer's new book"She and he" is one of best novels based on the results of 2015. This romantic story about irresistible and unpredictable love.

Anna Gavalda . A famous writer who captivated the world with her novels and their exquisite, poetic style. She is called the “star of French literature” and “the new Francoise Sagan.” Her books have been translated into dozens of languages, awarded a whole constellation of awards, and they have been used for performances and films. Each of her works is a story about love and how it adorns every person.
In 2002, the writer’s first novel, “I Loved Her, I Loved Him,” was published. But this was all just a prelude to the real success that the book brought her"Just together" , which eclipsed even Brown’s novel “The Da Vinci Code” in France.This is amazingly wise and good book about love and loneliness, about life and, of course, happiness.