Meet Stan, Patch the dog, and Little Red Tractor and read about their busy lives on Gosling Farm.

Stan and Little Red Tractor are taking sacks of wheat to Stumpy's Mill for grinding into flour. Then Stan spies a kitten stuck on one of the windmill's sails. He rescues her, but only after his world has turned upside down!

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Peter Geoffrey Tye: A Hampshire boy, who grew up in the rural community of Hartley Wespall, joined the Royal Navy at the age of fifteen and completed eight years service. Peter then embarked on a marketing career which led to copy writing and in 1977, the setting up of his own business from number 87 Fleet Street. From his 4th floor office he looked at the Daily Express building at the front, over St. Bride’s churchyard at the rear, and provided a business writing service to blue chip companies in the City of London.

Peter’s involvement with children’s entertainment began in 1993, when he produced Colin Reeder’s Little Red Tractor Stories for video and following Colin’s untimely death, wrote new Little Red Tractor stories for TV and book publication.

Peter Tye lives in Norfolk where he is an enthusiastic, if very average golfer, and enjoys sailing his Yeoman dingy on The Broads.

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Over the past few years, Brianna Wiest has gained renown for her deeply moving, philosophical writing. This new compilation of her published work features pieces on why you should pursue purpose over passion, embrace negative thinking, see the wisdom in daily routine, and become aware of the cognitive biases that are creating the way you see your life.

Some of these pieces have never been seen; others have been read by millions of people around the world. Regardless, each will leave you thinking: This idea changed my life.

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Some of these pieces have never been seen; others have been read by millions of people around the world. Regardless, each will leave you thinking: This idea changed my life.

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This is a professionally-formatted, free flowing ebook reproduction of unique, up-to-date guides produced by the Department of Defense that provide comprehensive information about all aspects of life in South Korea, with a special emphasis on geography, history, the economy, society, security and military matters, religion, traditions, urban and rural life, ethnic groups, crime, the environment, government, holidays, gender issues and much more.

CHAPTER 1: GEOGRAPHY * Introduction * Geography and Topographic Features * The Central Mountains * The Southern Plain * The Southwestern Plain * Climate * Bodies of Water * East China Sea * Yellow Sea (West Sea) * Sea of Japan (East Sea) * Strait of Korea * The Naktong River * The Han River * The Kum River * Major Cities * Seoul * Busan * Incheon * Daegu * Daejon * Gwangju * Environmental Concerns * Natural Hazards * CHAPTER 1 ASSESSMENT * CHAPTER 2: HISTORY * Introduction * Korean Origins * The Three Kingdoms * The Unified Silla Kingdom (668-935) * The Koryo (918-1392) * The Chosun Dynasty (1392-1910) * Japanese Colonialism (1910-1945) * A Divided Nation (1945-1949) * The Korean War * The Aftermath of War * On the Road to Democracy (1961-1987) * Modern Korea (1987-2012) * Recent Events * CHAPTER 2 ASSESSMENT * CHAPTER 3: ECONOMY * Introduction * Agriculture * Fishing * Manufacturing/Industry * Energy * Natural Resources * Trade * Tourism * Banking and Finance * Standard of Living * Employment Trends * Outlook * CHAPTER 3 ASSESSMENT * CHAPTER 4: SOCIETY * Introduction * Ethnic Groups and Languages * Religion * Shamanism * Buddhism * Christianity * Cuisine * Traditional Dress * Gender Issues * Arts * Pottery * Painting * Literature * Dance * Music * Folklore * Sports and Recreation * Taekwondo * Sheeruhm * Soccer * Baseball * Archery * Traditional Games * CHAPTER 4 ASSESSMENT * CHAPTER 5: SECURITY * Introduction * Relations with the United States * Relations with Neighbors * North Korea * China * Japan * Russia * Police * Military * Issues Affecting Stability * North Korea * Energy * Political Violence * Demographics * CHAPTER 1: PROFILE * Introduction * Geography * Climate * Bodies of Water * Major Cities * Seoul * Busan * Incheon * Daegu * Daejon * Gwangju * History * The Three Kingdoms (108 B.C.E.-918) * The Koryo (918-1392) * The Chosun Dynasty (1392-1910) * Japanese Occupation and the Korean War (1910-1953) * On the Road to Democracy (1953-1987) * Modern Korea (1987-2012) * Government * Media * Economy * Ethnic Groups and Languages * Chapter 1 Assessment * CHAPTER 2: RELIGION * Overview * Major Religions * Shamanism * Buddhism * Christianity * Religion and Government * Influence of Religion in Daily Life * Religious Holidays * Buildings of Worship * Churches and Cathedrals * Temples * Behavior in Buildings of Worship * Churches * Temples * Chapter 2 Assessment * CHAPTER 3: TRADITIONS * Introduction * Formulaic Codes of Politeness * Male/Female Interaction * Hospitality and Gift Giving * Eating Habits * Eating Out * Drinking Culture and Rituals * Dress Codes * Nonreligious Holidays * New Year's Day * Seollal (Lunar New Year) * Gookgyongil (Independence Day or National Day) * Labor Day * Uhleenee nal (Children's Day) * Ahbahee nal (Parents' Day) * Hyunchoonil (Memorial Day) * Gwangbokjol (Liberation Day) * Chuseok (Harvest Moon Festival) * Gaechunjul (National Foundation Day) * Hangul nal (Hangul Proclamation Day) * Dos and Don'ts * Chapter 3 Assessment * CHAPTER 4: URBAN LIFE * Introduction * Work Problems in Urban Areas * Urban Healthcare * Education * Restaurants * Marketplace and Street Vendors * Transportation * Cars and Motorcycles * Taxis * Subways * Buses * Trains * Ferries and Airplanes * Urban Crime * Chapter 4 Assessment * CHAPTER 5: RURAL LIFE * Introduction * Land Distribution and Rural Development * Economy * Transportation * Rural Healthcare * Education * Who's in Charge? * Border Crossings and Checkpoints * Landmines

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50% Off Active Print Subscribers. If you currently subscribe to the U.S. print edition of Elle, you can receive your NOOK Subscription at a 50% discount every month for as long as you subscribe to both editions. Select the monthly subscription button and begin your 14 day free trial. An email will then be sent to you with instructions to redeem your FREE offer.

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I had, as I have said, left the marvellous point of vantage, so snugly contrived at the top of the house, commanding the hilly slopes which led up to the Hotel de Brequigny, and which were gaily decorated in the Italian manner by the rose-pink campanile of the Marquis de Frecourt's coach-house. I had thought it more practical, when I suspected that the Duke and Duchess were on the point of returning, to post myself on the staircase. I rather missed my Alpine eyrie. But at that time of day, namely the hour immediately after lunch, I had less cause for regret, for I should not then have seen, as in the morning, the footmen of the Brequigny household, converted by distance into minute figures in a picture, make their leisurely ascent of the steep hillside, feather-brush in hand, behind the large, transparent flakes of mica which stood out so pleasingly upon its ruddy bastions. Failing the geologist's field of contemplation, I had at least that of the botanist, and was peering through the shutters of the staircase window at the Duchess's little shrub and at the precious plant, exposed in the courtyard with that assertiveness with which mothers 'bring out' their marriageable offspring,and asking myself whether the unlikely insect would come, by a providential hazard, to visit the offered and neglected pistil. My curiosity emboldening me by degrees, I went down to the ground-floor window, which also stood open with its shutters ajar. I could distinctly hear Jupien getting ready to go out, but he could not detect me behind my blind, where I stood perfectly still until the moment when I drew quickly aside in order not to be seen by M. de Charlus, who, on his way to call upon Mme de Villeparisis, was slowly crossing the courtyard, corpulent, greying, aged by the strong light. Nothing short of an indisposition from which Mme de Villeparisis might be suffering (consequent on the illness of the Marquis de Fierbois, with whom he personally was at daggers drawn) could have made M. de Charlus pay a call, perhaps for the first time in his life, at that hour of the day. For with that eccentricity of the Guermantes, who, instead of conforming to the ways of society, tended to modify them to suit their own personal habits (habits not, they thought, social, and deserving in consequence the abasement before them of that worthless thing, society life&mdashthus it was that Mme de Marsantes had no regular 'day,' but was at home to her friends every morning between ten o'clock and noon), the Baron, reserving those hours for reading, hunting for old curios and so forth, paid calls only between four and six in the evening. At six o'clock he went to the Jockey Club, or took a stroll in the Bois. A moment later, I again recoiled, in order not to be seen by Jupien. It was nearly time for him to set out for the office, from which he would return only for dinner, and not always even then during the last week since his niece and her apprentices had gone to the country to finish a dress for a customer. Then, realising that no one could see me, I decided not to let myself be disturbed again for fear of missing, should the miracle be fated to occur, the arrival, almost beyond the possibility of hope (across so many obstacles of distance, of adverse risks, of dangers), of the insect sent from so far away as ambassador to the virgin who had been waiting for so long. I knew that this expectancy was no more passive than in the male flower, whose stamens had spontaneously curved so that the insect might more easily receive their offering; similarly the female flower that stood here would coquettishly arch her 'styles' if the insect came, and, to be more effectively penetrated by him, would imperceptibly advance, like a hypocritical but ardent damsel, to meet him half-way. The laws of the vegetable kingdom are themselves governed by increasingly higher laws. If the visit of an insect, that is to say the transportation of the seed from another flower, is generally necessary for the fertilisation of a flower, that is because self-fertilisation, the insemination of a flower by itself, would lead, like a succession of intermarriages in the same family, to degeneracy and sterility, whereas the crossing effected by insects gives to the subsequent generations of the same species a vigour unknown to their forebears. This invigoration may, however, prove excessive, and the species develop out of all proportion; then, as an antitoxin protects us against disease, as the thyroid gland regulates our adiposity, as defeat comes to punish pride, as fatigue follows indulgence, and as sleep in turn brings rest from fatigue, so an exceptional act of self-fertilisation comes at the crucial moment to apply its turn of the screw, its pull on the curb, brings back within the norm the flower that has exaggeratedly overstepped it. My reflexions had followed a trend which I shall describe in due course, and I had already drawn from the visible stratagems of flowers a conclusion that bore upon a whole unconscious element of literary production, when I saw M. de Charlus coming away from the Marquise's door. Only a few minutes had passed since his entry. Perhaps he had learned from his elderly relative herself, or merely from a servant, of a great improvement in her condition, or rather her complete recovery from what had been nothing more than a slight indisposition. At this moment, when he did not suspect that anyone was watching him, his eyelids lowered as a screen against the sun, M. de Charlus had relaxed that artificial tension, softened that artificial vigour in his face which were ordinarily sustained by the animation of his talk and the force of his will. Pale as a marble statue, his fine features with the prominent nose no longer received from an expression deliberately assumed a different meaning which altered the beauty of their contours; no more now than a Guermantes, he seemed already carved in stone, he, Palamede XV, in the chapel at Combray. These general features of a whole family took on, however, in the face of M. de Charlus a more spiritualised, above all a softer refinement. I regretted for his sake that he should habitually adulterate with so many violent outbursts, offensive eccentricities, calumnies, with such harshness, touchiness and arrogance, that he should conceal beneath a spurious brutality the amenity, the kindness which, as he emerged from Mme de Villeparisis's, I saw so innocently displayed upon his face. Blinking his eyes in the sunlight, he seemed almost to be smiling, and I found in his face seen thus in repose and as it were in its natural state something so affectionate, so defenceless, that I could not help thinking how angry M. de Charlus would have been could he have known that he was being watched; for what was suggested to me by the sight of this man who was so enamoured of, who so prided himself upon, his virility, to whom all other men seemed odiously effeminate, what he suddenly suggested to me, to such an extent had he momentarily assumed the features, the expression, the smile thereof, was a woman.

I was about to change my position again, so that he should not catch sight of me; I had neither the time nor the need to do so. For what did I see! Face to face, in that courtyard where they had certainly never met before (M. de Charlus coming to the Hotel de Guermantes only in the afternoon, during the time when Jupien was at his office), the Baron, having suddenly opened wide his half-shut eyes, was gazing with extraordinary attentiveness at the ex-tailor poised on the threshold of his shop, while the latter, rooted suddenly to the spot in front of M. de Charlus, implanted there like a tree, contemplated with a look of wonderment the plump form of the ageing Baron. But, more astounding still, M. de Charlus's pose having altered, Jupien's, as though in obedience to the laws of an occult art, at once brought itself into harmony with it. The Baron, who now sought to disguise the impression that had been made on him, and yet, in spite of his affectation of indifference, seemed unable to move away without regret, came and went, looked vaguely into the distance in the way which he felt would most enhance the beauty of his eyes, assumed a smug, nonchalant, fatuous air. Meanwhile Jupien, shedding at once the humble, kindly expression which I had always associated with him, had--in perfect symmetry with the Baron--thrown back his head, given a becoming tilt to his body, placed his hand with grotesque effrontery on his hip, stuck out his behind, struck poses with the coquetry that the orchid might have adopted on the providential arrival of the bee. I had not supposed that he could look so unappealing. But I was equally unaware that he was capable of improvising his part in this sort of dumb show which (although he found himself for the first time in the presence of M. de Charlus) seemed to have been long and carefully rehearsed; one does not arrive spontaneously at that pitch of perfection except when one meets abroad a compatriot with whom an understanding then develops of itself, the means of communication being the same, even without having seen each other before.

This scene was not, however, positively comic; it was stamped with a strangeness, or if you like a naturalness, the beauty of which steadily increased. Try as M. de Charlus might to assume a detached air, to let his eyelids nonchalantly droop, every now and then he raised them, and at such moments turned on Jupien an attentive gaze. But (doubtless because he felt that such a scene could not be prolonged indefinitely in this place, whether for reasons which we shall understand later on, or possibly from that feeling of the brevity of all things which makes us determine that every blow must strike home, and renders so moving the spectacle of every kind of love), each time that M. de Charlus looked at Jupien, he took care that his glance should be accompanied by a word, which made it infinitely unlike the glances we usually direct at a person whom we scarcely know or do not know at all; he stared at Jupien with the peculiar fixity of the person who is about to say to you: 'Excuse my taking the liberty, but you have a long white thread hanging down your back,' or else: 'Surely I can't be mistaken, you come from Zurich too; I'm certain I must have seen you there often at the antique dealer's.' Thus, every other minute, the same question seemed to be put to Jupien intently in M. de Charlus's ogling, like those questioning phrases of Beethoven's, indefinitely repeated at regular intervals and intended--with an exaggerated lavishness of preparation--to introduce a new theme, a change of key, a 're-entry.' On the other hand, the beauty of the reciprocal glances of M. de Charlus and Jupien arose precisely from the fact that they did not, for the moment at least, seem to be intended to lead to anything further. It was the first time I had seen the manifestation of this beauty in the Baron and Jupien. In the eyes of both of them, it was the sky not of Zurich but of some oriental city, the name of which I had not yet divined, that I saw reflected. Whatever the point might be that held M. de Charlus and the ex-tailor thus arrested, their pact seemed concluded and these superfluous glances to be but ritual preliminaries, like the parties people give before a marriage which has been definitely arranged. Nearer still to nature--and the multiplicity of these analogies is itself all the more natural in that the same man, if we examine him for a few minutes, appears in turn a man, a man-bird, a man-insect, and so forth--one might have thought of them as a pair of birds, the male and the female, the male seeking to advance, the female--Jupien--no longer giving any sign of response to this stratagem, but regarding her new friend without surprise, with an inattentive fixity of gaze, doubtless considered more disturbing and the sole practicality now that the male had taken the first steps, and contenting herself with preening her feathers. At length Jupien's indifference seemed to suffice him no longer; from the certainty of having conquered to getting himself pursued and desired was but a step, and Jupien, deciding to go off to his work, went out through the carriage gate. It was only, however, after turning his head two or three times that he disappeared into the street, towards which the Baron, trembling lest he should lose the trail (boldly humming a tune, and not forgetting to fling a 'Good-day' to the porter, who, half-tipsy and engaged in treating a few friends in his back kitchen, did not even hear him), hurried briskly to catch up with him. At the same instant as M. de Charlus disappeared through the gate humming like a great bumble-bee, another, a real one this time, flew into the courtyard. For all I knew this might be the one so long awaited by the orchid, coming to bring it that rare pollen without which it must remain a virgin. But I was distracted from following the gyrations of the insect, for, a few minutes later, engaging my attention afresh, Jupien (perhaps to pick up a parcel which he did take away with him ultimately and which, in the emotion aroused in him by the appearance of M. de Charlus, he had forgotten, perhaps simply for a more natural reason) returned, followed by the Baron. The latter, deciding to precipitate matters, asked the tailor for a light, but at once observed: 'I ask you for a light, but I see I've left my cigars at home.' The laws of hospitality prevailed over the rules of coquetry. 'Come inside, you shall have everything you wish,' said the tailor, on whose features disdain now gave place to joy. The door of the shop closed behind them and I could hear no more. I had lost sight of the bumblebee. I did not know whether he was the insect that the orchid required, but I had no longer any doubt, in the case of a very rare insect and a captive flower, of the miraculous possibility of their conjunction when I considered that M. de Charlus (this is simply a comparison of providential chances, whatever they may be, without the slightest scientific claim to establish a relation between certain botanical laws and what is sometimes, most ineptly, termed homosexuality), who for years past had never come to the house except at hours when Jupien was not there, had, by the mere accident of Mme de Villeparisis's indisposition, encountered the tailor and with him the good fortune reserved for men of the Baron's kind by one of those fellow-creatures who may even be, as we shall see, infinitely younger than Jupien and better-looking, the man predestined to exist in order that they may have their share of sensual pleasure on this earth: the man who cares only for elderly gentlemen.

\"},{\"id\":\"3663123T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

Swann's Way

By Marcel Proust

Penguin Classic

ISBN: 0-142-43796-4

Chapter One

Combray

For a long time, I went to bed early. Sometimes, my candle scarcely out, my eyes would close so quickly that I did not have time to say to myself: \\\"I'm falling asleep.\\\" And, half an hour later, the thought that it was time to try to sleep would wake me; I wanted to put down the book I thought I still had in my hands and blow out my light; I had not ceased while sleeping to form reflections on what I had just read, but these reflections had taken a rather peculiar turn; it seemed to me that I myself was what the book was talking about: a church, a quartet, the rivalry between François I and Charles V. This belief lived on for a few seconds after my waking; it did not shock my reason but lay heavy like scales on my eyes and kept them from realizing that the candlestick was no longer lit. Then it began to grow unintelligible to me, as after metempsychosis do the thoughts of an earlier existence; the subject of the book detached itself from me, I was free to apply myself to it or not; immediately I recovered my sight and I was amazed to find a darkness around me soft and restful for my eyes, but perhaps even more so for my mind, to which it appeared a thing without cause, incomprehensible, a thing truly dark. I would ask myself what time it might be; I could hear the whistling of the trains which, remote or nearby, like the singing of a bird in a forest, plotting the distances, described tome the extent of the deserted countryside where the traveler hastens toward the nearest station; and the little road he is following will be engraved on his memory by the excitement he owes to new places, to unaccustomed activities, to the recent conversation and the farewells under the unfamiliar lamp that follow him still through the silence of the night, to the imminent sweetness of his return.

I would rest my cheeks tenderly against the lovely cheeks of the pillow, which, full and fresh, are like the cheeks of our childhood. I would strike a match to look at my watch. Nearly midnight. This is the hour when the invalid who has been obliged to go off on a journey and has had to sleep in an unfamiliar hotel, wakened by an attack, is cheered to see a ray of light under the door. How fortunate, it's already morning! In a moment the servants will be up, he will be able to ring, someone will come help him. The hope of being relieved gives him the courage to suffer. In fact he thought he heard footsteps; the steps approach, then recede. And the ray of light that was under his door has disappeared. It is midnight; they have just turned off the gas; the last servant has gone and he will have to suffer the whole night through without remedy.

I would go back to sleep, and would sometimes afterward wake again for brief moments only, long enough to hear the organic creak of the woodwork, open my eyes and stare at the kaleidoscope of the darkness, savor in a momentary glimmer of consciousness the sleep into which were plunged the furniture, the room, that whole of which I was only a small part and whose insensibility I would soon return to share. Or else while sleeping I had effortlessly returned to a period of my early life that had ended forever, rediscovered one of my childish terrors such as my great-uncle pulling me by my curls, a terror dispelled on the day-the dawn for me of a new era-when they were cut off. I had forgotten that event during my sleep, I recovered its memory as soon as I managed to wake myself up to escape the hands of my great-uncle, but as a precautionary measure I would completely surround my head with my pillow before returning to the world of dreams.

Sometimes, as Eve was born from one of Adam's ribs, a woman was born during my sleep from a cramped position of my thigh. Formed from the pleasure I was on the point of enjoying, she, I imagined, was the one offering it to me. My body, which felt in hers my own warmth, would try to find itself inside her, I would wake up. The rest of humanity seemed very remote compared with this woman I had left scarcely a few moments before; my cheek was still warm from her kiss, my body aching from the weight of hers. If, as sometimes happened, she had the features of a woman I had known in life, I would devote myself entirely to this end: to finding her again, like those who go off on a journey to see a longed-for city with their own eyes and imagine that one can enjoy in reality the charm of a dream. Little by little the memory of her would fade, I had forgotten the girl of my dream.

A sleeping man holds in a circle around him the sequence of the hours, the order of the years and worlds. He consults them instinctively as he wakes and reads in a second the point on the earth he occupies, the time that has elapsed before his waking; but their ranks can be mixed up, broken. If toward morning, after a bout of insomnia, sleep overcomes him as he is reading, in a position quite different from the one in which he usually sleeps, his raised arm alone is enough to stop the sun and make it retreat, and, in the first minute of his waking, he will no longer know what time it is, he will think he has only just gone to bed. If he dozes off in a position still more displaced and divergent, after dinner sitting in an armchair for instance, then the confusion among the disordered worlds will be complete, the magic armchair will send him traveling at top speed through time and space, and, at the moment of opening his eyelids, he will believe he went to bed several months earlier in another country. But it was enough if, in my own bed, my sleep was deep and allowed my mind to relax entirely; then it would let go of the map of the place where I had fallen asleep and, when I woke in the middle of the night, since I did not know where I was, I did not even understand in the first moment who I was; I had only, in its original simplicity, the sense of existence as it may quiver in the depths of an animal; I was more destitute than a cave dweller; but then the memory-not yet of the place where I was, but of several of those where I had lived and where I might have been-would come to me like help from on high to pull crossed centuries of civilization in one second, and the image confusedly glimpsed of oil lamps, then of wing-collar shirts, gradually recomposed my self's original features.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it-my body-would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: \\\"Why, I went to sleep in the end even though Mama didn't come to say goodnight to me,\\\" I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents' house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

Then the memory of a new position would reappear; the wall would slip away in another direction: I was in my room at Mme. de Saint-Loup's, in the country; good Lord! It's ten o'clock or even later, they will have finished dinner! I must have overslept during the nap I take every evening when I come back from my walk with Mme. de Saint-Loup, before putting on my evening clothes. For many years have passed since Combray, where, however late we returned, it was the sunset's red reflections I saw in the panes of my window. It is another sort of life one leads at Tansonville, at Mme. de Saint-Loup's, another sort of pleasure I take in going out only at night, in following by moonlight those lanes where I used to play in the sun; and the room where I fell asleep instead of dressing for dinner-from far off I can see it, as we come back, pierced by the flares of the lamp, a lone beacon in the night.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Débats roses, which you end by cementing together using the birds' technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt's house, in Balbec, in Paris, in Doncières, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

At Combray, every day, in the late afternoon, long before the moment when I would have to go to bed and stay there, without sleeping, far away from my mother and grandmother, my bedroom again became the fixed and painful focus of my preoccupations. They had indeed hit upon the idea, to distract me on the evenings when they found me looking too unhappy, of giving me a magic lantern, which, while awaiting the dinner hour, they would set on top of my lamp; and, after the fashion of the first architects and master glaziers of the Gothic age, it replaced the opacity of the walls with impalpable iridescences, supernatural multicolored apparitions, where legends were depicted as in a wavering, momentary stained-glass window. But my sadness was only increased by this since the mere change in lighting destroyed the familiarity which my bedroom had acquired for me and which, except for the torment of going to bed, had made it tolerable to me. Now I no longer recognized it and I was uneasy there, as in a room in some hotel or \\\"chalet\\\" to which I had come for the first time straight from the railway train.

Continues...

Excerpted from Swann's Way by Marcel Proust Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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\"},{\"id\":\"42992569T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\"

Swann's Way

Part 1

Combray

For a long time, I went to bed early. Sometimes, my candle scarcely out, my eyes would close so quickly that I did not have time to say to myself: “I’m falling asleep.” And, half an hour later, the thought that it was time to try to sleep would wake me; I wanted to put down the book I thought I still had in my hands and blow out my light; I had not ceased while sleeping to form reflec-tions on what I had just read, but these reflections had taken a rather peculiar turn; it seemed to me that I myself was what the book was talking about: a church, a quartet, the rivalry between François I and Charles V. This belief lived on for a few seconds after my waking; it did not shock my reason but lay heavy like scales on my eyes and kept them from realizing that the candlestick was no longer lit. Then it began to grow unintelligible to me, as after metempsychosis do the thoughts of an earlier existence; the subject of the book detached itself from me, I was free to apply myself to it or not; immediately I recovered my sight and I was amazed to find a darkness around me soft and restful for my eyes, but perhaps even more so for my mind, to which it appeared a thing without cause, incomprehensible, a thing truly dark. I would ask myself what time it might be; I could hear the whistling of the trains which, remote or nearby, like the singing of a bird in a forest, plotting the distances, described to me the extent of the deserted countryside where the traveler hastens toward the nearest station; and the little road he is following will be engraved on his memory by the excitement he owes to new places, to unaccustomed ctivities, to the recent conversation and the farewells under the unfamiliar lamp that follow him still through the silence of the night, to the imminent sweetness of his return.

I would rest my cheeks tenderly against the lovely cheeks of the pillow, which, full and fresh, are like the cheeks of our childhood. I would strike a match to look at my watch. Nearly midnight. This is the hour when the invalid who has been obliged to go off on a journey and has had to sleep in an unfamiliar hotel, wakened by an attack, is cheered to see a ray of light under the door. How fortunate, it’s already morning! In a moment the servants will be up, he will be able to ring, someone will come help him. The hope of being relieved gives him the courage to suffer. In fact he thought he heard footsteps; the steps approach, then recede. And the ray of light that was under his door has disappeared. It is midnight; they have just turned off the gas; the last servant has gone and he will have to suffer the whole night through without remedy.

I would go back to sleep, and would sometimes afterward wake again for brief moments only, long enough to hear the organic creak of the woodwork, open my eyes and stare at the kaleidoscope of the darkness, savor in a momentary glimmer of consciousness the sleep into which were plunged the furniture, the room, that whole of which I was only a small part and whose insensibility I would soon return to share. Or else while sleeping I had effortlessly returned to a period of my early life that had ended forever, rediscovered one of my childish terrors such as my great-uncle pulling me by my curls, a terror dispelled on the day—the dawn for me of a new era—when they were cut off. I had forgotten that event during my sleep, I recovered its memory as soon as I managed to wake myself up to escape the hands of my great-uncle, but as a precautionary measure I would completely surround my head with my pillow before returning to the world of dreams.

Sometimes, as Eve was born from one of Adam’s ribs, a woman was born during my sleep from a cramped position of my thigh. Formed from the pleasure I was on the point of enjoying, she, I imagined, was the one offering it to me. My body, which felt in hers my own warmth, would try to find itself inside her, I would wake up. The rest of humanity seemed very remote compared with this woman I had left scarcely a few moments before; my cheek was still warm from her kiss, my body aching from the weight of hers. If, as sometimes happened, she had the features of a woman I had known in life, I would devote myself entirely to this end: to finding her again, like those who go off on a journey to see a longed-for city with their own eyes and imagine that one can enjoy in reality the charm of a dream. Little by little the memory of her would fade, I had forgotten the girl of my dream.

A sleeping man holds in a circle around him the sequence of the hours, the order of the years and worlds. He consults them instinctively as he wakes and reads in a second the point on the earth he occupies, the time that has elapsed before his waking; but their ranks can be mixed up, broken. If toward morning, after a bout of insomnia, sleep overcomes him as he is reading, in a position quite different from the one in which he usually sleeps, his raised arm alone is enough to stop the sun and make it retreat, and, in the first minute of his waking, he will no longer know what time it is, he will think he has only just gone to bed. If he dozes off in a position still more displaced and divergent, after dinner sitting in an armchair for instance, then the confusion among the disordered worlds will be complete, the magic armchair will send him traveling at top speed through time and space, and, at the moment of opening his eyelids, he will believe he went to bed several months earlier in another country. But it was enough if, in my own bed, my sleep was deep and allowed my mind to relax entirely; then it would let go of the map of the place where I had fallen asleep and, when I woke in the middle of the night, since I did not know where I was, I did not even understand in the first moment who I was; I had only, in its original simplicity, the sense of existence as it may quiver in the depths of an animal; I was more destitute than a cave dweller; but then the memory—not yet of the place where I was, but of several of those where I had lived and where I might have been—would come to me like help from on high to pull crossed centuries of civilization in one second, and the image confusedly glimpsed of oil lamps, then of wing-collar shirts, gradually recomposed my self’s original features.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

Then the memory of a new position would reappear; the wall would slip away in another direction: I was in my room at Mme. de Saint-Loup’s, in the country; good Lord! It’s ten o’clock or even later, they will have finished dinner! I must have overslept during the nap I take every evening when I come back from my walk with Mme. de Saint-Loup, before putting on my evening clothes. For many years have passed since Combray, where, however late we returned, it was the sunset’s red reflections I saw in the panes of my window. It is another sort of life one leads at Tansonville, at Mme. de Saint-Loup’s, another sort of pleasure I take in going out only at night, in following by moonlight those lanes where I used to play in the sun; and the room where I fell asleep instead of dressing for dinner—from far off I can see it, as we come back, pierced by the flares of the lamp, a lone beacon in the night.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Débats roses,1 which you end by cementing together using the birds’ technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt’s house, in Balbec, in Paris, in Doncières, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

At Combray, every day, in the late afternoon, long before the moment when I would have to go to bed and stay there, without sleeping, far away from my mother and grandmother, my bedroom again became the fixed and painful focus of my preoccupations. They had indeed hit upon the idea, to distract me on the evenings when they found me looking too unhappy, of giving me a magic lantern, which, while awaiting the dinner hour, they would set on top of my lamp; and, after the fashion of the first architects and master glaziers of the Gothic age, it replaced the opacity of the walls with impalpable iridescences, supernatural multicolored apparitions, where legends were depicted as in a wavering, momentary stained-glass window. But my sadness was only increased by this since the mere change in lighting destroyed the familiarity which my bedroom had acquired for me and which, except for the torment of going to bed, had made it tolerable to me. Now I no longer recognized it and I was uneasy there, as in a room in some hotel or “chalet” to which I had come for the first time straight from the railway train.

Moving at the jerky pace of his horse, and filled with a hideous design, Golo would come out of the small triangular forest that velveted the hillside with dark green and advance jolting toward the castle of poor Geneviève de Brabant. This castle was cut off along a curved line that was actually the edge of one of the glass ovals arranged in the frame which you slipped between the grooves of the lantern. It was only a section of castle and it had a moor in front of it where Geneviève stood dreaming, wearing a blue belt. The castle and the moor were yellow, and I had not had to wait to see them to find out their color since, before the glasses of the frame did so, the bronze sonority of the name Brabant had shown it to me clearly. Golo would stop for a moment to listen sadly to the patter read out loud by my great-aunt, which he seemed to understand perfectly, modifying his posture, with a meekness that did not exclude a certain majesty, to conform to the directions of the text; then he moved off at the same jerky pace. And nothing could stop his slow ride. If the lantern was moved, I could make out Golo’s horse continuing to advance over the window curtains, swelling out with their folds, descending into their fissures. The body of Golo himself, in its essence as supernatural as that of his steed, accommodated every material obstacle, every hindersome object that he encountered by taking it as his skeleton and absorbing it into himself, even the doorknob he immediately adapted to and floated invincibly over with his red robe or his pale face as noble and as melancholy as ever, but revealing no disturbance at this transvertebration.

\"},{\"id\":\"35240999T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"‘Captures the essence of Proust beautifully.’ The Economist

‘A triumph’ New Statesman

‘Heuet has certainly succeeded in conveying the “flavour” of Proust’s novel’ Financial Times

‘Sumptuous, elegant and beautifully paced, it is completely absorbing…I’ll be forever glad to have spent so much time bent over it’ The Observer

‘Heuet’s love of Proust shines through in his inventive drawings.’ The Independent

'A handsome volume in its own right.' --Sean Sheehan, Irish Left Review\"},{\"id\":\"4973739T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"2\",\"text\":\"Much-honored translator Lydia Davis launches a new rendering of Proust's magisterial A la recherche du temps perdu. Expect the second volume next year. Copyright 2003 Reed Business Information. \"},{\"id\":\"21222132T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"3\",\"text\":\"Audie Award winner Simon Vance (see Behind the Mike, LJ 11/15/08) elegantly narrates this first volume in Proust's poetic seven-volume work, first published in 1913 and alternately translated as Remembrance of Things Past and In Search of Lost Time. In it, the anonymous narrator's flowing reminiscences about Parisian high society explore and reexplore personalities, relationships, and frustrated ambitions. Those who consider Proust's monumental work to be one of the finest novels of the 20th century will enjoy this title; others may find it intolerably heavy going, particularly on audio. Vance's handling of the sweeping narrative, however, is excellent, recommending this title where there is interest. [Includes a bonus full-text PDF ebook.—Ed.]—R. Kent Rasmussen, Thousand Oaks, CA\"},{\"id\":\"4400608T\",\"type\":\"Reading Group Guide\",\"linkText\":\"Reading Group Guide\",\"typeId\":\"1021\",\"abbr\":\"RGG\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

1. Time is a central concern for Proust, appearing first in the title and last as the final word of the novel. What is his vision of the past? Does he have a vision of the present? The future? Can the Narrator be said to be living in the past? Is he like the White Queen in Through the Looking-Glass, with \\\"jam tomorrow and jam yesterday - but never jam today\\\"?

2. The renowned translator of Proust, C. K. Scott Moncrieff, originally grouped the opening section of In Search of Lost Time under the title \\\"The Overture, \\\" which includes two famous passages, the good night kiss and the evocative taste of the madeleine. Does this seem apt? If so, how might this fifty-odd page beginning prefigure what will transpire later? What would you expect to follow, given that an overture usually introduces the main themes of a musical work? What does it suggest about Proust's conception of literature and music?

3. The episode of the good night kiss strikes some readers as odd or contradictory: the Narrator's need for a kiss seems almost infantile, while his power of observation seems extraordinarily precocious. Considering that he is sent to bed at eight o'clock, how old do you think the Narrator is? Is it significant that his father suggests the Narrator be given the kiss he craves, whereas his mother is reluctant, saying \\\"We mustn't let the child get into the habit . . .\\\"? Is the fact that the Narrator succeeds in getting the kiss he wants a good thing or a bad thing? Why?

4. \\\"The whole of Proust's world comes out of a teacup, \\\" observed Samuel Beckett. Indeed the episode of the madeleine dipped in tea is the first (and most famous) of numerous instances of\\\"involuntary memory\\\" in the novel. A recognized psychological phenomenon triggered by smells, tastes, or sounds, involuntary memory vividly reproduces emotions, sensations, or images from the past. Why do you think readers and critics universally consider this scene to be pivotal? What does the Narrator think about the experience of involuntary memory? What might its function be in the scheme of In Search of Lost Time?

5. Another emblematic theme involves the recurring \\\"little phrase\\\" of music by Vinteuil that catches the ear of Swann at the Verdurin's salon and steals into his life. How do Vinteuil's compositions stir both Swann and the Narrator? In Proust's scheme of things, is music a higher art than painting or writing because it can produce involuntary memories? How does involuntary memory affect writing and painting? Is it unrelated to art except as a necessary catalyst?

6. In \\\"Combray\\\" we are introduced to the Narrator's family, their household, and their country home. Since Paris is the true heart of upper-class France, why do you think Proust chose to begin In Search of Lost Time elsewhere? What do we learn from the Narrator's description of his family's life and habits? Is the household dominated by men or by women? Does the Narrator's account seem accurate, or is it colored by his own ideas and preoccupations?

7. A madeleine dipped into a cup of tea first impelled Proust into the \\\"remembrance of things past.\\\" Though Proust was a gourmet in his youth, in the final years of his life he subsisted mainly on fillets of sole, chicken, fried potatoes, ice cream, cakes, fruit, and iced beer. Consider how food and culinary happenings - from meals at the restaurant in the Grand Hotel in Balbec to dinners at La Raspelière and the Guermantes's in Paris - form an integral part of the work.

8. Swann's Way and the Guermantes Way are presented as mutually exclusive choices for promenades, with Swann's Way given primacy of place at the novel's outset. Where, metaphorically speaking, does Swann's Way seem to lead? What are the aesthetic signposts and milestones the Narrator points out? What does the landscape around Combray represent?

9. \\\"I want my work to be a sort of cathedral in literature, \\\" Proust once said. In his description of the area around Combray - and in many other places in the novel - the Narrator describes churches, and particularly steeples. Indeed, Howard Moss cites the steeple as one of Proust's most important symbols. In religious architecture, the steeple represents man's aspiration toward God, and by inference toward Art, the Proustian religion. What else might it suggest? Does it have a counterpart in nature?

10. Proust and the Narrator share an appreciation of gardens and flowers - Proust himself was eager to visit Monet's celebrated garden - and in a sense, all Combray can be seen as a garden. What associations does this evoke? How does the Narrator respond to natural beauty? What do flowers mean to him? How do we know?

11. Proust's work is filled with \\\"doubling\\\" - the most obvious being the identification of the author with a fictional self of the same name but with somewhat different characteristics. Is Swann a double of the Narrator? What qualities do they share? In what ways do they seem different? What is the importance of the fact that Swann is a Jew?

12. Louis Auchincloss questions the use of a fictional first person named \\\"Marcel, \\\" who is but isn't Proust. Marcel claims that he is neither a snob nor a homosexual, yet he is obsessed with both. Would Proust have strengthened Marcel's viewpoint by making it that of the young social climber that he himself so clearly was? Did he enhance or detract from Marcel's credibility by casting him as one of the few heterosexuals in the book? Does it matter that Marcel regards \\\"inversion\\\" as a dangerous vice? Did Proust?

13. \\\"Swann in Love\\\" might be thought of as a dress rehearsal for the Narrator's own performance, and Swann's passion for Odette establishes a model for various other love relationships that appear later in the book. Proust believed that all emotions and behavior obey certain psychological laws. E. M. Forster maintained that \\\"Proust's general theory of human intercourse is that the fonder we are of people the less we understand them - the theory of the complete pessimist.\\\" Do you agree? How does Swann's love affair reflect this? What conclusions does the Narrator draw from his perception of Swann's experience? In what way does this differ from Swann's own view?

14. The Balbec sequence of Within a Budding Grove gathers a group of the novel's principal characters, many for the first time: Robert de Saint-Loup, the Baron de Charlus, and Albertine, to name three of the most important. Others begin to emerge in their true significance, like Elstir the painter. Why do you think Proust chose to bring them together in Balbec? In what ways does Balbec echo or amplify Combray? Is the little \\\"society\\\" of Balbec a preview in microcosm of Paris?

15. While writing In Search of Lost Time Proust often rummaged through his vast photographic collection of Belle Époque luminaries as a means of stimulating his memory. \\\"You could see that his thoughts were following a kind of underground track, as if he were organizing everything into images before putting them into words, \\\" recalled his maid Céleste Albaret. Indeed, the Baron de Charlus, in Within a Budding Grove, speaks of the special importance of photographs in preserving an unsullied moment of time past, before it has been altered by the present. Discuss how Proust used photographs in the story - just as he exploited the technology of trains, cars, and airplanes - as symbols of passing time.

16. In his landmark essay on Proust, Edmund Wilson praises the broad Dickensian humor and extravagant satire that animate vast sections of In Search of Lost Time, yet he goes on to call it \\\"one of the gloomiest books ever written.\\\" Can you reconcile Wilson's remarks?

17. Critic Barbara Bucknall maintains that \\\"no Proustian lover really cares at all for his beloved's feelings.\\\" Is this true? Would the Narrator agree? Would the author? Are there any happy or satisfied couples in In Search of Lost Time? Or is love in Proust inevitably a prelude to misunderstanding?

18. \\\"Proust's stage [is] vaster than any since Balzac's, and packed with a human comedy as multifarious, \\\" said Edith Wharton. Discuss Proust's depiction of the elaborate hierarchy of French society - from the old nobility of the Faubourg to la haute bourgeoisie, from rich and cultivated Jews to celebrated artists - that forms the great backdrop to In Search of Lost Time. What cracks appear in the aristocratic world of the Guermantes that make us realize it is slowly crumbling? What forces stand ready to propel Mme. Verdurin and her bourgeois salon upward on the social ladder? In recording this change is Proust, in fact, chronicling the birth of modern society?

19. The title Sodom and Gomorrah functions on many levels. What does it suggest about the nature of society? What new areas does it open up? How does the fate of Sodom and Gomorrah relate to Proust's characters? Since the very nature of In Search of Lost Time involves looking backward, should we expect a parallel between the Narrator and Lot's wife, who was turned into a pillar of salt?

20. Critics agree that Sodom and Gomorrah opens a new phase of In Search of Lost Time. If the first three volumes represented the Overture and the first movement of Proust's great composition, with Balbec as an interlude, then the second movement begins here. What seems different? In what ways have the Narrator's preoccupations changed? Are these changes reflected in Proust's style or tone?

21. The Narrator's explicit initiation into the nature of homosexuality occurs while he is waiting in the courtyard of the Duchesse de Guermantes to observe the pollination of her orchid, from which he is distracted by Charlus and Jupien. What is the effect of this particular juxtaposition? Since flowers and insects have already been established as symbols of eros in nature, is this a veiled comment on the \\\"unnatural\\\"? Is the Narrator observing the two men in the same way as he observes the flower? Is his unconcern with being a voyeur connected to the writer's role as an observer of the world in all its aspects? Edith Wharton found the scene offensive and deemed it a lapse in Proust's \\\"moral sensibility.\\\" Why?

22. Many crucial sexual scenes in Proust, including the one just mentioned, are witnessed through the \\\"lenses\\\" of windows, which become a commanding metaphor in the novel. Consider how Proust first introduces the window device by way of the magic lantern slides in Marcel's bedroom at Combray. How are windows analogous to Proust's notion of viewing life through a telescope, an instrument that propels images through dimensions of both space and time?

23. The Captive and The Fugitive show the Narrator acting out his own version of the grand passions he has observed so keenly and dispassionately in others. But when it comes to his own affairs, Howard Moss says that the Narrator's greatest lie is that he is objective with respect to Albertine. To whom is the Narrator lying, the reader or himself? Is he aware of his lack of perspective? If he is mistaken about one of the most important relationships in his life, can readers trust his observations about other subjects and people?

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It all begins with a letter. Fall in love with Penguin Drop Caps, a new series of twenty-six collectible and hardcover editions, each with a type cover showcasing a gorgeously illustrated letter of the alphabet. In a design collaboration between Jessica Hische and Penguin Art Director Paul Buckley, the series features unique cover art by Hische, a superstar in the world of type design and illustration, whose work has appeared everywhere from Tiffany & Co. to Wes Anderson's recent film Moonrise Kingdom to Penguin's own bestsellers Committed and Rules of Civility. With exclusive designs that have never before appeared on Hische's hugely popular Daily Drop Cap blog, the Penguin Drop Caps series debuted with an 'A' for Jane Austen's Pride and Prejudice, a 'B' for Charlotte Brönte's Jane Eyre, and a 'C' for Willa Cather's My Ántonia. It continues with more perennial classics, perfect to give as elegant gifts or to showcase on your own shelves.

P is for Proust. Swann's Way is one of the preeminent novels of childhood: a sensitive boy's impressions of his family and neighbors, all brought dazzlingly back to life years later by a taste of a madeleine. It also enfolds the short novel \"Swann in Love,\" an incomparable study of sexual jealousy that becomes a crucial part of the vast, unfolding structure in In Search of Lost Time. The first volume of the work that established Proust as one of the finest voices of the modern agesatirical, skeptical, confiding, and endlessly varied in his response to the human conditionSwann's Way also stands on its own as a perfect rendering of a life in art, of the past recreated through memory.

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Swann's Way

Part 1

Combray

I would rest my cheeks tenderly against the lovely cheeks of the pillow, which, full and fresh, are like the cheeks of our childhood. I would strike a match to look at my watch. Nearly midnight. This is the hour when the invalid who has been obliged to go off on a journey and has had to sleep in an unfamiliar hotel, wakened by an attack, is cheered to see a ray of light under the door. How fortunate, it’s already morning! In a moment the servants will be up, he will be able to ring, someone will come help him. The hope of being relieved gives him the courage to suffer. In fact he thought he heard footsteps; the steps approach, then recede. And the ray of light that was under his door has disappeared. It is midnight; they have just turned off the gas; the last servant has gone and he will have to suffer the whole night through without remedy.

I would go back to sleep, and would sometimes afterward wake again for brief moments only, long enough to hear the organic creak of the woodwork, open my eyes and stare at the kaleidoscope of the darkness, savor in a momentary glimmer of consciousness the sleep into which were plunged the furniture, the room, that whole of which I was only a small part and whose insensibility I would soon return to share. Or else while sleeping I had effortlessly returned to a period of my early life that had ended forever, rediscovered one of my childish terrors such as my great-uncle pulling me by my curls, a terror dispelled on the day—the dawn for me of a new era—when they were cut off. I had forgotten that event during my sleep, I recovered its memory as soon as I managed to wake myself up to escape the hands of my great-uncle, but as a precautionary measure I would completely surround my head with my pillow before returning to the world of dreams.

A sleeping man holds in a circle around him the sequence of the hours, the order of the years and worlds. He consults them instinctively as he wakes and reads in a second the point on the earth he occupies, the time that has elapsed before his waking; but their ranks can be mixed up, broken. If toward morning, after a bout of insomnia, sleep overcomes him as he is reading, in a position quite different from the one in which he usually sleeps, his raised arm alone is enough to stop the sun and make it retreat, and, in the first minute of his waking, he will no longer know what time it is, he will think he has only just gone to bed. If he dozes off in a position still more displaced and divergent, after dinner sitting in an armchair for instance, then the confusion among the disordered worlds will be complete, the magic armchair will send him traveling at top speed through time and space, and, at the moment of opening his eyelids, he will believe he went to bed several months earlier in another country. But it was enough if, in my own bed, my sleep was deep and allowed my mind to relax entirely; then it would let go of the map of the place where I had fallen asleep and, when I woke in the middle of the night, since I did not know where I was, I did not even understand in the first moment who I was; I had only, in its original simplicity, the sense of existence as it may quiver in the depths of an animal; I was more destitute than a cave dweller; but then the memory—not yet of the place where I was, but of several of those where I had lived and where I might have been—would come to me like help from on high to pull crossed centuries of civilization in one second, and the image confusedly glimpsed of oil lamps, then of wing-collar shirts, gradually recomposed my self’s original features.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Débats roses,1 which you end by cementing together using the birds’ technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt’s house, in Balbec, in Paris, in Doncières, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

At Combray, every day, in the late afternoon, long before the moment when I would have to go to bed and stay there, without sleeping, far away from my mother and grandmother, my bedroom again became the fixed and painful focus of my preoccupations. They had indeed hit upon the idea, to distract me on the evenings when they found me looking too unhappy, of giving me a magic lantern, which, while awaiting the dinner hour, they would set on top of my lamp; and, after the fashion of the first architects and master glaziers of the Gothic age, it replaced the opacity of the walls with impalpable iridescences, supernatural multicolored apparitions, where legends were depicted as in a wavering, momentary stained-glass window. But my sadness was only increased by this since the mere change in lighting destroyed the familiarity which my bedroom had acquired for me and which, except for the torment of going to bed, had made it tolerable to me. Now I no longer recognized it and I was uneasy there, as in a room in some hotel or “chalet” to which I had come for the first time straight from the railway train.

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Part 1

Combray

I would rest my cheeks tenderly against the lovely cheeks of the pillow, which, full and fresh, are like the cheeks of our childhood. I would strike a match to look at my watch. Nearly midnight. This is the hour when the invalid who has been obliged to go off on a journey and has had to sleep in an unfamiliar hotel, wakened by an attack, is cheered to see a ray of light under the door. How fortunate, it’s already morning! In a moment the servants will be up, he will be able to ring, someone will come help him. The hope of being relieved gives him the courage to suffer. In fact he thought he heard footsteps; the steps approach, then recede. And the ray of light that was under his door has disappeared. It is midnight; they have just turned off the gas; the last servant has gone and he will have to suffer the whole night through without remedy.

I would go back to sleep, and would sometimes afterward wake again for brief moments only, long enough to hear the organic creak of the woodwork, open my eyes and stare at the kaleidoscope of the darkness, savor in a momentary glimmer of consciousness the sleep into which were plunged the furniture, the room, that whole of which I was only a small part and whose insensibility I would soon return to share. Or else while sleeping I had effortlessly returned to a period of my early life that had ended forever, rediscovered one of my childish terrors such as my great-uncle pulling me by my curls, a terror dispelled on the day—the dawn for me of a new era—when they were cut off. I had forgotten that event during my sleep, I recovered its memory as soon as I managed to wake myself up to escape the hands of my great-uncle, but as a precautionary measure I would completely surround my head with my pillow before returning to the world of dreams.

A sleeping man holds in a circle around him the sequence of the hours, the order of the years and worlds. He consults them instinctively as he wakes and reads in a second the point on the earth he occupies, the time that has elapsed before his waking; but their ranks can be mixed up, broken. If toward morning, after a bout of insomnia, sleep overcomes him as he is reading, in a position quite different from the one in which he usually sleeps, his raised arm alone is enough to stop the sun and make it retreat, and, in the first minute of his waking, he will no longer know what time it is, he will think he has only just gone to bed. If he dozes off in a position still more displaced and divergent, after dinner sitting in an armchair for instance, then the confusion among the disordered worlds will be complete, the magic armchair will send him traveling at top speed through time and space, and, at the moment of opening his eyelids, he will believe he went to bed several months earlier in another country. But it was enough if, in my own bed, my sleep was deep and allowed my mind to relax entirely; then it would let go of the map of the place where I had fallen asleep and, when I woke in the middle of the night, since I did not know where I was, I did not even understand in the first moment who I was; I had only, in its original simplicity, the sense of existence as it may quiver in the depths of an animal; I was more destitute than a cave dweller; but then the memory—not yet of the place where I was, but of several of those where I had lived and where I might have been—would come to me like help from on high to pull crossed centuries of civilization in one second, and the image confusedly glimpsed of oil lamps, then of wing-collar shirts, gradually recomposed my self’s original features.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Débats roses,1 which you end by cementing together using the birds’ technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt’s house, in Balbec, in Paris, in Doncières, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

At Combray, every day, in the late afternoon, long before the moment when I would have to go to bed and stay there, without sleeping, far away from my mother and grandmother, my bedroom again became the fixed and painful focus of my preoccupations. They had indeed hit upon the idea, to distract me on the evenings when they found me looking too unhappy, of giving me a magic lantern, which, while awaiting the dinner hour, they would set on top of my lamp; and, after the fashion of the first architects and master glaziers of the Gothic age, it replaced the opacity of the walls with impalpable iridescences, supernatural multicolored apparitions, where legends were depicted as in a wavering, momentary stained-glass window. But my sadness was only increased by this since the mere change in lighting destroyed the familiarity which my bedroom had acquired for me and which, except for the torment of going to bed, had made it tolerable to me. Now I no longer recognized it and I was uneasy there, as in a room in some hotel or “chalet” to which I had come for the first time straight from the railway train.

Certainly I found some charm in these brilliant projections, which seemed to emanate from a Merovingian past and send out around me such ancient reflections of history. But I cannot express the uneasiness caused in me by this intrusion of mystery and beauty into a room I had at last filled with myself to the point of paying no more attention to the room than to that self. The anesthetizing influence of habit having ceased, I would begin to have thoughts, and feelings, and they are such sad things. That doorknob of my room, which differed for me from all other doorknobs in the world in that it seemed to open of its own accord, without my having to turn it, so unconscious had its handling become for me, was now serving as an astral body for Golo. And as soon as they rang for dinner, I hastened to run to the dining room where the big hanging lamp, ignorant of Golo and Bluebeard, and well acquainted with my family and beef casserole, shed the same light as on every other evening; and to fall into the arms of Mama, whom Geneviève de Brabant’s misfortunes made all the dearer to me, while Golo’s crimes drove me to examine my own conscience more scrupulously.

After dinner, alas, I soon had to leave Mama, who stayed there talking with the others, in the garden if the weather was fine, in the little drawing room to which everyone withdrew if the weather was bad. Everyone, except my grandmother, who felt that “it’s a pity to shut oneself indoors in the country” and who had endless arguments with my father on days when it rained too heavily, because he sent me to read in my room instead of having me stay outdoors. “That’s no way to make him strong and active,” she would say sadly, “especially that boy, who so needs to build up his endurance and willpower.” My father would shrug his shoulders and study the barometer, for he liked meteorology, while my mother, making no noise so as not to disturb him, watched him with a tender respect, but not so intently as to try to penetrate the mystery of his superior qualities. But as for my grandmother, in all weathers, even in a downpour when Françoise had rushed the precious wicker armchairs indoors so that they would not get wet, we would see her in the empty, rain-lashed garden, pushing back her disordered gray locks so that her forehead could more freely drink in the salubriousness of the wind and rain. She would say: “At last, one can breathe!” and would roam the soaked paths—too symmetrically aligned for her liking by the new gardener, who lacked all feeling for nature and whom my father had been asking since morning if the weather would clear—with her jerky, enthusiastic little step, regulated by the various emotions excited in her soul by the intoxication of the storm, the power of good health, the stupidity of my upbringing, and the symmetry of the gardens, rather than by the desire, quite unknown to her, to spare her plum-colored skirt the spots of mud under which it would disappear up to a height that was always, for her maid, a source of despair and a problem.

When these garden walks of my grandmother’s took place after dinner, one thing had the power to make her come inside again: this was—at one of the periodic intervals when her circular itinerary brought her back, like an insect, in front of the lights of the little drawing room where the liqueurs were set out on the card table—if my great-aunt called out to her: “Bathilde! Come and stop your husband from drinking cognac!” To tease her, in fact (she had brought into my father’s family so different a mentality that everyone poked fun at her and tormented her), since liqueurs were forbidden to my grandfather, my great-aunt would make him drink a few drops. My poor grandmother would come in, fervently beg her husband not to taste the cognac; he would become angry, drink his mouthful despite her, and my grandmother would go off again, sad, discouraged, yet smiling, for she was so humble at heart and so gentle that her tenderness for others, and the lack of fuss she made over her own person and her sufferings, came together in her gaze in a smile in which, unlike what one sees in the faces of so many people, there was irony only for herself, and for all of us a sort of kiss from her eyes, which could not see those she cherished without caressing them passionately with her gaze. This torture which my great-aunt inflicted on her, the spectacle of my grandmother’s vain entreaties and of her weakness, defeated in advance, trying uselessly to take the liqueur glass away from my grandfather, were the kinds of things which you later become so accustomed to seeing that you smile as you contemplate them and take the part of the persecutor resolutely and gaily enough to persuade yourself privately that no persecution is involved; at that time they filled me with such horror that I would have liked to hit my great-aunt. But as soon as

I heard: “Bathilde, come and stop your husband from drinking cognac!,” already a man in my cowardice, I did what we all do, once we are grown up, when confronted with sufferings and injustices: I did not want to see them; I went up to sob at the very top of the house next to the schoolroom,2 under the roofs, in a little room that smelled of orris root and was also perfumed by a wild black-currant bush which had sprouted outside between the stones of the wall and extended a branch of flowers through the half-open window. Intended for a more specialized and more vulgar use, this room, from which during the day you could see all the way to the keep of Roussainville-le-Pin, for a long time served me as a refuge, no doubt because it was the only one I was permitted to lock, for all those occupations of mine that demanded an inviolable solitude: reading, reverie, tears, and sensuous pleasure. Alas! I did not know that, much more than her husband’s little deviations from his regimen, it was my weak will, my delicate health, the uncertainty they cast on my future that so sadly preoccupied my grandmother in the course of those incessant perambulations, afternoon and evening, when we would see, as it passed and then passed again, lifted slantwise toward the sky, her beautiful face with its brown furrowed cheeks, which with age had become almost mauve like the plowed fields in autumn, crossed, if she was going out, by a veil half raised, while upon them, brought there by the cold or some sad thought, an involuntary tear was always drying.

My sole consolation, when I went upstairs for the night, was that Mama would come and kiss me once I was in bed. But this goodnight lasted so short a time, she went down again so soon, that the moment when I heard her coming up, then the soft sound of her garden dress of blue muslin, hung with little cords of plaited straw, passing along the hallway with its double doors, was for me a painful one. It heralded the moment that was to follow it, when she had left me, when she had gone down again. So that I came to wish that this goodnight I loved so much would take place as late as possible, so as to prolong the time of respite in which Mama had not yet come. Sometimes when, after kissing me, she opened the door to go, I wanted to call her back, to say “kiss me one more time,” but I knew that immediately her face would look vexed, because the concession she was making to my sadness and agitation by coming up to kiss me, by bringing me this kiss of peace, irritated my father, who found these rituals absurd, and she would have liked to try to induce me to lose the need for it, the habit of it, far indeed from allowing me to acquire that of asking her, when she was already on the doorstep, for one kiss more. And to see her vexed destroyed all the calm she had brought me a moment before, when she had bent her loving face down over my bed and held it out to me like a host for a communion of peace from which my lips would draw her real presence and the power to fall asleep. But those evenings, when Mama stayed so short a time in my room, were still sweet compared to the ones when there was company for dinner and when, because of that, she did not come up to say goodnight to me. That company was usually limited to M. Swann, who, apart from a few acquaintances passing through, was almost the only person who came to our house at Combray, sometimes for a neighborly dinner (more rarely after that unfortunate marriage of his, because my parents did not want to receive his wife), sometimes after dinner, unexpectedly. On those evenings when, as we sat in front of the house under the large chestnut tree, around the iron table, we heard at the far end of the garden, not the copious high-pitched bell that drenched, that deafened in passing with its ferruginous, icy, inexhaustible noise any person in the household who set it off by coming in “without ringing,” but the shy, oval, golden double tinkling of the little visitors’ bell, everyone would immediately wonder: “A visitor—now who can that be?” but we knew very well it could only be M. Swann; my great-aunt speaking loudly, to set an example, in a tone of voice that she strained to make natural, said not to whisper that way; that nothing is more disagreeable for a visitor just coming in who is led to think that people are saying things he should not hear; and they would send as a scout my grandmother, who was always glad to have a pretext for taking one more walk around the garden and who would profit from it by surreptitiously pulling up a few rose stakes on the way so as to make the roses look a little more natural, like a mother who runs her hand through her son’s hair to fluff it up after the barber has flattened it too much.

We would all remain hanging on the news my grandmother was going to bring us of the enemy, as though there had been a great number of possible assailants to choose among, and soon afterward my grandfather would say: “I recognize Swann’s voice.” In fact one could recognize him only by his voice, it was difficult to make out his face, his aquiline nose, his green eyes under a high forehead framed by blond, almost red hair, cut Bressant-style,3 because we kept as little light as possible in the garden so as not to attract mosquitoes, and I would go off, as though not going for that reason, to say that the syrups should be brought out; my grandmother placed a great deal of importance, considering it more amiable, on the idea that they should not seem anything exceptional, and for visitors only.

M. Swann, though much younger, was very attached to my grandfather, who had been one of the closest friends of his father, an excellent man but peculiar, in whom, apparently, a trifle was sometimes enough to interrupt the ardor of his feelings, to change the course of his thinking. Several times a year I would hear my grandfather at the table telling anecdotes, always the same ones, about the behavior of old M. Swann upon the death of his wife, over whom he had watched day and night. My grandfather, who had not seen him for a long time, had rushed to his side at the estate the Swanns owned in the vicinity of Combray and, so that he would not be present at the coffining, managed to entice him for a while, all in tears, out of the death chamber. They walked a short way in the park, where there was a little sunshine. Suddenly M. Swann, taking my grandfather by the arm, cried out: “Oh, my old friend, what a joy it is to be walking here together in such fine weather! Don’t you think it’s pretty, all these trees, these hawthorns! And my pond—which you’ve never congratulated me on! You look as sad as an old nightcap. Feel that little breeze? Oh, say what you like, life has something to offer despite everything, my dear Amédée!” Suddenly the memory of his dead wife came back to him and, no doubt feeling it would be too complicated to try to understand how he could have yielded to an impulse of happiness at such a time, he confined himself, in a habitual gesture of his whenever a difficult question came into his mind, to passing his hand over his forehead, wiping his eyes and the lenses of his lorgnon. Yet he could not be consoled for the death of his wife, but, during the two years he survived her, would say to my grandfather: “It’s odd, I think of my poor wife often, but I can’t think of her for long at a time.” “Often, but only a little at a time, like poor old Swann,” had become one of my grandfather’s favorite phrases, which he uttered apropos of the most different sorts of things. I would have thought Swann’s father was a monster, if my grandfather, whom I considered a better judge and whose pronouncement, forming a legal precedent for me, often allowed me later to dismiss offenses I might have been inclined to condemn, had not exclaimed: “What! He had a heart of gold!”

For many years, even though, especially before his marriage, the younger M. Swann often came to see them at Combray, my great-aunt and my grandparents did not suspect that he had entirely ceased to live in the kind of society his family had frequented and that, under the sort of incognito which this name Swann gave him among us, they were harboring—with the perfect innocence of honest innkeepers who have under their roof, without knowing it, some celebrated highwayman—one of the most elegant members of the Jockey Club,4 a favorite friend of the Comte de Paris5 and the Prince of Wales,6 one of the men most sought after by the high society of the Faubourg Saint-Germain.

Our ignorance of this brilliant social life that Swann led was obviously due in part to the reserve and discretion of his character, but also to the fact that bourgeois people in those days formed for themselves a rather Hindu notion of society and considered it to be made up of closed castes, in which each person, from birth, found himself placed in the station which his family occupied and from which nothing, except the accidents of an exceptional career or an unhoped-for marriage, could withdraw him in order to move him into a higher caste. M. Swann, the father, was a stockbroker; “Swann the son” would find he belonged for his entire life to a caste in which fortunes varied, as in a tax bracket, between such and such fixed incomes. One knew which had been his father’s associations, one therefore knew which were his own, with which people he was “in a position” to consort. If he knew others, these were bachelor acquaintances on whom old friends of the family, such as my relatives, would close their eyes all the more benignly because he continued, after losing his parents, to come faithfully to see us; but we would have been ready to wager that these people he saw, who were unknown to us, were the sort he would not have dared greet had he encountered them when he was with us. If you were determined to assign Swann a social coefficient that was his alone, among the other sons of stockbrokers in a position equal to that of his parents, this coefficient would have been a little lower for him because, very simple in his manner and with a long-standing “craze” for antiques and painting, he now lived and amassed his collections in an old town house which my grandmother dreamed of visiting, but which was situated on the quai d’Orléans, a part of town where my great-aunt felt it was ignominious to live. “But are you a connoisseur? I ask for your own sake, because you’re likely to let the dealers unload some awful daubs on you,” my great-aunt would say to him; in fact she did not assume he had any competence and even from an intellectual point of view had no great opinion of a man who in conversation avoided serious subjects and showed a most prosaic preciseness not only when he gave us cooking recipes, entering into the smallest details, but even when my grandmother’s sisters talked about artistic subjects. Challenged by them to give his opinion, to express his admiration for a painting, he would maintain an almost ungracious silence and then, on the other hand, redeem himself if he could provide, about the museum in which it was to be found, about the date at which it had been painted, a pertinent piece of information. But usually he would content himself with trying to entertain us by telling a new story each time about something that had just happened to him involving people selected from among those we knew, the Combray pharmacist, our cook, our coachman. Certainly these tales made my great-aunt laugh, but she could not distinguish clearly if this was because of the absurd role Swann always assigned himself or because of the wit he showed in telling them: “You are quite a character, Monsieur Swann!” Being the only rather vulgar person in our family, she took care to point out to strangers, when they were talking about Swann, that, had he wanted to, he could have lived on the boulevard Haussmann or the avenue de l’Opéra, that he was the son of M. Swann, who must have left four or five million, but that this was his whim. One that she felt moreover must be so amusing to others that in Paris, when M. Swann came on New Year’s Day to bring her her bag of marrons glacés,7 she never failed, if there was company, to say to him: “Well, Monsieur Swann! Do you still live next door to the wine warehouse, so as to be sure of not missing the train when you go to Lyon?”8 And she would look out of the corner of her eye, over her lorgnon, at the other visitors.

But if anyone had told my great-aunt that this same Swann, who, as the son of old M. Swann, was perfectly “qualified” to be received by all the “best of the bourgeoisie,” by the most respected notaries or lawyers of Paris (a hereditary privilege he seemed to make little use of), had, as though in secret, quite a different life; that on leaving our house, in Paris, after telling us he was going home to bed, he retraced his steps as soon as he had turned the corner and went to a certain drawing room that no eye of any broker or broker’s associate would ever contemplate, this would have seemed to my aunt as extraordinary as might to a better-educated lady the thought of being personally on close terms with Aristaeus and learning that, after having a chat with her, he would go deep into the heart of the realms of Thetis, into an empire hidden from mortal eyes, where Virgil shows him being received with open arms; or—to be content with an image that had more chance of occurring to her, for she had seen it painted on our petits-fours plates at Combray—of having had as a dinner guest Ali Baba, who, as soon as he knows he is alone, will enter the cave dazzling with unsuspected treasure.

One day when he had come to see us in Paris after dinner apologizing for being in evening clothes, Françoise having said, after he left, that she had learned from the coachman that he had dined “at the home of a princess,” “Yes, a princess of the demimonde!” my aunt had responded, shrugging her shoulders without raising her eyes from her knitting, with serene irony.

Thus, my great-aunt was cavalier in her treatment of him. Since she believed he must be flattered by our invitations, she found it quite natural that he never came to see us in the summertime without having in his hand a basket of peaches or raspberries from his garden and that from each of his trips to Italy he would bring me back photographs of masterpieces.

They did not hesitate to send him off in search of it when they needed a recipe for gribiche sauce or pineapple salad for large dinners to which they had not invited him, believing he did not have sufficient prestige for one to be able to serve him up to acquaintances who were coming for the first time. If the conversation turned to the princes of the House of France: “people you and I will never know, will we, and we can manage quite well without that, can’t we,” my great-aunt would say to Swann, who had, perhaps, a letter from Twickenham9 in his pocket; she had him push the piano around and turn the pages on the evenings when my grandmother’s sister sang, handling this creature, who was elsewhere so sought after, with the naive roughness of a child who plays with a collector’s curio no more carefully than with some object of little value. No doubt the Swann who was known at the same time to so many clubmen was quite different from the one created by my great-aunt, when in the evening, in the little garden at Combray, after the two hesitant rings of the bell had sounded, she injected and invigorated with all that she knew about the Swann family the dark and uncertain figure who emerged, followed by my grandmother, from a background of shadows, and whom we recognized by his voice. But even with respect to the most insignificant things in life, none of us constitutes a material whole, identical for everyone, which a person has only to go look up as though we were a book of specifications or a last testament; our social personality is a creation of the minds of others. Even the very simple act that we call “seeing a person we know” is in part an intellectual one. We fill the physical appearance of the individual we see with all the notions we have about him, and of the total picture that we form for ourselves, these notions certainly occupy the greater part. In the end they swell his cheeks so perfectly, follow the line of his nose in an adherence so exact, they do so well at nuancing the sonority of his voice as though the latter were only a transparent envelope that each time we see this face and hear this voice, it is these notions that we encounter again, that we hear. No doubt, in the Swann they had formed for themselves, my family had failed out of ignorance to include a host of details from his life in the fashionable world that caused other people, when they were in his presence, to see refinements rule his face and stop at his aquiline nose as though at their natural frontier; but they had also been able to garner in this face disaffected of its prestige, vacant and spacious, in the depths of these depreciated eyes, the vague, sweet residue—half memory, half forgetfulness—of the idle hours spent together after our weekly dinners, around the card table or in the garden, during our life of good country neighborliness. The corporeal envelope of our friend had been so well stuffed with all this, as well as with a few memories relating to his parents, that this particular Swann had become a complete and living being, and I have the impression of leaving one person to go to another distinct from him, when, in my memory, I pass from the Swann I knew later with accuracy to that first Swann—to that first Swann in whom I rediscover the charming mistakes of my youth and who in fact resembles less the other Swann than he resembles the other people I knew at the time, as though one’s life were like a museum in which all the portraits from one period have a family look about them, a single tonality—to that first Swann abounding in leisure, fragrant with the smell of the tall chestnut tree, the baskets of raspberries, and a sprig of tarragon.

Yet one day when my grandmother had gone to ask a favor from a lady she had known at the Sacré-Coeur10 (and with whom, because of our notion of the castes, she had not wished to remain in close contact despite a reciprocal congeniality), this lady, the Marquise de Villeparisis of the famous de Bouillon11 family, had said to her: “I believe you know M. Swann very well; he is a great friend of my nephew and niece, the des Laumes.” My grandmother had returned from her visit full of enthusiasm for the house, which overlooked some gardens and in which Mme. de Villeparisis had advised her to rent a flat, and also for a waistcoat maker and his daughter, who kept a shop in the courtyard where she had gone to ask them to put a stitch in her skirt, which she had torn in the stairwell. My grandmother had found these people wonderful, she declared that the girl was a gem and the waistcoat maker was most distinguished, the finest man she had ever seen. Because for her, distinction was something absolutely independent of social position. She went into ecstasies over an answer the waistcoat maker had given her, saying to Mama: “Sévigné12 couldn’t have said it any better!” and, in contrast, of a nephew of Mme. de Villeparisis whom she had met at the house: “Oh, my dear daughter, how common he is!”

Now the remark about Swann had had the effect, not of raising him in my great-aunt’s estimation, but of lowering Mme. de Villeparisis.

It seemed that the respect which, on my grandmother’s faith, we accorded Mme. de Villeparisis created a duty on her part to do nothing that would make her less worthy, a duty in which she had failed by learning of Swann’s existence, by permitting relatives of hers to associate with him. “What! She knows Swann? A person you claim is a relation of the Maréchal de MacMahon?”13 My family’s opinion regarding Swann’s associations seemed confirmed later by his marriage to a woman of the worst social station, practically a cocotte, whom, what was more, he never attempted to introduce, continuing to come to our house alone, though less and less, but from whom they believed they could judge—assuming it was there that he had found her—the social circle, unknown to them, that he habitually frequented.

But one time, my grandfather read in a newspaper that M. Swann was one of the most faithful guests at the Sunday lunches given by the Duc de X . . . , whose father and uncle had been the most prominent statesmen in the reign of Louis-Philippe.14 Now, my grandfather was interested in all the little facts that could help him enter imaginatively into the private lives of men like Molé, the Duc Pasquier, the Duc de Broglie.15 He was delighted to learn that Swann associated with people who had known them. My great- aunt, however, interpreted this news in a sense unfavorable to Swann: anyone who chose his associations outside the caste into which he had been born, outside his social “class,” suffered in her eyes a regrettable lowering of his social position. It seemed to her that he gave up forthwith the fruit of all the good relations with well-placed people so honorably preserved and stored away for their children by foresightful families (my great-aunt had even stopped seeing the son of a lawyer we knew because he had married royalty and was therefore in her opinion demoted from the respected rank of lawyer’s son to that of one of those adventurers, former valets or stableboys, on whom they say that queens sometimes bestowed their favors). She disapproved of my grandfather’s plan to question Swann, the next evening he was to come to dinner, about these friends of his we had discovered. At the same time my grandmother’s two sisters, old maids who shared her nobility of character, but not her sort of mind, declared that they could not understand what pleasure their brother-in-law could find in talking about such foolishness. They were women of lofty aspirations, who for that very reason were incapable of taking an interest in what is known as tittle-tattle, even if it had some historic interest, and more generally in anything that was not directly connected to an aesthetic or moral subject. The disinterestedness of their minds was such, with respect to all that, closely or distantly, seemed connected with worldly matters, that their sense of hearing—having finally understood its temporary uselessness when the conversation at dinner assumed a tone that was frivolous or merely pedestrian without these two old spinsters being able to lead it back to the subjects dear to them—would suspend the functioning of its receptive organs and allow them to begin to atrophy. If my grandfather needed to attract the two sisters’ attention at such times, he had to resort to those bodily signals used by alienists with certain lunatics suffering from distraction: striking a glass repeatedly with the blade of a knife while speaking to them sharply and looking them suddenly in the eye, violent methods which these psychiatrists often bring with them into their ordinary relations with healthy people, either from professional habit or because they believe everyone is a little crazy.

They were more interested when, the day before Swann was to come to dinner, and had personally sent them a case of Asti wine, my aunt, holding a copy of the Figaro in which next to the title of a painting in an exhibition of Corot,16 these words appeared: “From the collection of M. Charles Swann,” said: “Did you see this? Swann is ‘front page news’ in the Figaro.” “But I’ve always told you he had a great deal of taste,” said my grandmother. “Of course you would! Anything so long as your opinion is not the same as ours,” answered my great-aunt, who, knowing that my grandmother was never of the same opinion as she, and not being quite sure that she herself was the one we always declared was right, wanted to extract from us a general condemnation of my grandmother’s convictions against which she was trying to force us into solidarity with her own. But we remained silent. When my grandmother’s sisters expressed their intention of speaking to Swann about this mention in the Figaro, my great-aunt advised them against it. Whenever she saw in others an advantage, however small, that she did not have, she persuaded herself that it was not an advantage but a detriment and she pitied them so as not to have to envy them. “I believe you would not be pleasing him at all; I am quite sure I would find it very unpleasant to see my name printed boldly like that in the newspaper, and I would not be at all gratified if someone spoke to me about it.” But she did not persist in trying to convince my grandmother’s sisters; for they in their horror of vulgarity had made such a fine art of concealing a personal allusion beneath ingenious circumlocutions that it often went unnoticed even by the person to whom it was addressed. As for my mother, she thought only of trying to persuade my father to agree to talk to Swann not about his wife but about his daughter, whom he adored and because of whom it was said he had finally entered into this marriage. “You might just say a word to him; just ask how she is: It must be so hard for him.” But my father would become annoyed: “No, no; you have the most absurd ideas. It would be ridiculous.”

But the only one of us for whom Swann’s arrival became the object of a painful preoccupation was I. This was because on the evenings when strangers, or merely M. Swann, were present, Mama did not come up to my room. I had dinner before everyone else and afterward I came and sat at the table, until eight o’clock when it was understood that I had to go upstairs; the precious and fragile kiss that Mama usually entrusted to me in my bed when I was going to sleep I would have to convey from the dining room to my bedroom and protect during the whole time I undressed, so that its sweetness would not shatter, so that its volatile essence would not disperse and evaporate, and on precisely those evenings when I needed to receive it with more care, I had to take it, I had to snatch it brusquely, publicly, without even having the time and the freedom of mind necessary to bring to what I was doing the attention of those individuals controlled by some mania, who do their utmost not to think of anything else while they are shutting a door, so as to be able, when the morbid uncertainty returns to them, to confront it victoriously with the memory of the moment when they did shut the door. We were all in the garden when the two hesitant rings of the little bell sounded. We knew it was Swann; even so we all looked at one another questioningly and my grandmother was sent on reconnaissance. “Remember to thank him intelligibly for the wine, you know how delicious it is and the case is enormous,” my grandfather exhorted his two sisters-in-law. “Don’t start whispering,” said my great-aunt. “How comfortable would you feel arriving at a house where everyone is speaking so quietly!” “Ah! Here’s M. Swann. Let’s ask him if he thinks the weather will be good tomorrow,” said my father. My mother thought that one word from her would wipe out all the pain that we in our family might have caused Swann since his marriage. She found an opportunity to take him aside. But I followed her; I could not bring myself to part from her by even one step while thinking that very soon I would have to leave her in the dining room and that I would have to go up to my room without having the consolation I had on the other evenings, that she would come kiss me. “Now, M. Swann,” she said to him, “do tell me about your daughter; I’m sure she already has a taste for beautiful things like her papa.” “Here, come and sit with the rest of us on the veranda,” said my grandfather, coming up to them. My mother was obliged to stop, but she derived from this very constraint one more delicate thought, like good poets forced by the tyranny of rhyme to find their most beautiful lines: “We can talk about her again when we’re by ourselves,” she said softly to Swann. “Only a mother is capable of understanding you. I’m sure her own mother would agree with me.” We all sat down around the iron table. I would have preferred not to think about the hours of anguish I was going to endure that evening alone in my room without being able to go to sleep; I tried to persuade myself they were not at all important, since I would have forgotten them by tomorrow morning, and to fix my mind on ideas of the future that should have led me as though across a bridge beyond the imminent abyss that frightened me so. But my mind, strained by my preoccupation, convex like the glance which I shot at my mother, would not allow itself to be penetrated by any foreign impressions. Thoughts certainly entered it, but only on condition that they left outside every element of beauty or simply of playfulness that could have moved or distracted me. Just as a patient, by means of an anesthetic, can watch with complete lucidity the operation being performed on him, but without feeling anything, I could recite to myself some lines that I loved or observe the efforts my grandfather made to talk to Swann about the Duc d’Audiffret-Pasquier, without the former making me feel any emotion, the latter any hilarity. Those efforts were fruitless. Scarcely had my grandfather asked Swann a question relating to that orator than one of my grandmother’s sisters, in whose ears the question was resonating like a profound but untimely silence that should be broken for the sake of politeness, would address the other: “Just imagine, Céline, I’ve met a young Swedish governess who has been telling me about cooperatives in the Scandinavian countries; the details are most interesting. We really must have her here for dinner one evening.” “Certainly!” answered her sister Flora,17 “but I haven’t been wasting my time either. At M. Vinteuil’s I met a learned old man who knows Maubant18 very well, and Maubant has explained to him in the greatest detail how he creates his parts. It’s most interesting. He’s a neighbor of M. Vinteuil’s, I had no idea; and he’s very nice.” “M. Vinteuil isn’t the only one who has nice neighbors,” exclaimed my aunt Céline in a voice amplified by her shyness and given an artificial tone by her premeditation, while casting at Swann what she called a meaningful look. At the same time my aunt Flora, who had understood that this phrase was Céline’s way of thanking Swann for the Asti, was also looking at Swann with an expression that combined congratulation and irony, either simply to emphasize her sister’s witticism, or because she envied Swann for having inspired it, or because she could not help making fun of him since she thought he was being put on the spot. “I think we can manage to persuade the old gentleman to come for dinner,” continued Flora; “when you get him started on Maubant or Mme. Materna,19 he talks for hours without stopping.” “That must be delightful,” sighed my grandfather, in whose mind, unfortunately, nature had as completely failed to include the possibility of taking a passionate interest in Swedish cooperatives or the creation of Maubant’s parts as it had forgotten to furnish those of my grandmother’s sisters with the little grain of salt one must add oneself, in order to find some savor in it, to a story about the private life of Molé or the Comte de Paris. “Now, then,” said Swann to my grandfather, “what I’m going to say has more to do than it might appear with what you were asking me, because in certain respects things haven’t changed enormously. This morning I was rereading something in Saint-Simon20 that would have amused you. It’s in the volume about his mission to Spain;21 it’s not one of the best, hardly more than a journal, but at least it’s a marvelously well written one, which already makes it rather fundamentally different from the deadly boring journals we think we have to read every morning and evening.” “I don’t agree, there are days when reading the papers seems to me very pleasant indeed . . .” my aunt Flora interrupted, to show that she had read the sentence about Swann’s Corot in Le Figaro. “When they talk about things or people that interest us!” said my aunt Céline, going one better. “I don’t deny it,” answered Swann with surprise. “What I fault the newspapers for is that day after day they draw our attention to insignificant things whereas only three or four times in our lives do we read a book in which there is something really essential. Since we tear the band off the newspaper so feverishly every morning, they ought to change things and put into the newspaper, oh, I don’t know, perhaps . . . Pascal’s Pensées!” (He isolated this word with an ironic emphasis so as not to seem pedantic.) “And then, in the gilt-edged volume that we open only once in ten years,” he added, showing the disdain for worldly matters affected by certain worldly men, “we would read that the Queen of Greece has gone to Cannes or that the Princesse de Léon has given a costume ball. This way, the proper proportions would be reestablished.” But, feeling sorry he had gone so far as to speak even lightly of serious things: “What a lofty conversation we’re having,” he said ironically; “I don’t know why we’re climbing to such ‘heights’ ”—and turning to my grandfather: “Well, Saint-Simon describes how Maulévrier22 had the audacity to offer to shake hands with Saint-Simon’s sons. You know, this is the same Maulévrier of whom he says: ‘Never did I see in that thick bottle anything but ill-humor, vulgarity, and foolishness.’ ” “Thick or not, I know some bottles in which there is something quite different,” said Flora vivaciously, determined that she too should thank Swann, because the gift of Asti was addressed to both of them. Céline laughed. Swann, disconcerted, went on: “ ‘I cannot say whether it was ignorance or a trap,’ wrote Saint-Simon. ‘He tried to shake hands with my children. I noticed it in time to prevent him.’ ” My grandfather was already in ecstasies over “ignorance or a trap,” but Mlle. Céline, in whom the name of Saint-Simon—a literary man—had prevented the complete anesthesia of her auditory faculties, was already growing indignant: “What? You admire that? Well, that’s a fine thing! But what can it mean; isn’t one man as good as the next? What difference does it make whether he’s a duke or a coachman, if he’s intelligent and good-hearted? Your Saint-Simon had a fine way of raising his children, if he didn’t teach them to offer their hands to all decent people. Why, it’s quite abominable. And you dare to quote that?” And my grandfather, terribly upset and sensing how impossible it would be, in the face of this obstruction, to try to get Swann to tell the stories that would have amused him, said quietly to Mama: “Now remind me of the line you taught me that comforts me so much at times like this. Oh, yes! ‘What virtues, Lord, Thou makest us abhor!’23 Oh, how good that is!”

I did not take my eyes off my mother, I knew that when we were at the table, they would not let me stay during the entire dinner and that, in order not to annoy my father, Mama would not let me kiss her several times in front of the guests as though we were in my room. And so I promised myself that in the dining room, as they were beginning dinner and I felt the hour approaching, I would do everything I could do alone in advance of this kiss which would be so brief and furtive, choose with my eyes the place on her cheek that I would kiss, prepare my thoughts so as to be able, by means of this mental beginning of the kiss, to devote the whole of the minute Mama would grant me to feeling her cheek against my lips, as a painter who can obtain only short sittings prepares his palette and, guided by his notes, does in advance from memory everything for which he could if necessary manage without the presence of the model. But now before the dinner bell rang my grandfather had the unwitting brutality to say: “The boy looks tired, he ought to go up to bed. We’re dining ate tonight anyway.” And my father, who was not as scrupulous as my grandmother and my mother about honoring treaties, said: “Yes, go on now, up to bed with you.” I tried to kiss Mama, at that moment we heard the dinner bell. “No, really, leave your mother alone, you’ve already said goodnight to each other as it is, these demonstrations are ridiculous. Go on now, upstairs!” And I had to leave without my viaticum; I had to climb each step of the staircase, as the popular expression has it, “against my heart,”24 climbing against my heart which wanted to go back to my mother because she had not, by kissing me, given it license to go with me. That detested staircase which I always entered with such gloom exhaled an odor of varnish that had in some sense absorbed, fixated, the particular sort of sorrow I felt every evening and made it perhaps even crueler to my sensibility because, when it took that olfactory form, my intelligence could no longer share in it. When we are asleep and a raging toothache is as yet perceived by us only in the form of a girl whom we attempt two hundred times to pull out of the water or a line by Molière that we repeat to ourselves incessantly, it is a great relief to wake up so that our intelligence can divest the idea of raging toothache of its disguise of heroism or cadence. It was the opposite of this relief that I experienced when my sorrow at going up to my room entered me in a manner infinitely swifter, almost instantaneous, at once insidious and abrupt, through the inhalation—far more toxic than the intellectual penetration—of the smell of varnish peculiar to that staircase. Once in my room, I had to stop up all the exits, close the shutters, dig my own grave by undoing my covers, put on the shroud of my nightshirt. But before burying myself in the iron bed which they had added to the room because I was too hot in the summer under the rep curtains of the big bed, I had a fit of rebelliousness, I wanted to attempt the ruse of a condemned man. I wrote to my mother begging her to come upstairs for something serious that I could not tell her in my letter. My fear was that Françoise, my aunt’s cook who was charged with looking after me when I was at Combray, would refuse to convey my note.

I suspected that, for her, delivering a message to my mother when there was company would seem as impossible as for a porter to hand a letter to an actor while he was onstage. With respect to things that could or could not be done she possessed a code at once imperious, extensive, subtle, and intransigent about distinctions that were impalpable or otiose (which made it resemble those ancient laws which, alongside such fierce prescriptions as the massacre of children at the breast, forbid one with an exaggerated delicacy to boil a kid in its mother’s milk, or to eat the sinew from an animal’s thigh). This code, to judge from her sudden obstinacy when she did not wish to do certain errands that we gave her, seemed to have anticipated social complexities and worldly refinements that nothing in Françoise’s associations or her life as a village domestic could have suggested to her; and we had to say to ourselves that in her there was a very old French past, noble and ill understood, as in those manufacturing towns where elegant old houses testify that there was once a court life, and where the employees of a factory for chemical products work surrounded by delicate sculptures representing the miracle of Saint Théophile or the four sons of Aymon.25 In this particular case, the article of the code which made it unlikely that except in case of fire Françoise would go bother Mama in the presence of M. Swann for so small a personage as myself simply betokened the respect she professed not only for the family—as for the dead, for priests, and for kings—but also for the visitor to whom one was offering one’s hospitality, a respect that would perhaps have touched me in a book but that always irritated me on her lips, because of the solemn and tender tones she adopted in speaking of it, and especially so this evening, when the sacred character she conferred on the dinner might have the effect of making her refuse to disturb its ceremonial. But to give myself a better chance, I did not hesitate to lie and tell her that it was not in the least I who had wanted to write to Mama, but that it was Mama who, as she said goodnight to me, had exhorted me not to forget to send her an answer concerning something she had asked me to look for; and she would certainly be very annoyed if this note was not delivered to her. I think Françoise did not believe me, for, like those primitive men whose senses were so much more powerful than ours, she could immediately discern, from signs imperceptible to us, any ruth that we wanted to hide from her; she looked at the envelope for five minutes as if the examination of the paper and the appearance of the writing would inform her about the nature of the contents or tell her which article of her code she ought to apply. Then she went out with an air of resignation that seemed to signify: “If it isn’t a misfortune for parents to have a child like that!” She came back after a moment to tell me that they were s till only at the ice stage, that it was impossible for the butler to deliver the letter right away in front of everyone, but that, when the mouth-rinsing bowls 26 were put round, they would find a way to hand it to Mama. Instantly my anxiety subsided; it was now no longer, as it had been only a moment ago, until tomorrow that I had left my mother, since my little note, no doubt annoying her (and doubly because this stratagem would make me ridiculous in Swann’s eyes), would at least allow me, invisible and enraptured, to enter the same room as she, would whisper about me in her ear; since that forbidden, hostile dining room, where, just a moment before, the ice itself—the “granité”27—and the rinsing bowls seemed to me to contain pleasures noxious and mortally sad because Mama was enjoying them far away from me, was opening itself to me and, like a fruit that has turned sweet and bursts its skin, was about to propel, to project, all the way to my intoxicated heart, Mama’s attention as she read my lines. Now I was no longer separated from her; the barriers were down, an exquisite thread joined us. And that was not all: Mama would probably come!

I thought Swann would surely have laughed at the anguish I had just suffered if he had read my letter and guessed its purpose; yet, on the contrary, as I learned later, a similar anguish was the torment of long years of his life and no one, perhaps, could have understood me as well as he; in his case, the anguish that comes from feeling that the person you love is in a place of amusement where you are not, where you cannot join her, came to him through love, to which it is in some sense predestined, by which it will be hoarded, appropriated; but when, as in my case, this anguish enters us before love has made its appearance in our life, it drifts as it waits for it, vague and free, without a particular assignment, at the service of one feeling one day, of another the next, sometimes of filial tenderness or affection for a friend. And the joy with which I served my first apprenticeship when Françoise came back to tell me my letter would be delivered Swann too had known well, that deceptive joy given to us by some friend, some relative of the woman we love when, arriving at the house or theater where she is, for some dance, gala evening, or premiere at which he is going to see her, this friend notices us wandering outside, desperately awaiting some opportunity to communicate with her. He recognizes us, speaks to us familiarly, asks us what we are doing there. And when we invent the story that we have something urgent to say to his relative or friend, he assures us that nothing could be simpler, leads us into the hall, and promises to send her to us in five minutes. How we love him, as at that moment I loved Françoise—the well- intentioned intermediary who with a single word has just made tolerable, human, and almost propitious the unimaginable, infernal festivity into the thick of which we had been imagining that hostile, perverse, and exquisite vortices of pleasure were carrying away from us and inspiring with derisive laughter the woman we love! If we are to judge by him, the relative who has come up to us and is himself also one of the initiates in the cruel mysteries, the other guests at the party cannot have anything very demoniacal about them. Those inaccessible and excruciating hours during which she was about to enjoy unknown pleasures—now, through an unexpected breach, we are entering them; now, one of the moments which, in succession, would have composed those hours, a moment as real as the others, perhaps even more important to us, because our mistress is more involved in it, we can picture to ourselves, we possess it, we are taking part in it, we have created it, almost: the moment in which he will tell her we are here, downstairs. And no doubt the other moments of the party would not have been essentially very different from this one, would not have had anything more delectable about them that should make us suffer so, since the kind friend has said to us: “Why, she’ll be delighted to come down! It’ll be much nicer for her to chat with you than to be bored up there.” Alas! Swann had learned by experience that the good intentions of a third person have no power over a woman who is annoyed to find herself pursued even into a party by someone she does not love. Often, the friend comes back down alone.

My mother did not come, and with no consideration for my pride (which was invested in her not denying the story that she was supposed to have asked me to let her know the results of some search) asked Françoise to say these words to me: “There is no answer,” words I have so often since then heard the doormen in grand hotels or the footmen in bawdy houses bring back to some poor girl who exclaims in surprise: “What, he said nothing? Why, that’s impossible! Did you really give him my note? All right, I’ll go on waiting.” And—just as she invariably assures him she does not need the extra gas jet which the doorman wants to light for her, and remains there, hearing nothing further but the few remarks about the weather exchanged by the doorman and a lackey whom he sends off suddenly, when he notices the time, to put a customer’s drink on ice—having declined Françoise’s offer to make me some tea or to stay with me, I let her return to the servants’ hall, I went to bed and closed my eyes, trying not to hear the voices of my family, who were having their coffee in the garden. But after a few seconds, I became aware that, by writing that note to Mama, by approaching, at the risk of angering her, so close to her that I thought I could touch the moment when I would see her again, I had shut off from myself the possibility of falling asleep without seeing her again, and the beating of my heart grew more painful each minute because I was increasing my agitation by telling myself to be calm, to accept my misfortune. Suddenly my anxiety subsided, a happiness invaded me as when a powerful medicine begins to take effect and our pain vanishes: I had just formed the resolution not to continue trying to fall asleep without seeing Mama again, to kiss her at all costs even though it was with the certainty of being on bad terms with her for a long time after, when she came up to bed. The calm that came with the end of my distress filled me with an extraordinary joy, quite as much as did my expectation, my thirst for and my fear of danger. I opened the window noiselessly and sat down on the foot of my bed; I hardly moved so that I would not be heard from below. Outdoors, too, things seemed frozen in silent attention so as not to disturb the moonlight which, duplicating and distancing each thing by extending its shadow before it, denser and more concrete than itself, had at once thinned and enlarged the landscape like a map that had been folded and was now opened out. What needed to move, some foliage of the chestnut tree, moved. But its quivering, minute, complete, executed even in its slightest nuances and ultimate refinements, did not spill over onto the rest, did not merge with it, remained circumscribed. Exposed against this silence, which absorbed nothing of them, the most distant noises, those that must have come from gardens that lay at the other end of town, could be perceived detailed with such “finish” that they seemed to owe this effect of remoteness only to their pianissimo, like those muted motifs so well executed by the orchestra of the Conservatoire that, although you do not lose a single note, you nonetheless think you are hearing them far away from the concert hall and all the old subscribers—my grandmother’s sisters too, when Swann had given them his seats— strained their ears as if they were listening to the distant advances of an army on the march that had not yet turned the corner of the rue de Trévise.

I knew that the situation I was now placing myself in was the one that could provoke the gravest consequences of all for me, coming from my parents, much graver in truth than a stranger would have supposed, the sort he would have believed could be produced only by truly shameful misdeeds. But in my upbringing, the order of misdeeds was not the same as in that of other children, and I had become accustomed to placing before all the rest (because there were probably no others from which I needed to be more carefully protected) those whose common characteristic I now understand was that you lapse into them by yielding to a nervous impulse. But at the time no one uttered these words, no one revealed this cause, which might have made me believe I was excusable for succumbing to them or even perhaps incapable of resisting them. But I recognized them clearly from the anguish that preceded them as well as from the rigor of the punishment that followed them; and I knew that the one I had just committed was in the same family as others for which I had been severely punished, though infinitely graver. When I went and placed myself in my mother’s path at the moment she was going up to bed, and when she saw that I had stayed up to say goodnight to her again in the hallway, they would not let me continue to live at home, they would send me away to school the next day, that much was certain. Well! Even if I had had to throw myself out of the window five minutes later, I still preferred this. What I wanted now was Mama, to say goodnight to her, I had gone too far along the road that led to the fulfillment of that desire to be able to turn back now.

I heard the footsteps of my family, who were seeing Swann out; and when the bell on the gate told me he had left, I went to the window. Mama was asking my father if he had thought the lobster was good and if M. Swann had had more coffee-and-pistachio ice. “I found it quite ordinary,” said my mother; “I think next time we’ll have to try another flavor.” “I can’t tell you how changed I find Swann,” said my great-aunt, “he has aged so!” My great-aunt was so used to seeing Swann always as the same adolescent that she was surprised to find him suddenly not as young as the age she continued to attribute to him. And my family was also beginning to feel that in him this aging was abnormal, excessive, shameful, and more deserved by the unmarried, by all those for whom it seems that the great day that has no tomorrow is longer than for others, because for them it is empty and the moments in it add up from morning on without then being divided among children. “I think he has no end of worries with that wretched wife of his who is living with a certain Monsieur de Charlus, as all of Combray knows. It’s the talk of the town.” My mother pointed out that in spite of this he had been looking much less sad for some time now. “He also doesn’t make that gesture of his as often, so like his father, of wiping his eyes and running his hand across his forehead. I myself think that in his heart of hearts he no longer loves that woman.” “Why, naturally he doesn’t love her anymore,” answered my grandfather. “I received a letter from him about it a long time ago, by now, a letter with which I hastened not to comply and which leaves no doubt about his feelings, at least his feelings of love, for his wife. Well now! You see, you didn’t thank him for the Asti,” added my grandfather, turning to his two sisters-in-law. “What? We didn’t thank him? I think, just between you and me, that I put it quite delicately,” answered my aunt Flora. “Yes, you managed it very well: quite admirable,” said my aunt Céline. “But you were very good too.” “Yes, I was rather proud of my remark about kind neighbors.” “What? Is that what you call thanking him?” exclaimed my grandfather. “I certainly heard that, but devil take me if I thought it was directed at Swann. You can be sure he never noticed.” “But see here, Swann isn’t stupid, I’m sure he appreciated it. After all, I couldn’t tell him how many bottles there were and what the wine cost!” My father and mother were left alone there, and sat down for a moment; then my father said: “Well, shall we go up to bed?” “If you like, my dear, even though I’m not the least bit sleepy; yet it couldn’t be that perfectly harmless coffee ice that’s keeping me so wide- awake; but I can see a light in the servants’ hall, and since poor Françoise has waited up for me, I’ll go and ask her to unhook my bodice while you’re getting undressed.” And my mother opened the latticed door that led from the vestibule to the staircase. Soon, I heard her coming upstairs to close her window. I went without a sound into the hallway; my heart was beating so hard I had trouble walking, but at least it was no longer pounding from anxiety, but from terror and joy. I saw the light cast in the stairwell by Mama’s candle. Then I saw Mama herself; I threw myself forward. In the first second, she looked at me with astonishment, not understanding what could have happened. Then an expression of anger came over her face, she did not say a single word to me, and indeed for much less than this they would go several days without speaking to me. If Mama had said one word to me, it would have been an admission that they could talk to me again and in any case it would perhaps have seemed to me even more terrible, as a sign that, given the gravity of the punishment that was going to be prepared for me, silence, and estrangement, would have been childish. A word would have been like the calm with which you answer a servant when you have just decided to dismiss him; the kiss you give a son you are sending off to enlist, whereas you would have refused it if you were simply going to be annoyed with him for a few days. But she heard my father coming up from the dressing room where he had gone to undress and, to avoid the scene he would make over me, she said to me in a voice choked with anger: “Run, run, so at least your father won’t see you waiting like this as if you were out of your mind!” But I repeated to her: “Come say goodnight to me,” terrified as I saw the gleam from my father’s candle already rising up the wall, but also using his approach as a means of blackmail and hoping that Mama, to avoid my father’s finding me there still if she continued to refuse, would say: “Go back to your room, I’ll come.” It was too late, my father was there in front of us. Involuntarily, though no one heard, I murmured these words: “I’m done for!”

It was not so. My father was constantly refusing me permission for things that had been authorized in the more generous covenants granted by my mother and grandmother because he did not bother about “principles” and for him there was no “rule of law.” For a completely contingent reason, or even for no reason at all, he would at the last minute deny me a certain walk that was so customary, so consecrated that to deprive me of it was a violation, or, as he had done once again this evening, long before the ritual hour he would say to me: “Go on now, up to bed, no arguments!” But also, because he had no principles (in my grandmother’s sense), he was not strictly speaking intransigent. He looked at me for a moment with an expression of surprise and annoyance, then as soon as Mama had explained to him with a few embarrassed words what had happened, he said to her: “Go along with him, then. You were just saying you didn’t feel very sleepy, stay in his room for a little while, I don’t need anything.” “But my dear,” answered my mother timidly, “whether I’m sleepy or not doesn’t change anything, we can’t let the child get into the habit . . .” “But it isn’t a question of habit,” said my father, shrugging his shoulders, “you can see the boy is upset, he seems very sad; look, we’re not executioners! You’ll end by making him ill, and that won’t do us much good! There are two beds in his room; go tell Françoise to prepare the big one for you and sleep there with him tonight. Now then, goodnight, I’m not as high-strung as the two of you, I’m going to bed.”

It was impossible to thank my father; he would have been irritated by what he called mawkishness. I stood there not daring to move; he was still there in front of us, tall in his white nightshirt, under the pink and violet Indian cashmere shawl that he tied around his head now that he had attacks of neuralgia, with the gesture of Abraham in the engraving after Benozzo Gozzoli28 that M. Swann had given me, as he told Sarah she must leave Issac’s side. This was many years ago. The staircase wall on which I saw the rising glimmer of his candle has long since ceased to exist. In me, too, many things have been destroyed that I thought were bound to last forever and new ones have formed that have given birth to new sorrows and joys which I could not have foreseen then, just as the old ones have become difficult for me to understand. It was a very long time ago, too, that my father ceased to be able to say to Mama: “Go with the boy.” The possibility of such hours will never be reborn for me. But for a little while now, I have begun to hear again very clearly, if I take care to listen, the sobs that I was strong enough to contain in front of my father and that broke out only when I found myself alone again with Mama. They have never really stopped; and it is only because life is now becoming quieter around me that I can hear them again, like those convent bells covered so well by the clamor of the town during the day that one would think they had ceased altogether but which begin sounding again in the silence of the evening.

Mama spent that night in my room; when I had just committed such a misdeed that I expected to have to leave the house, my parents granted me more than I could ever have won from them as a reward for any good deed. Even at the moment when it manifested itself through this pardon, my father’s conduct toward me retained that arbitrary and undeserved quality that characterized it and was due to the fact that it generally resulted from fortuitous convenience rather than a premeditated plan. It may even be that what I called his severity, when he sent me to bed, deserved that name less than my mother’s or my grandmother’s, for his nature, in certain respects more different from mine than theirs was, had probably kept him from discovering until now how very unhappy I was every evening, something my mother and my grandmother knew well; but they loved me enough not to consent to spare me my suffering, they wanted to teach me to master it in order to reduce my nervous sensitivity and strengthen my will. As for my father, whose affection for me was of another sort, I do not know if he would have been courageous enough for that: the one time he realized that I was upset, he had said to my mother: “Go and comfort him.” Mama stayed in my room that night and, as though not to allow any remorse to spoil those hours which were so different from what I had had any right to expect, when Françoise, realizing that something extraordinary was happening when she saw Mama sitting next to me, holding my hand and letting me cry without scolding me, asked her: “Why, madame, now what’s wrong with Monsieur that he’s crying so?” Mama answered her: “Why, even he doesn’t know, Françoise, he’s in a state; prepare the big bed for me quickly and then go on up to bed yourself.” And so, for the first time, my sadness was regarded no longer as a punishable offense but as an involuntary ailment that had just been officially recognized, a nervous condition for which I was not responsible; I had the relief of no longer having to mingle qualms of conscience with the bitterness of my tears, I could cry without sin. I was also not a little proud, with respect to Françoise, of this turnabout in human affairs which, an hour after Mama had refused to come up to my room and had sent the disdainful answer that I should go to sleep, raised me to the dignity of a grown-up and brought me suddenly to a sort of puberty of grief, of emancipation from tears. I ought to have been happy: I was not. It seemed to me that my mother had just made me a first concession which must have been painful to her, that this was a first abdication on her part from the ideal she had conceived for me, and that for the first time she, who was so courageous, had to confess herself beaten. It seemed to me that, if I had just gained a victory, it was over her, that I had succeeded, as illness, affliction, or age might have done, in relaxing her will, in weakening her judgment, and that this evening was the beginning of a new era, would remain as a sad date. If I had dared, now, I would have said to Mama: “No, I don’t want you to do this, don’t sleep here.” But I was aware of the practical wisdom, the realism as it would be called now, which in her tempered my grandmother’s ardently idealistic nature, and I knew that, now that the harm was done, she would prefer to let me at least enjoy the soothing pleasure of it and not disturb my father. To be sure, my mother’s lovely face still shone with youth that evening when she so gently held my hands and tried to stop my tears; but it seemed to me that this was precisely what should not have been, her anger would have saddened me less than this new gentleness which my childhood had not known before; it seemed to me that with an impious and secret hand I had just traced in her soul a first wrinkle and caused a first white hair to appear. At the thought of this my sobs redoubled, and then I saw that Mama, who never let herself give way to any emotion with me, was suddenly overcome by my own and was trying to suppress a desire to cry. When she saw that I had noticed, she said to me with a smile: “There now, my little chick, my little canary, he’s going to make his mama as silly as himself if this continues. Look, since you’re not sleepy and your mama isn’t either, let’s not go on upsetting each other, let’s do something, let’s get one of your books.” But I had none there. “Would you enjoy it less if I took out the books your grandmother will be giving you on your saint’s day? Think about it carefully: you mustn’t be disappointed not to have anything the day after tomorrow.” On the contrary, I was delighted, and Mama went to get a packet of books, of which I could not distinguish, through the paper in which they were wrapped, more than their shape, short and thick, but which, in this first guise, though summary and veiled, already eclipsed the box of colors from New Year’s Day and the silkworms from last year. They were La Mare au Diable, François le Champi, La Petite Fadette, and Les Maîtres Sonneurs. My grandmother, as I learned afterward, had first chosen the poems of Musset, a volume of Rousseau, and Indiana;29 for though she judged frivolous reading to be as unhealthy as sweets and pastries, it did not occur to her that a great breath of genius might have a more dangerous and less invigorating influence on the mind even of a child than would the open air and the sea breeze on his body. But as my father had nearly called her mad when he learned which books she wanted to give me, she had returned to the bookstore in Jouy-le-Vicomte herself, so that I would not risk not having my present (it was a burning-hot day and she had come home so indisposed that the doctor had warned my mother not to let her tire herself out that way again) and she had resorted to the four pastoral novels of George Sand. “My dear daughter,” she said to Mama, “I could not bring myself to give the boy something badly written.”

In fact, she could never resign herself to buying anything from which one could not derive an intellectual profit, and especially that which beautiful things afford us by teaching us to seek our pleasure elsewhere than in the satisfactions of material comfort and vanity. Even when she had to make someone a present of the kind called “useful,” when she had to give an armchair, silverware, a walking stick, she looked for “old” ones, as though, now that long desuetude had effaced their character of usefulness, they would appear more disposed to tell us about the life of people of other times than to serve the needs of our own life. She would have liked me to have in my room photographs of the most beautiful monuments or landscapes. But at the moment of buying them, and even though the thing represented had an aesthetic value, she would find that vulgarity and utility too quickly resumed their places in that mechanical mode of representation, the photograph. She would try to use cunning and, if not to eliminate commercial banality entirely, at least to reduce it, to substitute for the greater part of it more art, to introduce into it in a sense several “layers” of art: instead of photographs of Chartres Cathedral, the Fountains of Saint-Cloud, or Mount Vesuvius, she would make inquiries of Swann as to whether some great painter had not depicted them, and preferred to give me photographs of Chartres Cathedral by Corot, of the Fountains of Saint-Cloud by Hubert Robert,30 of Mount Vesuvius by Turner,31 which made one further degree of art. But if the photographer had been removed from the representation of the masterpiece or of nature and replaced by a great artist, he still reclaimed his rights to reproduce that very interpretation. Having deferred vulgarity as far as possible, my grandmother would try to move it back still further. She would ask Swann if the work had not been engraved, preferring, whenever possible, old engravings that also had an interest beyond themselves, such as those that represent a masterpiece in a state in which we can no longer see it today (like the engraving by Morghen32 of Leonardo’s Last Supper before its deterioration). It must be said that the results of this interpretation of the art of gift giving were not always brilliant. The idea I formed of Venice from a drawing by Titian that is supposed to have the lagoon in the background was certainly far less accurate than the one I would have derived from simple photographs. We could no longer keep count, at home, when my great-aunt wanted to draw up an indictment against my grandmother, of the armchairs she had presented to young couples engaged to be married or old married couples which, at the first attempt to make use of them, had immediately collapsed under the weight of one of the recipients. But my grandmother would have believed it petty to be overly concerned about the solidity of a piece of wood in which one could still distinguish a small flower, a smile, sometimes a lovely invention from the past. Even what might, in these pieces of furniture, answer a need, since it did so in a manner to which we are no longer accustomed, charmed her like the old ways of speaking in which we see a metaphor that is obliterated, in our modern language, by the abrasion of habit. Now, in fact, the pastoral novels of George Sand that she was giving me for my saint’s day were, like an old piece of furniture, full of expressions that had fallen into disuse and turned figurative again, the sort you no longer find anywhere but in the country. And my grandmother had bought them in preference to others just as she would sooner have rented an estate on which there was a Gothic dovecote or another of those old things that exercise such a happy influence on the mind by filling it with longing for impossible voyages through time.

Mama sat down by my bed; she had picked up François le Champi, whose reddish cover and incomprehensible title gave it, in my eyes, a distinct personality and a mysterious attraction. I had not yet read a real novel. I had heard people say that George Sand was an exemplary novelist. This already predisposed me to imagine something indefinable and delicious in François le Champi. Narrative devices intended to arouse curiosity or emotion, certain modes of expression that make one uneasy or melancholy, and that a reader with some education will recognize as common to many novels, appeared to me— who considered a new book not as a thing having many counterparts, but as a unique person, having no reason for existing but in itself—simply as a disturbing emanation of François le Champi’s peculiar essence. Behind those events so ordinary, those things so common, those words so current, I sensed a strange sort of intonation, accentuation. The action began; it seemed to me all the more obscure because in those days, when I read, I often daydreamed, for entire pages, of something quite different. And in addition to the lacunae that this distraction left in the story, there was the fact, when Mama was the one reading aloud to me, that she skipped all the love scenes. Thus, all the bizarre changes that take place in the respective attitudes of the miller’s wife and the child and that can be explained only by the progress of a nascent love seemed to me marked by a profound mystery whose source I readily imagined must be in that strange and sweet name “Champi,” which gave the child, who bore it without my knowing why, its vivid, charming purplish color. If my mother was an unfaithful reader she was also, in the case of books in which she found the inflection of true feeling, a wonderful reader for the respect and simplicity of her interpretation, the beauty and gentleness of the sound of her voice. Even in real life, when it was people and not works of art which moved her to compassion or admiration, it was touching to see with what deference she removed from her voice, from her motions, from her words, any spark of gaiety that might hurt some mother who had once lost a child, any recollection of a saint’s day or birthday that might remind some old man of his advanced age, any remark about housekeeping that might seem tedious to some young scholar. In the same way, when she was reading George Sand’s prose, which always breathes that goodness, that moral distinction which Mama had learned from my grandmother to consider superior to all else in life, and which I was to teach her only much later not to consider superior to all else in books too, taking care to banish from her voice any pettiness, any affectation which might have prevented it from receiving that powerful torrent, she imparted all the natural tenderness, all the ample sweetness they demanded to those sentences which seemed written for her voice and which remained, so to speak, entirely within the register of her sensibility. She found, to attack them in the necessary tone, the warm inflection that preexists them and that dictated them, but that the words do not indicate; with this inflection she softened as she went along any crudeness in the tenses of the verbs, gave the imperfect and the past historic the sweetness that lies in goodness, the melancholy that lies in tenderness, directed the sentence that was ending toward the one that was about to begin, sometimes hurrying, sometimes slowing down the pace of the syllables so as to bring them, though their quantities were different, into one uniform rhythm, she breathed into this very common prose a sort of continuous emotional life.

My remorse was quieted, I gave in to the sweetness of that night in which I had my mother close to me. I knew that such a night could not be repeated; that the greatest desire I had in the world, to keep my mother in my room during those sad hours of darkness, was too contrary to the necessities of life and the wishes of others for its fulfillment, granted this night, to be anything other than artificial and exceptional. Tomorrow my anxieties would reawaken and Mama would not stay here. But when my anxieties were soothed, I no longer understood them; and then tomorrow night was still far away; I told myself I would have time to think of what to do, even though that time could not bring me any access of power, since these things did not depend on my will and seemed more avoidable to me only because of the interval that still separated them from me.

So it was that, for a long time, when, awakened at night, I remembered Combray again, I saw nothing of it but this sort of luminous panel, cut out among indistinct shadows, like those panels which the glow of a Bengal light or some electric projection will cut out and illuminate in a building whose other parts remain plunged in darkness: at the rather broad base, the small parlor, the dining room, the opening of the dark path by which M. Swann, the unconscious author of my sufferings, would arrive, the front hall where I would head toward the first step of the staircase, so painful to climb, that formed, by itself, the very narrow trunk of this irregular pyramid; and, at the top, my bedroom with the little hallway and its glass-paned door for Mama’s entrance; in a word, always seen at the same hour, isolated from everything that might surround it, standing out alone against the darkness, the bare minimum of scenery (such as one sees prescribed at the beginnings of the old plays for performances in the provinces) needed for the drama of my undressing; as though Combray had consisted only of two floors connected by a slender staircase and as though it had always been seven o’clock in the evening there. The fact is, I could have answered anyone who asked me that Combray also included other things and existed at other times of day. But since what I recalled would have been supplied to me only by my voluntary memory, the memory of the intelligence, and since the information it gives about the past preserves nothing of the past itself, I would never have had any desire to think about the rest of Combray. It was all really quite dead for me.

Dead forever? Possibly.
There is a great deal of chance in all this, and a second sort of chance event, that of our own death, often does not allow us to wait long for the favors of the first.

I find the Celtic belief very reasonable, that the souls of those we have lost are held captive in some inferior creature, in an animal, in a plant, in some inanimate object, effectively lost to us until the day, which for many never comes, when we happen to pass close to the tree, come into possession of the object that is their prison. Then they quiver, they call out to us, and as soon as we have recognized them, the spell is broken. Delivered by us, they have overcome death and they return to live with us.

It is the same with our past. It is a waste of effort for us to try to summon it, all the exertions of our intelligence are useless. The past is hidden outside the realm of our intelligence and beyond its reach, in some material object (in the sensation that this material object would give us) which we do not suspect. It depends on chance whether we encounter this object before we die, or do not encounter it.

For many years, already, everything about Combray that was not the theater and drama of my bedtime had ceased to exist for me, when one day in winter, as I returned home, my mother, seeing that I was cold, suggested that, contrary to my habit, I have a little tea. I refused at first and then, I do not know why, changed my mind. She sent for one of those squat, plump cakes called petites madeleines that look as though they have been molded in the grooved valve of a scallop shell. And soon, mechanically, oppressed by the gloomy day and the prospect of another sad day to follow, I carried to my lips a spoonful of the tea in which I had let soften a bit of madeleine. But at the very instant when the mouthful of tea mixed with cake crumbs touched my palate, I quivered, attentive to the extraordinary thing that was happening inside me. A delicious pleasure had invaded me, isolated me, without my having any notion as to its cause. It had immediately rendered the vicissitudes of life unimportant to me, its disasters innocuous, its brevity illusory, acting in the same way that love acts, by filling me with a precious essence: or rather this essence was not merely inside me, it was me. I had ceased to feel mediocre, contingent, mortal. Where could it have come to me from—this powerful joy? I sensed that it was connected to the taste of the tea and the cake, but that it went infinitely far beyond it, could not be of the same nature. Where did it come from? What did it mean? How could I grasp it? I drink a second mouthful, in which I find nothing more than in the first, a third that gives me a little less than the second. It is time for me to stop, the virtue of the drink seems to be diminishing. Clearly, the truth I am seeking is not in the drink, but in me. The drink has awoken it in me, but does not know this truth, and can do no more than repeat indefinitely, with less and less force, this same testimony which I do not know how to interpret and which I want at least to be able to ask of it again and find again, intact, available to me, soon, for a decisive clarification. I put down the cup and turn to my mind. It is up to my mind to find the truth. But how? Such grave uncertainty, whenever the mind feels overtaken by itself; when it, the eeker, is also the obscure country where it must seek and where all its baggage will be nothing to it. Seek? Not only that: create. It is face-to-face with something that does not yet exist and that only it can accomplish, then bring into its light.

And I begin asking myself again what it could be, this unknown state which brought with it no logical proof, but only the evidence of its felicity, its reality, and in whose presence the other states of consciousness faded away. I want to try to make it reappear. I return in my thoughts to the moment when I took the first spoonful of tea. I find the same state again, without any new clarity. I ask my mind to make another effort, to bring back once more the sensation that is slipping away. And, so that nothing may interrupt the thrust with which it will try to grasp it again, I clear away every obstacle, every foreign idea, I protect my ears and my attention from the noises in the next room. But feeling my mind grow tired without succeeding, I now compel it to accept the very distraction I was denying it, to think of something else, to recover its strength before a supreme attempt. Then for a second time I create an empty space before it, I confront it again with the still recent taste of that first mouthful, and I feel something quiver in me, shift, try to rise, something that seems to have been unanchored at a great depth; I do not know what it is, but it comes up slowly; I feel the resistance and I hear the murmur of the distances traversed.

Undoubtedly what is palpitating thus, deep inside me, must be the image, the visual memory which is attached to this taste and is trying to follow it to me. But it is struggling too far away, too confusedly; I can just barely perceive the neutral glimmer in which the elusive eddying of stirred-up colors is blended; but I cannot distinguish the form, cannot ask it, as the one possible interpreter, to translate for me the evidence of its contemporary, its inseparable companion, the taste, ask it to tell me what particular circumstance is involved, what period of the past.

Will it reach the clear surface of my consciousness—this memory, this old moment which the attraction of an identical moment has come from so far to invite, to move, to raise up from the deepest part of me? I don’t know. Now I no longer feel anything, it has stopped, gone back down perhaps; who knows if it will ever rise up from its darkness again? Ten times I must begin again, lean down toward it. And each time, the laziness that deters us from every difficult task, every work of importance, has counseled me to leave it, to drink my tea and think only about my worries of today, my desires for tomorrow, upon which I may ruminate effortlessly.

And suddenly the memory appeared. That taste was the taste of the little piece of madeleine which on Sunday mornings at Combray (because that day I did not go out before it was time for Mass), when I went to say good morning to her in her bedroom, my aunt Léonie would give me after dipping it in her infusion of tea or lime blossom. The sight of the little madeleine had not reminded me of anything before I tasted it; perhaps because I had often seen them since, without eating them, on the shelves of the pastry shops, and their image had therefore left those days of Combray and attached itself to others more recent; perhaps because of these recollections abandoned so long outside my memory, nothing survived, everything had come apart; the forms and the form, too, of the little shell made of cake, so fatly sensual within its severe and pious pleating—had been destroyed, or, still half asleep, had lost the force of expansion that would have allowed them to rejoin my consciousness. But, when nothing subsists of an old past, after the death of people, after the destruction of things, alone, frailer but more enduring, more immaterial, more persistent, more faithful, smell and taste still remain for a long time, like souls, remembering, waiting, hoping, upon the ruins of all the rest, bearing without giving way, on their almost impalpable droplet, the immense edifice of memory.

And as soon as I had recognized the taste of the piece of madeleine dipped in lime- blossom tea that my aunt used to give me (though I did not yet know and had to put off to much later discovering why this memory made me so happy), immediately the old gray house on the street, where her bedroom was, came like a stage set to attach itself to the little wing opening onto the garden that had been built for my parents behind it (that truncated section which was all I had seen before then); and with the house the town, from morning to night and in all weathers, the Square, where they sent me before lunch, the streets where I went on errands, the paths we took if the weather was fine. And as in that game in which the Japanese amuse themselves by filling a porcelain bowl with water and steeping in it little pieces of paper until then undifferentiated which, the moment they are immersed in it, stretch and bend, take color and distinctive shape, turn into flowers, houses, human figures, firm and recognizable, so now all the flowers in our garden and in M. Swann’s park, and the water lilies on the Vivonne, and the good people of the village and their little dwellings and the church and all of Combray and its surroundings, all of this, acquiring form and solidity, emerged, town and gardens alike, from my cup of tea.

\"},{\"id\":\"4973791T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\" The reader will remember that, well before going that day (the day on which the Princesse de Guermantes's reception was to be held) to pay the Duke and Duchess the visit I have just described, I had kept watch for their return and in the course of my vigil had made a discovery which concerned M. de Charlus in particular but was in itself so important that I have until now, until the moment when I could give it the prominence and treat it with the fullness that it demanded, postponed giving an account of it. I had, as I have said, left the marvellous point of vantage, so snugly contrived at the top of the house, commanding the hilly slopes which led up to the Hotel de Brequigny, and which were gaily decorated in the Italian manner by the rose-pink campanile of the Marquis de Frecourt's coach-house. I had thought it more practical, when I suspected that the Duke and Duchess were on the point of returning, to post myself on the staircase. I rather missed my Alpine eyrie. But at that time of day, namely the hour immediately after lunch, I had less cause for regret, for I should not then have seen, as in the morning, the footmen of the Brequigny household, converted by distance into minute figures in a picture, make their leisurely ascent of the steep hillside, feather-brush in hand, behind the large, transparent flakes of mica which stood out so pleasingly upon its ruddy bastions. Failing the geologist's field of contemplation, I had at least that of the botanist, and was peering through the shutters of the staircase window at the Duchess's little shrub and at the precious plant, exposed in the courtyard with that assertiveness with which mothers 'bring out' their marriageable offspring,and asking myself whether the unlikely insect would come, by a providential hazard, to visit the offered and neglected pistil. My curiosity emboldening me by degrees, I went down to the ground-floor window, which also stood open with its shutters ajar. I could distinctly hear Jupien getting ready to go out, but he could not detect me behind my blind, where I stood perfectly still until the moment when I drew quickly aside in order not to be seen by M. de Charlus, who, on his way to call upon Mme de Villeparisis, was slowly crossing the courtyard, corpulent, greying, aged by the strong light. Nothing short of an indisposition from which Mme de Villeparisis might be suffering (consequent on the illness of the Marquis de Fierbois, with whom he personally was at daggers drawn) could have made M. de Charlus pay a call, perhaps for the first time in his life, at that hour of the day. For with that eccentricity of the Guermantes, who, instead of conforming to the ways of society, tended to modify them to suit their own personal habits (habits not, they thought, social, and deserving in consequence the abasement before them of that worthless thing, society life&mdashthus it was that Mme de Marsantes had no regular 'day,' but was at home to her friends every morning between ten o'clock and noon), the Baron, reserving those hours for reading, hunting for old curios and so forth, paid calls only between four and six in the evening. At six o'clock he went to the Jockey Club, or took a stroll in the Bois. A moment later, I again recoiled, in order not to be seen by Jupien. It was nearly time for him to set out for the office, from which he would return only for dinner, and not always even then during the last week since his niece and her apprentices had gone to the country to finish a dress for a customer. Then, realising that no one could see me, I decided not to let myself be disturbed again for fear of missing, should the miracle be fated to occur, the arrival, almost beyond the possibility of hope (across so many obstacles of distance, of adverse risks, of dangers), of the insect sent from so far away as ambassador to the virgin who had been waiting for so long. I knew that this expectancy was no more passive than in the male flower, whose stamens had spontaneously curved so that the insect might more easily receive their offering; similarly the female flower that stood here would coquettishly arch her 'styles' if the insect came, and, to be more effectively penetrated by him, would imperceptibly advance, like a hypocritical but ardent damsel, to meet him half-way. The laws of the vegetable kingdom are themselves governed by increasingly higher laws. If the visit of an insect, that is to say the transportation of the seed from another flower, is generally necessary for the fertilisation of a flower, that is because self-fertilisation, the insemination of a flower by itself, would lead, like a succession of intermarriages in the same family, to degeneracy and sterility, whereas the crossing effected by insects gives to the subsequent generations of the same species a vigour unknown to their forebears. This invigoration may, however, prove excessive, and the species develop out of all proportion; then, as an antitoxin protects us against disease, as the thyroid gland regulates our adiposity, as defeat comes to punish pride, as fatigue follows indulgence, and as sleep in turn brings rest from fatigue, so an exceptional act of self-fertilisation comes at the crucial moment to apply its turn of the screw, its pull on the curb, brings back within the norm the flower that has exaggeratedly overstepped it. My reflexions had followed a trend which I shall describe in due course, and I had already drawn from the visible stratagems of flowers a conclusion that bore upon a whole unconscious element of literary production, when I saw M. de Charlus coming away from the Marquise's door. Only a few minutes had passed since his entry. Perhaps he had learned from his elderly relative herself, or merely from a servant, of a great improvement in her condition, or rather her complete recovery from what had been nothing more than a slight indisposition. At this moment, when he did not suspect that anyone was watching him, his eyelids lowered as a screen against the sun, M. de Charlus had relaxed that artificial tension, softened that artificial vigour in his face which were ordinarily sustained by the animation of his talk and the force of his will. Pale as a marble statue, his fine features with the prominent nose no longer received from an expression deliberately assumed a different meaning which altered the beauty of their contours; no more now than a Guermantes, he seemed already carved in stone, he, Palamede XV, in the chapel at Combray. These general features of a whole family took on, however, in the face of M. de Charlus a more spiritualised, above all a softer refinement. I regretted for his sake that he should habitually adulterate with so many violent outbursts, offensive eccentricities, calumnies, with such harshness, touchiness and arrogance, that he should conceal beneath a spurious brutality the amenity, the kindness which, as he emerged from Mme de Villeparisis's, I saw so innocently displayed upon his face. Blinking his eyes in the sunlight, he seemed almost to be smiling, and I found in his face seen thus in repose and as it were in its natural state something so affectionate, so defenceless, that I could not help thinking how angry M. de Charlus would have been could he have known that he was being watched; for what was suggested to me by the sight of this man who was so enamoured of, who so prided himself upon, his virility, to whom all other men seemed odiously effeminate, what he suddenly suggested to me, to such an extent had he momentarily assumed the features, the expression, the smile thereof, was a woman.

I was about to change my position again, so that he should not catch sight of me; I had neither the time nor the need to do so. For what did I see! Face to face, in that courtyard where they had certainly never met before (M. de Charlus coming to the Hotel de Guermantes only in the afternoon, during the time when Jupien was at his office), the Baron, having suddenly opened wide his half-shut eyes, was gazing with extraordinary attentiveness at the ex-tailor poised on the threshold of his shop, while the latter, rooted suddenly to the spot in front of M. de Charlus, implanted there like a tree, contemplated with a look of wonderment the plump form of the ageing Baron. But, more astounding still, M. de Charlus's pose having altered, Jupien's, as though in obedience to the laws of an occult art, at once brought itself into harmony with it. The Baron, who now sought to disguise the impression that had been made on him, and yet, in spite of his affectation of indifference, seemed unable to move away without regret, came and went, looked vaguely into the distance in the way which he felt would most enhance the beauty of his eyes, assumed a smug, nonchalant, fatuous air. Meanwhile Jupien, shedding at once the humble, kindly expression which I had always associated with him, had--in perfect symmetry with the Baron--thrown back his head, given a becoming tilt to his body, placed his hand with grotesque effrontery on his hip, stuck out his behind, struck poses with the coquetry that the orchid might have adopted on the providential arrival of the bee. I had not supposed that he could look so unappealing. But I was equally unaware that he was capable of improvising his part in this sort of dumb show which (although he found himself for the first time in the presence of M. de Charlus) seemed to have been long and carefully rehearsed; one does not arrive spontaneously at that pitch of perfection except when one meets abroad a compatriot with whom an understanding then develops of itself, the means of communication being the same, even without having seen each other before.

This scene was not, however, positively comic; it was stamped with a strangeness, or if you like a naturalness, the beauty of which steadily increased. Try as M. de Charlus might to assume a detached air, to let his eyelids nonchalantly droop, every now and then he raised them, and at such moments turned on Jupien an attentive gaze. But (doubtless because he felt that such a scene could not be prolonged indefinitely in this place, whether for reasons which we shall understand later on, or possibly from that feeling of the brevity of all things which makes us determine that every blow must strike home, and renders so moving the spectacle of every kind of love), each time that M. de Charlus looked at Jupien, he took care that his glance should be accompanied by a word, which made it infinitely unlike the glances we usually direct at a person whom we scarcely know or do not know at all; he stared at Jupien with the peculiar fixity of the person who is about to say to you: 'Excuse my taking the liberty, but you have a long white thread hanging down your back,' or else: 'Surely I can't be mistaken, you come from Zurich too; I'm certain I must have seen you there often at the antique dealer's.' Thus, every other minute, the same question seemed to be put to Jupien intently in M. de Charlus's ogling, like those questioning phrases of Beethoven's, indefinitely repeated at regular intervals and intended--with an exaggerated lavishness of preparation--to introduce a new theme, a change of key, a 're-entry.' On the other hand, the beauty of the reciprocal glances of M. de Charlus and Jupien arose precisely from the fact that they did not, for the moment at least, seem to be intended to lead to anything further. It was the first time I had seen the manifestation of this beauty in the Baron and Jupien. In the eyes of both of them, it was the sky not of Zurich but of some oriental city, the name of which I had not yet divined, that I saw reflected. Whatever the point might be that held M. de Charlus and the ex-tailor thus arrested, their pact seemed concluded and these superfluous glances to be but ritual preliminaries, like the parties people give before a marriage which has been definitely arranged. Nearer still to nature--and the multiplicity of these analogies is itself all the more natural in that the same man, if we examine him for a few minutes, appears in turn a man, a man-bird, a man-insect, and so forth--one might have thought of them as a pair of birds, the male and the female, the male seeking to advance, the female--Jupien--no longer giving any sign of response to this stratagem, but regarding her new friend without surprise, with an inattentive fixity of gaze, doubtless considered more disturbing and the sole practicality now that the male had taken the first steps, and contenting herself with preening her feathers. At length Jupien's indifference seemed to suffice him no longer; from the certainty of having conquered to getting himself pursued and desired was but a step, and Jupien, deciding to go off to his work, went out through the carriage gate. It was only, however, after turning his head two or three times that he disappeared into the street, towards which the Baron, trembling lest he should lose the trail (boldly humming a tune, and not forgetting to fling a 'Good-day' to the porter, who, half-tipsy and engaged in treating a few friends in his back kitchen, did not even hear him), hurried briskly to catch up with him. At the same instant as M. de Charlus disappeared through the gate humming like a great bumble-bee, another, a real one this time, flew into the courtyard. For all I knew this might be the one so long awaited by the orchid, coming to bring it that rare pollen without which it must remain a virgin. But I was distracted from following the gyrations of the insect, for, a few minutes later, engaging my attention afresh, Jupien (perhaps to pick up a parcel which he did take away with him ultimately and which, in the emotion aroused in him by the appearance of M. de Charlus, he had forgotten, perhaps simply for a more natural reason) returned, followed by the Baron. The latter, deciding to precipitate matters, asked the tailor for a light, but at once observed: 'I ask you for a light, but I see I've left my cigars at home.' The laws of hospitality prevailed over the rules of coquetry. 'Come inside, you shall have everything you wish,' said the tailor, on whose features disdain now gave place to joy. The door of the shop closed behind them and I could hear no more. I had lost sight of the bumblebee. I did not know whether he was the insect that the orchid required, but I had no longer any doubt, in the case of a very rare insect and a captive flower, of the miraculous possibility of their conjunction when I considered that M. de Charlus (this is simply a comparison of providential chances, whatever they may be, without the slightest scientific claim to establish a relation between certain botanical laws and what is sometimes, most ineptly, termed homosexuality), who for years past had never come to the house except at hours when Jupien was not there, had, by the mere accident of Mme de Villeparisis's indisposition, encountered the tailor and with him the good fortune reserved for men of the Baron's kind by one of those fellow-creatures who may even be, as we shall see, infinitely younger than Jupien and better-looking, the man predestined to exist in order that they may have their share of sensual pleasure on this earth: the man who cares only for elderly gentlemen.

\"},{\"id\":\"3663123T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"4\",\"text\":\"

Swann's Way

By Marcel Proust

Penguin Classic

ISBN: 0-142-43796-4

Chapter One

Combray

Excerpted from Swann's Way by Marcel Proust Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

\"},{\"id\":\"53597633T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"Winner of the 2012 Fifty Books/Fifty Covers show, organized by Design Observer in association with AIGA and Designers & Books

Winner of the 2014 Type Directors Club Communication Design Award

Praise for Penguin Drop Caps:

\\\"[Penguin Drop Caps] convey a sense of nostalgia for the tactility and aesthetic power of a physical book and for a centuries-old tradition of beautiful lettering.\\\"
—Fast Company

“Vibrant, minimalist new typographic covers…. Bonus points for the heartening gender balance of the initial selections.”
—Maria Popova, Brain Pickings

\\\"The Penguin Drop Caps series is a great example of the power of design. Why buy these particular classics when there are less expensive, even free editions of Great Expectations? Because they’re beautiful objects. Paul Buckley and Jessica Hische’s fresh approach to the literary classics reduces the design down to typography and color. Each cover is foil-stamped with a cleverly illustrated letterform that reveals an element of the story. Jane Austen’s A (Pride and Prejudice) is formed by opulent peacock feathers and Charlotte Bronte’s B (Jane Eyre) is surrounded by flames. The complete set forms a rainbow spectrum prettier than anything else on your bookshelf.\\\"
—Rex Bonomelli, The New York Times

\\\"Drool-inducing.\\\"
—Flavorwire

\\\"Classic reads in stunning covers—your book club will be dying.\\\"
—Redbook\"},{\"id\":\"51112057T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"2\",\"text\":\"Winner of the 2012 Fifty Books/Fifty Covers show, organized by Design Observer in association with AIGA and Designers & Books

Winner of the 2014 Type Directors Club Communication Design Award

Praise for Penguin Drop Caps:

\\\"[Penguin Drop Caps] convey a sense of nostalgia for the tactility and aesthetic power of a physical book and for a centuries-old tradition of beautiful lettering.\\\"
—Fast Company

“Vibrant, minimalist new typographic covers…. Bonus points for the heartening gender balance of the initial selections.”
—Maria Popova, Brain Pickings

\\\"The Penguin Drop Caps series is a great example of the power of design. Why buy these particular classics when there are less expensive, even free editions of Great Expectations? Because they’re beautiful objects. Paul Buckley and Jessica Hische’s fresh approach to the literary classics reduces the design down to typography and color. Each cover is foil-stamped with a cleverly illustrated letterform that reveals an element of the story. Jane Austen’s A (Pride and Prejudice) is formed by opulent peacock feathers and Charlotte Bronte’s B (Jane Eyre) is surrounded by flames. The complete set forms a rainbow spectrum prettier than anything else on your bookshelf.\\\"
—Rex Bonomelli, The New York Times

\\\"Drool-inducing.\\\"
—Flavorwire

\\\"Classic reads in stunning covers—your book club will be dying.\\\"
—Redbook\"},{\"id\":\"4973739T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"3\",\"text\":\"Much-honored translator Lydia Davis launches a new rendering of Proust's magisterial A la recherche du temps perdu. Expect the second volume next year. Copyright 2003 Reed Business Information. \"},{\"id\":\"35240999T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"4\",\"text\":\"‘Captures the essence of Proust beautifully.’ The Economist

‘A triumph’ New Statesman

‘Heuet has certainly succeeded in conveying the “flavour” of Proust’s novel’ Financial Times

‘Sumptuous, elegant and beautifully paced, it is completely absorbing…I’ll be forever glad to have spent so much time bent over it’ The Observer

‘Heuet’s love of Proust shines through in his inventive drawings.’ The Independent

'A handsome volume in its own right.' --Sean Sheehan, Irish Left Review\"},{\"id\":\"21222132T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"5\",\"text\":\"Audie Award winner Simon Vance (see Behind the Mike, LJ 11/15/08) elegantly narrates this first volume in Proust's poetic seven-volume work, first published in 1913 and alternately translated as Remembrance of Things Past and In Search of Lost Time. In it, the anonymous narrator's flowing reminiscences about Parisian high society explore and reexplore personalities, relationships, and frustrated ambitions. Those who consider Proust's monumental work to be one of the finest novels of the 20th century will enjoy this title; others may find it intolerably heavy going, particularly on audio. Vance's handling of the sweeping narrative, however, is excellent, recommending this title where there is interest. [Includes a bonus full-text PDF ebook.—Ed.]—R. Kent Rasmussen, Thousand Oaks, CA\"},{\"id\":\"4400608T\",\"type\":\"Reading Group Guide\",\"linkText\":\"Reading Group Guide\",\"typeId\":\"1021\",\"abbr\":\"RGG\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

\"},{\"id\":\"53597669T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

Marcel Proust (1871–1922) spent his twenties as a conspicuous society figure, but after 1907 he rarely emerged from a cork-lined room in his apartment where he devoted himself to the composition of In Search of Lost Time.

Lydia Davis has been a MacArthur Fellow, National Book Award finalist, and Chevalier of the Order of Arts and Letters. Davis was awarded the 2003 French-American Foundation Translation Prize for her translation of Marcel Proust's Swann's Way. She lives near Albany, New York.

Jessica Hische is a letterer, an illustrator, a typographer, and a web designer. She currently serves on the Type Directors Club board of directors, has been named a Forbes Magazine \\\"30 under 30\\\" in art and design as well as an ADC Young Gun and one of Print Magazine’s \\\"New Visual Artists\\\". She has designed for Wes Anderson, McSweeney's, Tiffany & Co, Penguin Books, and many other clients. She resides primarily in San Francisco, occasionally in Brooklyn.\"},{\"id\":\"8774238T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"4\",\"text\":\"Marcel Proust was born in Paris in 1871. His family belonged to the wealthy upper middle class, and Marcel began frequenting aristocratic salons at a young age. Leading the life of a society dilettante, he met numerous artists and writers. He wrote articles, poems, and short stories (collected as Les Plaisirs et les Jours), as well as pastiches and essays (collected as Pastiches et Mélanges) and translated John Ruskin’s Bible of Amiens. He then went on to write novels. 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The first volume of Marcel Proust’s monumental masterpiece—in the classic Scott Moncrieff–Kilmartin translation—is not only a perfect introduction to a literary landmark, it also stands on its own as one of the most sensitive renderings of childhood in fiction and a brilliant meditation on the recreation of the past through art and memory.

Swann’s Way is the most frequently read part of Proust’s epic novel, Remembrance of Things Past (also known as In Search of Lost Time). It introduces subjects that resonate throughout the entire work, including the narrator’s love for Swann’s daughter Gilberte, Swann’s jealous passion for Odette, and the rise of the nouveaux-riches Verdurins. Proust’s narrator vividly recalls his childhood in Paris and Combray, most famously in a fraught evocation of his mother’s good-night kiss and in the iconic scene where the taste of a madeleine dipped in tea brings back a flood of memory.

","The first volume of Marcel Proust’s monumental masterpiece—in the classic Scott Moncrieff–Kilmartin translation—is not only a perfect introduction to a literary landmark, it also stands on its own as one of the most sensitive renderings of childhood in fiction and a brilliant meditation on the recreation of the past through art and memory. Swann’s Way is the most frequently read part of Proust’s epic novel, Remembrance of Things Past (also known as In Search of Lost Time). It introduces subjects that resonate throughout the entire work, including the narrator’s love for Swann’s daughter Gilberte, Swann’s jealous passion for Odette, and the rise of the nouveaux-riches Verdurins. Proust’s narrator vividly recalls his childhood in Paris and Combray, most famously in a fraught evocation of his mother’s good-night kiss and in the iconic scene where the taste of a madeleine dipped in tea brings back a flood of memory.",[4671,4672],"Paperback",{"_225":4947,"_236":4949},{"_227":4948,"_229":230},"15.95",{"_227":4948,"_229":230},{"_225":4951,"_236":4952},{"_227":235,"_229":230},{"_227":235,"_229":230},{"_240":4954},[4955],{"_37":4956,"_61":4957,"_222":-5,"_63":4958,"_57":4959},"gid://shopify/ProductImage/47740116402416","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/616666011.jpg?v=1744421340",878,1356,{"_240":4961},[4962],{"_37":4963,"_193":4964},"gid://shopify/MediaImage/39276719800560",{"_37":4965,"_61":4957,"_222":-5,"_63":4958,"_57":4959},"gid://shopify/ImageSource/39297413906672",[4967],{"_253":254,"_4698":4968},[4969],{"_253":256,"_4701":4970,"_4711":-5},{"_231":122,"_244":-5,"_37":4971,"_193":4972,"_246":4973,"_248":4974,"_250":4975,"_257":4941,"_79":256,"_258":-5,"_4710":122},"gid://shopify/ProductVariant/47016845836528",{"_204":4705,"_37":4956,"_61":4957,"_222":-5,"_63":4958,"_57":4959},{"_227":4948,"_229":230},{"_79":4660,"_210":4941},[4976],{"_253":254,"_255":256},{"_231":122,"_244":-5,"_37":4971,"_193":4978,"_246":4979,"_248":4980,"_250":4981,"_257":4941,"_79":256,"_258":-5,"_4710":122},{"_204":4705,"_37":4956,"_61":4957,"_222":-5,"_63":4958,"_57":4959},{"_227":4948,"_229":230},{"_79":4660,"_210":4941},[4982],{"_253":254,"_255":256},[],{"_212":-5,"_79":-5},{"_255":4941},{"_255":4725},{"_255":4727},{"_255":4989},"1989-03-13T05:00:00Z",{"_255":4883},{"_255":4992},"1989-03-09T05:00:00Z",{"_255":4994},"Vintage Classics",{"_255":4889},{"_255":4997},"7.91",{"_255":4999},"5.24",{"_255":5001},"1.08",{"_255":4945},{"_255":4748},{"_255":5005},"[\"Discover Title (p145)\"]",{"_255":5007},"[{\"contributorId\":193666,\"firstName\":\"Marcel\",\"lastName\":\"Proust\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":1099952,\"firstName\":\"C. K.\",\"lastName\":\"Moncrieff\",\"jobName\":\"Translator\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2},{\"contributorId\":1543035,\"firstName\":\"Erroll\",\"lastName\":\"McDonald\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":3}]",{"_255":5009},"Reissue",{"_255":3951},{"_255":4760},{"_255":5013},"14",{"_255":4766},{"_255":4769},{"_4772":4773,"_255":5017},"TP",[5019,5020,5021,5023,5024,-5,5025,5027,5029,5030,5031,-5,5033,5035,5036,-5,-5,-5,-5,5037,5039,-5,-5,5041,-5,-5,-5,-5,-5,5042,5043,-5,-5,-5],{"_266":267,"_268":299,"_255":4760},{"_266":267,"_268":4762,"_255":5013},{"_266":267,"_268":269,"_255":5022},"[{\"contributorId\":193666,\"fullName\":\"Marcel Proust\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":1099952,\"fullName\":\"C. K. Moncrieff\",\"jobName\":\"Translator\",\"sequenceNumber\":2},{\"contributorId\":1543035,\"fullName\":\"Erroll McDonald\",\"jobName\":\"Editor\",\"sequenceNumber\":3}]",{"_266":267,"_268":281,"_255":4945},{"_266":267,"_268":284,"_255":4945},{"_266":267,"_268":291,"_255":5026},"121",{"_266":267,"_268":295,"_255":5028},"[{\"id\":\"4095362T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

Swann's Way

Remembrance of Things Past

Chapter One

Combray

For a long time, I went to bed early. Sometimes, my candle scarcely out, my eyes would close so quickly that I did not have time to say to myself: \\\"I'm falling asleep.\\\" And, half an hour later, the thought that it was time to try to sleep would wake me; I wanted to put down the book I thought I still had in my hands and blow out my light; I had not ceased while sleeping to form reflections on what I had just read, but these reflections had taken a rather peculiar turn; it seemed to me that I myself was what the book was talking about: a church, a quartet, the rivalry between Francois I and Charles V. This belief lived on for a few seconds after my waking; it did not shock my reason but lay heavy like scales on my eyes and kept them from realizing that the candlestick was no longer lit. Then it began to grow unintelligible to me, as after metempsychosis do the thoughts of an earlier existence; the subject of the book detached itself from me, I was free to apply myself to it or not; immediately I recovered my sight and I was amazed to find a darkness around me soft and restful for my eyes, but perhaps even more so for my mind, to which it appeared a thing without cause, incomprehensible, a thing truly dark. I would ask myself what time it might be; I could hear the whistling of the trains which, remote or nearby, like the singing of a bird in a forest, plotting the distances, described to me the extent of the deserted countryside where the traveler hastens toward the nearest station; and the little road he is following will be engraved on his memory by the excitement he owes to new places, to unaccustomed ctivities, to the recent conversation and the farewells under the unfamiliar lamp that follow him still through the silence of the night, to the imminent sweetness of his return.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Debats roses, which you end by cementing together using the birds' technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt's house, in Balbec, in Paris, in Doncieres, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

Excerpted from Swann's Way by Marcel Proust Copyright © 1989 by Marcel Proust.
Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

\"},{\"id\":\"4973791T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\" The reader will remember that, well before going that day (the day on which the Princesse de Guermantes's reception was to be held) to pay the Duke and Duchess the visit I have just described, I had kept watch for their return and in the course of my vigil had made a discovery which concerned M. de Charlus in particular but was in itself so important that I have until now, until the moment when I could give it the prominence and treat it with the fullness that it demanded, postponed giving an account of it. I had, as I have said, left the marvellous point of vantage, so snugly contrived at the top of the house, commanding the hilly slopes which led up to the Hotel de Brequigny, and which were gaily decorated in the Italian manner by the rose-pink campanile of the Marquis de Frecourt's coach-house. I had thought it more practical, when I suspected that the Duke and Duchess were on the point of returning, to post myself on the staircase. I rather missed my Alpine eyrie. But at that time of day, namely the hour immediately after lunch, I had less cause for regret, for I should not then have seen, as in the morning, the footmen of the Brequigny household, converted by distance into minute figures in a picture, make their leisurely ascent of the steep hillside, feather-brush in hand, behind the large, transparent flakes of mica which stood out so pleasingly upon its ruddy bastions. Failing the geologist's field of contemplation, I had at least that of the botanist, and was peering through the shutters of the staircase window at the Duchess's little shrub and at the precious plant, exposed in the courtyard with that assertiveness with which mothers 'bring out' their marriageable offspring,and asking myself whether the unlikely insect would come, by a providential hazard, to visit the offered and neglected pistil. My curiosity emboldening me by degrees, I went down to the ground-floor window, which also stood open with its shutters ajar. I could distinctly hear Jupien getting ready to go out, but he could not detect me behind my blind, where I stood perfectly still until the moment when I drew quickly aside in order not to be seen by M. de Charlus, who, on his way to call upon Mme de Villeparisis, was slowly crossing the courtyard, corpulent, greying, aged by the strong light. Nothing short of an indisposition from which Mme de Villeparisis might be suffering (consequent on the illness of the Marquis de Fierbois, with whom he personally was at daggers drawn) could have made M. de Charlus pay a call, perhaps for the first time in his life, at that hour of the day. For with that eccentricity of the Guermantes, who, instead of conforming to the ways of society, tended to modify them to suit their own personal habits (habits not, they thought, social, and deserving in consequence the abasement before them of that worthless thing, society life&mdashthus it was that Mme de Marsantes had no regular 'day,' but was at home to her friends every morning between ten o'clock and noon), the Baron, reserving those hours for reading, hunting for old curios and so forth, paid calls only between four and six in the evening. At six o'clock he went to the Jockey Club, or took a stroll in the Bois. A moment later, I again recoiled, in order not to be seen by Jupien. It was nearly time for him to set out for the office, from which he would return only for dinner, and not always even then during the last week since his niece and her apprentices had gone to the country to finish a dress for a customer. Then, realising that no one could see me, I decided not to let myself be disturbed again for fear of missing, should the miracle be fated to occur, the arrival, almost beyond the possibility of hope (across so many obstacles of distance, of adverse risks, of dangers), of the insect sent from so far away as ambassador to the virgin who had been waiting for so long. I knew that this expectancy was no more passive than in the male flower, whose stamens had spontaneously curved so that the insect might more easily receive their offering; similarly the female flower that stood here would coquettishly arch her 'styles' if the insect came, and, to be more effectively penetrated by him, would imperceptibly advance, like a hypocritical but ardent damsel, to meet him half-way. The laws of the vegetable kingdom are themselves governed by increasingly higher laws. If the visit of an insect, that is to say the transportation of the seed from another flower, is generally necessary for the fertilisation of a flower, that is because self-fertilisation, the insemination of a flower by itself, would lead, like a succession of intermarriages in the same family, to degeneracy and sterility, whereas the crossing effected by insects gives to the subsequent generations of the same species a vigour unknown to their forebears. This invigoration may, however, prove excessive, and the species develop out of all proportion; then, as an antitoxin protects us against disease, as the thyroid gland regulates our adiposity, as defeat comes to punish pride, as fatigue follows indulgence, and as sleep in turn brings rest from fatigue, so an exceptional act of self-fertilisation comes at the crucial moment to apply its turn of the screw, its pull on the curb, brings back within the norm the flower that has exaggeratedly overstepped it. My reflexions had followed a trend which I shall describe in due course, and I had already drawn from the visible stratagems of flowers a conclusion that bore upon a whole unconscious element of literary production, when I saw M. de Charlus coming away from the Marquise's door. Only a few minutes had passed since his entry. Perhaps he had learned from his elderly relative herself, or merely from a servant, of a great improvement in her condition, or rather her complete recovery from what had been nothing more than a slight indisposition. At this moment, when he did not suspect that anyone was watching him, his eyelids lowered as a screen against the sun, M. de Charlus had relaxed that artificial tension, softened that artificial vigour in his face which were ordinarily sustained by the animation of his talk and the force of his will. Pale as a marble statue, his fine features with the prominent nose no longer received from an expression deliberately assumed a different meaning which altered the beauty of their contours; no more now than a Guermantes, he seemed already carved in stone, he, Palamede XV, in the chapel at Combray. These general features of a whole family took on, however, in the face of M. de Charlus a more spiritualised, above all a softer refinement. I regretted for his sake that he should habitually adulterate with so many violent outbursts, offensive eccentricities, calumnies, with such harshness, touchiness and arrogance, that he should conceal beneath a spurious brutality the amenity, the kindness which, as he emerged from Mme de Villeparisis's, I saw so innocently displayed upon his face. Blinking his eyes in the sunlight, he seemed almost to be smiling, and I found in his face seen thus in repose and as it were in its natural state something so affectionate, so defenceless, that I could not help thinking how angry M. de Charlus would have been could he have known that he was being watched; for what was suggested to me by the sight of this man who was so enamoured of, who so prided himself upon, his virility, to whom all other men seemed odiously effeminate, what he suddenly suggested to me, to such an extent had he momentarily assumed the features, the expression, the smile thereof, was a woman.

I was about to change my position again, so that he should not catch sight of me; I had neither the time nor the need to do so. For what did I see! Face to face, in that courtyard where they had certainly never met before (M. de Charlus coming to the Hotel de Guermantes only in the afternoon, during the time when Jupien was at his office), the Baron, having suddenly opened wide his half-shut eyes, was gazing with extraordinary attentiveness at the ex-tailor poised on the threshold of his shop, while the latter, rooted suddenly to the spot in front of M. de Charlus, implanted there like a tree, contemplated with a look of wonderment the plump form of the ageing Baron. But, more astounding still, M. de Charlus's pose having altered, Jupien's, as though in obedience to the laws of an occult art, at once brought itself into harmony with it. The Baron, who now sought to disguise the impression that had been made on him, and yet, in spite of his affectation of indifference, seemed unable to move away without regret, came and went, looked vaguely into the distance in the way which he felt would most enhance the beauty of his eyes, assumed a smug, nonchalant, fatuous air. Meanwhile Jupien, shedding at once the humble, kindly expression which I had always associated with him, had--in perfect symmetry with the Baron--thrown back his head, given a becoming tilt to his body, placed his hand with grotesque effrontery on his hip, stuck out his behind, struck poses with the coquetry that the orchid might have adopted on the providential arrival of the bee. I had not supposed that he could look so unappealing. But I was equally unaware that he was capable of improvising his part in this sort of dumb show which (although he found himself for the first time in the presence of M. de Charlus) seemed to have been long and carefully rehearsed; one does not arrive spontaneously at that pitch of perfection except when one meets abroad a compatriot with whom an understanding then develops of itself, the means of communication being the same, even without having seen each other before.

This scene was not, however, positively comic; it was stamped with a strangeness, or if you like a naturalness, the beauty of which steadily increased. Try as M. de Charlus might to assume a detached air, to let his eyelids nonchalantly droop, every now and then he raised them, and at such moments turned on Jupien an attentive gaze. But (doubtless because he felt that such a scene could not be prolonged indefinitely in this place, whether for reasons which we shall understand later on, or possibly from that feeling of the brevity of all things which makes us determine that every blow must strike home, and renders so moving the spectacle of every kind of love), each time that M. de Charlus looked at Jupien, he took care that his glance should be accompanied by a word, which made it infinitely unlike the glances we usually direct at a person whom we scarcely know or do not know at all; he stared at Jupien with the peculiar fixity of the person who is about to say to you: 'Excuse my taking the liberty, but you have a long white thread hanging down your back,' or else: 'Surely I can't be mistaken, you come from Zurich too; I'm certain I must have seen you there often at the antique dealer's.' Thus, every other minute, the same question seemed to be put to Jupien intently in M. de Charlus's ogling, like those questioning phrases of Beethoven's, indefinitely repeated at regular intervals and intended--with an exaggerated lavishness of preparation--to introduce a new theme, a change of key, a 're-entry.' On the other hand, the beauty of the reciprocal glances of M. de Charlus and Jupien arose precisely from the fact that they did not, for the moment at least, seem to be intended to lead to anything further. It was the first time I had seen the manifestation of this beauty in the Baron and Jupien. In the eyes of both of them, it was the sky not of Zurich but of some oriental city, the name of which I had not yet divined, that I saw reflected. Whatever the point might be that held M. de Charlus and the ex-tailor thus arrested, their pact seemed concluded and these superfluous glances to be but ritual preliminaries, like the parties people give before a marriage which has been definitely arranged. Nearer still to nature--and the multiplicity of these analogies is itself all the more natural in that the same man, if we examine him for a few minutes, appears in turn a man, a man-bird, a man-insect, and so forth--one might have thought of them as a pair of birds, the male and the female, the male seeking to advance, the female--Jupien--no longer giving any sign of response to this stratagem, but regarding her new friend without surprise, with an inattentive fixity of gaze, doubtless considered more disturbing and the sole practicality now that the male had taken the first steps, and contenting herself with preening her feathers. At length Jupien's indifference seemed to suffice him no longer; from the certainty of having conquered to getting himself pursued and desired was but a step, and Jupien, deciding to go off to his work, went out through the carriage gate. It was only, however, after turning his head two or three times that he disappeared into the street, towards which the Baron, trembling lest he should lose the trail (boldly humming a tune, and not forgetting to fling a 'Good-day' to the porter, who, half-tipsy and engaged in treating a few friends in his back kitchen, did not even hear him), hurried briskly to catch up with him. At the same instant as M. de Charlus disappeared through the gate humming like a great bumble-bee, another, a real one this time, flew into the courtyard. For all I knew this might be the one so long awaited by the orchid, coming to bring it that rare pollen without which it must remain a virgin. But I was distracted from following the gyrations of the insect, for, a few minutes later, engaging my attention afresh, Jupien (perhaps to pick up a parcel which he did take away with him ultimately and which, in the emotion aroused in him by the appearance of M. de Charlus, he had forgotten, perhaps simply for a more natural reason) returned, followed by the Baron. The latter, deciding to precipitate matters, asked the tailor for a light, but at once observed: 'I ask you for a light, but I see I've left my cigars at home.' The laws of hospitality prevailed over the rules of coquetry. 'Come inside, you shall have everything you wish,' said the tailor, on whose features disdain now gave place to joy. The door of the shop closed behind them and I could hear no more. I had lost sight of the bumblebee. I did not know whether he was the insect that the orchid required, but I had no longer any doubt, in the case of a very rare insect and a captive flower, of the miraculous possibility of their conjunction when I considered that M. de Charlus (this is simply a comparison of providential chances, whatever they may be, without the slightest scientific claim to establish a relation between certain botanical laws and what is sometimes, most ineptly, termed homosexuality), who for years past had never come to the house except at hours when Jupien was not there, had, by the mere accident of Mme de Villeparisis's indisposition, encountered the tailor and with him the good fortune reserved for men of the Baron's kind by one of those fellow-creatures who may even be, as we shall see, infinitely younger than Jupien and better-looking, the man predestined to exist in order that they may have their share of sensual pleasure on this earth: the man who cares only for elderly gentlemen.

\"},{\"id\":\"3663123T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\"

Swann's Way

By Marcel Proust

Penguin Classic

ISBN: 0-142-43796-4

Chapter One

Combray

Excerpted from Swann's Way by Marcel Proust Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

\"},{\"id\":\"42992569T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"4\",\"text\":\"

Swann's Way

Part 1

Combray

I would rest my cheeks tenderly against the lovely cheeks of the pillow, which, full and fresh, are like the cheeks of our childhood. I would strike a match to look at my watch. Nearly midnight. This is the hour when the invalid who has been obliged to go off on a journey and has had to sleep in an unfamiliar hotel, wakened by an attack, is cheered to see a ray of light under the door. How fortunate, it’s already morning! In a moment the servants will be up, he will be able to ring, someone will come help him. The hope of being relieved gives him the courage to suffer. In fact he thought he heard footsteps; the steps approach, then recede. And the ray of light that was under his door has disappeared. It is midnight; they have just turned off the gas; the last servant has gone and he will have to suffer the whole night through without remedy.

I would go back to sleep, and would sometimes afterward wake again for brief moments only, long enough to hear the organic creak of the woodwork, open my eyes and stare at the kaleidoscope of the darkness, savor in a momentary glimmer of consciousness the sleep into which were plunged the furniture, the room, that whole of which I was only a small part and whose insensibility I would soon return to share. Or else while sleeping I had effortlessly returned to a period of my early life that had ended forever, rediscovered one of my childish terrors such as my great-uncle pulling me by my curls, a terror dispelled on the day—the dawn for me of a new era—when they were cut off. I had forgotten that event during my sleep, I recovered its memory as soon as I managed to wake myself up to escape the hands of my great-uncle, but as a precautionary measure I would completely surround my head with my pillow before returning to the world of dreams.

A sleeping man holds in a circle around him the sequence of the hours, the order of the years and worlds. He consults them instinctively as he wakes and reads in a second the point on the earth he occupies, the time that has elapsed before his waking; but their ranks can be mixed up, broken. If toward morning, after a bout of insomnia, sleep overcomes him as he is reading, in a position quite different from the one in which he usually sleeps, his raised arm alone is enough to stop the sun and make it retreat, and, in the first minute of his waking, he will no longer know what time it is, he will think he has only just gone to bed. If he dozes off in a position still more displaced and divergent, after dinner sitting in an armchair for instance, then the confusion among the disordered worlds will be complete, the magic armchair will send him traveling at top speed through time and space, and, at the moment of opening his eyelids, he will believe he went to bed several months earlier in another country. But it was enough if, in my own bed, my sleep was deep and allowed my mind to relax entirely; then it would let go of the map of the place where I had fallen asleep and, when I woke in the middle of the night, since I did not know where I was, I did not even understand in the first moment who I was; I had only, in its original simplicity, the sense of existence as it may quiver in the depths of an animal; I was more destitute than a cave dweller; but then the memory—not yet of the place where I was, but of several of those where I had lived and where I might have been—would come to me like help from on high to pull crossed centuries of civilization in one second, and the image confusedly glimpsed of oil lamps, then of wing-collar shirts, gradually recomposed my self’s original features.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Débats roses,1 which you end by cementing together using the birds’ technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt’s house, in Balbec, in Paris, in Doncières, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

At Combray, every day, in the late afternoon, long before the moment when I would have to go to bed and stay there, without sleeping, far away from my mother and grandmother, my bedroom again became the fixed and painful focus of my preoccupations. They had indeed hit upon the idea, to distract me on the evenings when they found me looking too unhappy, of giving me a magic lantern, which, while awaiting the dinner hour, they would set on top of my lamp; and, after the fashion of the first architects and master glaziers of the Gothic age, it replaced the opacity of the walls with impalpable iridescences, supernatural multicolored apparitions, where legends were depicted as in a wavering, momentary stained-glass window. But my sadness was only increased by this since the mere change in lighting destroyed the familiarity which my bedroom had acquired for me and which, except for the torment of going to bed, had made it tolerable to me. Now I no longer recognized it and I was uneasy there, as in a room in some hotel or “chalet” to which I had come for the first time straight from the railway train.

\"},{\"id\":\"4973739T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"Much-honored translator Lydia Davis launches a new rendering of Proust's magisterial A la recherche du temps perdu. Expect the second volume next year. Copyright 2003 Reed Business Information. \"},{\"id\":\"35240999T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"2\",\"text\":\"‘Captures the essence of Proust beautifully.’ The Economist

‘A triumph’ New Statesman

‘Heuet has certainly succeeded in conveying the “flavour” of Proust’s novel’ Financial Times

‘Sumptuous, elegant and beautifully paced, it is completely absorbing…I’ll be forever glad to have spent so much time bent over it’ The Observer

‘Heuet’s love of Proust shines through in his inventive drawings.’ The Independent

'A handsome volume in its own right.' --Sean Sheehan, Irish Left Review\"},{\"id\":\"21222132T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"3\",\"text\":\"Audie Award winner Simon Vance (see Behind the Mike, LJ 11/15/08) elegantly narrates this first volume in Proust's poetic seven-volume work, first published in 1913 and alternately translated as Remembrance of Things Past and In Search of Lost Time. In it, the anonymous narrator's flowing reminiscences about Parisian high society explore and reexplore personalities, relationships, and frustrated ambitions. Those who consider Proust's monumental work to be one of the finest novels of the 20th century will enjoy this title; others may find it intolerably heavy going, particularly on audio. Vance's handling of the sweeping narrative, however, is excellent, recommending this title where there is interest. [Includes a bonus full-text PDF ebook.—Ed.]—R. Kent Rasmussen, Thousand Oaks, CA\"},{\"id\":\"4400608T\",\"type\":\"Reading Group Guide\",\"linkText\":\"Reading Group Guide\",\"typeId\":\"1021\",\"abbr\":\"RGG\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

\"},{\"id\":\"31182731T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

Marcel Proust was born in 1871 and by his twenties was a conspicuous figure in fashionable Parisian society. After 1907, however, he rarely emerged from a cork-lined room in his apartment on the Boulevard Haussmann, devoting himself to his writing. He died in 1922 before the publication of the last three volumes of his great work.\"},{\"id\":\"8774238T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"Marcel Proust was born in Paris in 1871. His family belonged to the wealthy upper middle class, and Marcel began frequenting aristocratic salons at a young age. Leading the life of a society dilettante, he met numerous artists and writers. He wrote articles, poems, and short stories (collected as Les Plaisirs et les Jours), as well as pastiches and essays (collected as Pastiches et Mélanges) and translated John Ruskin’s Bible of Amiens. He then went on to write novels. A sufferer of asthma, he died from poorly-treated Bronchitis in 1922; he is buried in the Père-Lachaise Cemetery in Paris (Division 85).\"}]",{"_266":267,"_268":4722,"_255":4941},{"_266":267,"_268":307,"_255":4725},{"_266":267,"_268":4828,"_255":5032},"[{\"Key\":\"ebookEAN\",\"Value\":\"9781101972359\"}]",{"_266":267,"_268":4925,"_255":5034},"74676",{"_266":267,"_268":277,"_255":3951},{"_266":267,"_268":303,"_255":4727},{"_266":267,"_268":4793,"_255":5038},"[\"Fiction\",\"LGBT Fiction\",\"Gay Fiction - Other\",\"World Fiction\",\"French Fiction\",\"20th Century French Fiction - Pre-WWII\",\"Literature\",\"Awards\",\"Best Books of the Year\",\"Best Books of the Year 2003\",\"Publishers Weekly's Best Books of the Year 2003\",\"Publishers Weekly's Best Fiction of 2003 \",\"Paperback\",\"Fiction Subjects\",\"Literary Styles & Movements - Fiction\",\"Autobiographical Fiction\",\"Literary Fiction\",\"Literary Fiction - Other\",\"Phases of Life - Fiction\",\"Infancy & Childhood - Fiction\",\"Peoples & Cultures - 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I had, as I have said, left the marvellous point of vantage, so snugly contrived at the top of the house, commanding the hilly slopes which led up to the Hotel de Brequigny, and which were gaily decorated in the Italian manner by the rose-pink campanile of the Marquis de Frecourt's coach-house. I had thought it more practical, when I suspected that the Duke and Duchess were on the point of returning, to post myself on the staircase. I rather missed my Alpine eyrie. But at that time of day, namely the hour immediately after lunch, I had less cause for regret, for I should not then have seen, as in the morning, the footmen of the Brequigny household, converted by distance into minute figures in a picture, make their leisurely ascent of the steep hillside, feather-brush in hand, behind the large, transparent flakes of mica which stood out so pleasingly upon its ruddy bastions. Failing the geologist's field of contemplation, I had at least that of the botanist, and was peering through the shutters of the staircase window at the Duchess's little shrub and at the precious plant, exposed in the courtyard with that assertiveness with which mothers 'bring out' their marriageable offspring,and asking myself whether the unlikely insect would come, by a providential hazard, to visit the offered and neglected pistil. My curiosity emboldening me by degrees, I went down to the ground-floor window, which also stood open with its shutters ajar. I could distinctly hear Jupien getting ready to go out, but he could not detect me behind my blind, where I stood perfectly still until the moment when I drew quickly aside in order not to be seen by M. de Charlus, who, on his way to call upon Mme de Villeparisis, was slowly crossing the courtyard, corpulent, greying, aged by the strong light. Nothing short of an indisposition from which Mme de Villeparisis might be suffering (consequent on the illness of the Marquis de Fierbois, with whom he personally was at daggers drawn) could have made M. de Charlus pay a call, perhaps for the first time in his life, at that hour of the day. For with that eccentricity of the Guermantes, who, instead of conforming to the ways of society, tended to modify them to suit their own personal habits (habits not, they thought, social, and deserving in consequence the abasement before them of that worthless thing, society life&mdashthus it was that Mme de Marsantes had no regular 'day,' but was at home to her friends every morning between ten o'clock and noon), the Baron, reserving those hours for reading, hunting for old curios and so forth, paid calls only between four and six in the evening. At six o'clock he went to the Jockey Club, or took a stroll in the Bois. A moment later, I again recoiled, in order not to be seen by Jupien. It was nearly time for him to set out for the office, from which he would return only for dinner, and not always even then during the last week since his niece and her apprentices had gone to the country to finish a dress for a customer. Then, realising that no one could see me, I decided not to let myself be disturbed again for fear of missing, should the miracle be fated to occur, the arrival, almost beyond the possibility of hope (across so many obstacles of distance, of adverse risks, of dangers), of the insect sent from so far away as ambassador to the virgin who had been waiting for so long. I knew that this expectancy was no more passive than in the male flower, whose stamens had spontaneously curved so that the insect might more easily receive their offering; similarly the female flower that stood here would coquettishly arch her 'styles' if the insect came, and, to be more effectively penetrated by him, would imperceptibly advance, like a hypocritical but ardent damsel, to meet him half-way. The laws of the vegetable kingdom are themselves governed by increasingly higher laws. If the visit of an insect, that is to say the transportation of the seed from another flower, is generally necessary for the fertilisation of a flower, that is because self-fertilisation, the insemination of a flower by itself, would lead, like a succession of intermarriages in the same family, to degeneracy and sterility, whereas the crossing effected by insects gives to the subsequent generations of the same species a vigour unknown to their forebears. This invigoration may, however, prove excessive, and the species develop out of all proportion; then, as an antitoxin protects us against disease, as the thyroid gland regulates our adiposity, as defeat comes to punish pride, as fatigue follows indulgence, and as sleep in turn brings rest from fatigue, so an exceptional act of self-fertilisation comes at the crucial moment to apply its turn of the screw, its pull on the curb, brings back within the norm the flower that has exaggeratedly overstepped it. My reflexions had followed a trend which I shall describe in due course, and I had already drawn from the visible stratagems of flowers a conclusion that bore upon a whole unconscious element of literary production, when I saw M. de Charlus coming away from the Marquise's door. Only a few minutes had passed since his entry. Perhaps he had learned from his elderly relative herself, or merely from a servant, of a great improvement in her condition, or rather her complete recovery from what had been nothing more than a slight indisposition. At this moment, when he did not suspect that anyone was watching him, his eyelids lowered as a screen against the sun, M. de Charlus had relaxed that artificial tension, softened that artificial vigour in his face which were ordinarily sustained by the animation of his talk and the force of his will. Pale as a marble statue, his fine features with the prominent nose no longer received from an expression deliberately assumed a different meaning which altered the beauty of their contours; no more now than a Guermantes, he seemed already carved in stone, he, Palamede XV, in the chapel at Combray. These general features of a whole family took on, however, in the face of M. de Charlus a more spiritualised, above all a softer refinement. I regretted for his sake that he should habitually adulterate with so many violent outbursts, offensive eccentricities, calumnies, with such harshness, touchiness and arrogance, that he should conceal beneath a spurious brutality the amenity, the kindness which, as he emerged from Mme de Villeparisis's, I saw so innocently displayed upon his face. Blinking his eyes in the sunlight, he seemed almost to be smiling, and I found in his face seen thus in repose and as it were in its natural state something so affectionate, so defenceless, that I could not help thinking how angry M. de Charlus would have been could he have known that he was being watched; for what was suggested to me by the sight of this man who was so enamoured of, who so prided himself upon, his virility, to whom all other men seemed odiously effeminate, what he suddenly suggested to me, to such an extent had he momentarily assumed the features, the expression, the smile thereof, was a woman.

I was about to change my position again, so that he should not catch sight of me; I had neither the time nor the need to do so. For what did I see! Face to face, in that courtyard where they had certainly never met before (M. de Charlus coming to the Hotel de Guermantes only in the afternoon, during the time when Jupien was at his office), the Baron, having suddenly opened wide his half-shut eyes, was gazing with extraordinary attentiveness at the ex-tailor poised on the threshold of his shop, while the latter, rooted suddenly to the spot in front of M. de Charlus, implanted there like a tree, contemplated with a look of wonderment the plump form of the ageing Baron. But, more astounding still, M. de Charlus's pose having altered, Jupien's, as though in obedience to the laws of an occult art, at once brought itself into harmony with it. The Baron, who now sought to disguise the impression that had been made on him, and yet, in spite of his affectation of indifference, seemed unable to move away without regret, came and went, looked vaguely into the distance in the way which he felt would most enhance the beauty of his eyes, assumed a smug, nonchalant, fatuous air. Meanwhile Jupien, shedding at once the humble, kindly expression which I had always associated with him, had--in perfect symmetry with the Baron--thrown back his head, given a becoming tilt to his body, placed his hand with grotesque effrontery on his hip, stuck out his behind, struck poses with the coquetry that the orchid might have adopted on the providential arrival of the bee. I had not supposed that he could look so unappealing. But I was equally unaware that he was capable of improvising his part in this sort of dumb show which (although he found himself for the first time in the presence of M. de Charlus) seemed to have been long and carefully rehearsed; one does not arrive spontaneously at that pitch of perfection except when one meets abroad a compatriot with whom an understanding then develops of itself, the means of communication being the same, even without having seen each other before.

This scene was not, however, positively comic; it was stamped with a strangeness, or if you like a naturalness, the beauty of which steadily increased. Try as M. de Charlus might to assume a detached air, to let his eyelids nonchalantly droop, every now and then he raised them, and at such moments turned on Jupien an attentive gaze. But (doubtless because he felt that such a scene could not be prolonged indefinitely in this place, whether for reasons which we shall understand later on, or possibly from that feeling of the brevity of all things which makes us determine that every blow must strike home, and renders so moving the spectacle of every kind of love), each time that M. de Charlus looked at Jupien, he took care that his glance should be accompanied by a word, which made it infinitely unlike the glances we usually direct at a person whom we scarcely know or do not know at all; he stared at Jupien with the peculiar fixity of the person who is about to say to you: 'Excuse my taking the liberty, but you have a long white thread hanging down your back,' or else: 'Surely I can't be mistaken, you come from Zurich too; I'm certain I must have seen you there often at the antique dealer's.' Thus, every other minute, the same question seemed to be put to Jupien intently in M. de Charlus's ogling, like those questioning phrases of Beethoven's, indefinitely repeated at regular intervals and intended--with an exaggerated lavishness of preparation--to introduce a new theme, a change of key, a 're-entry.' On the other hand, the beauty of the reciprocal glances of M. de Charlus and Jupien arose precisely from the fact that they did not, for the moment at least, seem to be intended to lead to anything further. It was the first time I had seen the manifestation of this beauty in the Baron and Jupien. In the eyes of both of them, it was the sky not of Zurich but of some oriental city, the name of which I had not yet divined, that I saw reflected. Whatever the point might be that held M. de Charlus and the ex-tailor thus arrested, their pact seemed concluded and these superfluous glances to be but ritual preliminaries, like the parties people give before a marriage which has been definitely arranged. Nearer still to nature--and the multiplicity of these analogies is itself all the more natural in that the same man, if we examine him for a few minutes, appears in turn a man, a man-bird, a man-insect, and so forth--one might have thought of them as a pair of birds, the male and the female, the male seeking to advance, the female--Jupien--no longer giving any sign of response to this stratagem, but regarding her new friend without surprise, with an inattentive fixity of gaze, doubtless considered more disturbing and the sole practicality now that the male had taken the first steps, and contenting herself with preening her feathers. At length Jupien's indifference seemed to suffice him no longer; from the certainty of having conquered to getting himself pursued and desired was but a step, and Jupien, deciding to go off to his work, went out through the carriage gate. It was only, however, after turning his head two or three times that he disappeared into the street, towards which the Baron, trembling lest he should lose the trail (boldly humming a tune, and not forgetting to fling a 'Good-day' to the porter, who, half-tipsy and engaged in treating a few friends in his back kitchen, did not even hear him), hurried briskly to catch up with him. At the same instant as M. de Charlus disappeared through the gate humming like a great bumble-bee, another, a real one this time, flew into the courtyard. For all I knew this might be the one so long awaited by the orchid, coming to bring it that rare pollen without which it must remain a virgin. But I was distracted from following the gyrations of the insect, for, a few minutes later, engaging my attention afresh, Jupien (perhaps to pick up a parcel which he did take away with him ultimately and which, in the emotion aroused in him by the appearance of M. de Charlus, he had forgotten, perhaps simply for a more natural reason) returned, followed by the Baron. The latter, deciding to precipitate matters, asked the tailor for a light, but at once observed: 'I ask you for a light, but I see I've left my cigars at home.' The laws of hospitality prevailed over the rules of coquetry. 'Come inside, you shall have everything you wish,' said the tailor, on whose features disdain now gave place to joy. The door of the shop closed behind them and I could hear no more. I had lost sight of the bumblebee. I did not know whether he was the insect that the orchid required, but I had no longer any doubt, in the case of a very rare insect and a captive flower, of the miraculous possibility of their conjunction when I considered that M. de Charlus (this is simply a comparison of providential chances, whatever they may be, without the slightest scientific claim to establish a relation between certain botanical laws and what is sometimes, most ineptly, termed homosexuality), who for years past had never come to the house except at hours when Jupien was not there, had, by the mere accident of Mme de Villeparisis's indisposition, encountered the tailor and with him the good fortune reserved for men of the Baron's kind by one of those fellow-creatures who may even be, as we shall see, infinitely younger than Jupien and better-looking, the man predestined to exist in order that they may have their share of sensual pleasure on this earth: the man who cares only for elderly gentlemen.

\"},{\"id\":\"3663123T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

Swann's Way

By Marcel Proust

Penguin Classic

ISBN: 0-142-43796-4

Chapter One

Combray

Excerpted from Swann's Way by Marcel Proust Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

\"},{\"id\":\"42992569T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\"

Swann's Way

Part 1

Combray

I would rest my cheeks tenderly against the lovely cheeks of the pillow, which, full and fresh, are like the cheeks of our childhood. I would strike a match to look at my watch. Nearly midnight. This is the hour when the invalid who has been obliged to go off on a journey and has had to sleep in an unfamiliar hotel, wakened by an attack, is cheered to see a ray of light under the door. How fortunate, it’s already morning! In a moment the servants will be up, he will be able to ring, someone will come help him. The hope of being relieved gives him the courage to suffer. In fact he thought he heard footsteps; the steps approach, then recede. And the ray of light that was under his door has disappeared. It is midnight; they have just turned off the gas; the last servant has gone and he will have to suffer the whole night through without remedy.

I would go back to sleep, and would sometimes afterward wake again for brief moments only, long enough to hear the organic creak of the woodwork, open my eyes and stare at the kaleidoscope of the darkness, savor in a momentary glimmer of consciousness the sleep into which were plunged the furniture, the room, that whole of which I was only a small part and whose insensibility I would soon return to share. Or else while sleeping I had effortlessly returned to a period of my early life that had ended forever, rediscovered one of my childish terrors such as my great-uncle pulling me by my curls, a terror dispelled on the day—the dawn for me of a new era—when they were cut off. I had forgotten that event during my sleep, I recovered its memory as soon as I managed to wake myself up to escape the hands of my great-uncle, but as a precautionary measure I would completely surround my head with my pillow before returning to the world of dreams.

A sleeping man holds in a circle around him the sequence of the hours, the order of the years and worlds. He consults them instinctively as he wakes and reads in a second the point on the earth he occupies, the time that has elapsed before his waking; but their ranks can be mixed up, broken. If toward morning, after a bout of insomnia, sleep overcomes him as he is reading, in a position quite different from the one in which he usually sleeps, his raised arm alone is enough to stop the sun and make it retreat, and, in the first minute of his waking, he will no longer know what time it is, he will think he has only just gone to bed. If he dozes off in a position still more displaced and divergent, after dinner sitting in an armchair for instance, then the confusion among the disordered worlds will be complete, the magic armchair will send him traveling at top speed through time and space, and, at the moment of opening his eyelids, he will believe he went to bed several months earlier in another country. But it was enough if, in my own bed, my sleep was deep and allowed my mind to relax entirely; then it would let go of the map of the place where I had fallen asleep and, when I woke in the middle of the night, since I did not know where I was, I did not even understand in the first moment who I was; I had only, in its original simplicity, the sense of existence as it may quiver in the depths of an animal; I was more destitute than a cave dweller; but then the memory—not yet of the place where I was, but of several of those where I had lived and where I might have been—would come to me like help from on high to pull crossed centuries of civilization in one second, and the image confusedly glimpsed of oil lamps, then of wing-collar shirts, gradually recomposed my self’s original features.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

These revolving, confused evocations never lasted for more than a few seconds; often, in my brief uncertainty about where I was, I did not distinguish the various suppositions of which it was composed any better than we isolate, when we see a horse run, the successive positions shown to us by a kinetoscope. But I had seen sometimes one, sometimes another, of the bedrooms I had inhabited in my life, and in the end I would recall them all in the long reveries that followed my waking: winter bedrooms in which, as soon as you are in bed, you bury your head in a nest braided of the most disparate things: a corner of the pillow, the top of the covers, a bit of shawl, the side of the bed and an issue of the Débats roses,1 which you end by cementing together using the birds’ technique of pressing down on it indefinitely; where in icy weather the pleasure you enjoy is the feeling that you are separated from the outdoors (like the sea swallow which makes its nest deep in an underground passage in the warmth of the earth) and where, since the fire is kept burning all night in the fireplace, you sleep in a great cloak of warm, smoky air, shot with the glimmers from the logs breaking into flame again, a sort of immaterial alcove, a warm cave dug out of the heart of the room itself, a zone of heat with shifting thermal contours, aerated by drafts which cool your face and come from the corners, from the parts close to the window or far from the hearth, and which have grown cold again: summer bedrooms where you delight in becoming one with the soft night, where the moonlight leaning against the half-open shutters casts its enchanted ladder to the foot of the bed, where you sleep almost in the open air, like a titmouse rocked by the breeze on the tip of a ray of light; sometimes the Louis XVI bedroom, so cheerful that even on the first night I had not been too unhappy there and where the slender columns that lightly supported the ceiling stood aside with such grace to show and reserve the place where the bed was; at other times, the small bedroom with the very high ceiling, hollowed out in the form of a pyramid two stories high and partly paneled in mahogany, where from the first second I had been mentally poisoned by the unfamiliar odor of the vetiver, convinced of the hostility of the violet curtains and the insolent indifference of the clock chattering loudly as though I were not there; where a strange and pitiless quadrangular cheval glass, barring obliquely one of the corners of the room, carved from deep inside the soft fullness of my usual field of vision a site for itself which I had not expected; where my mind, struggling for hours to dislodge itself, to stretch upward so as to assume the exact shape of the room and succeed in filling its gigantic funnel to the very top, had suffered many hard nights, while I lay stretched out in my bed, my eyes lifted, my ear anxious, my nostril restive, my heart pounding, until habit had changed the color of the curtains, silenced the clock, taught pity to the cruel oblique mirror, concealed, if not driven out completely, the smell of the vetiver and appreciably diminished the apparent height of the ceiling. Habit! That skillful but very slow housekeeper who begins by letting our mind suffer for weeks in a temporary arrangement; but whom we are nevertheless truly happy to discover, for without habit our mind, reduced to no more than its own resources, would be powerless to make a lodging habitable.

Certainly I was now wide-awake, my body had veered around one last time and the good angel of certainty had brought everything around me to a standstill, laid me down under my covers, in my bedroom, and put approximately where they belonged in the darkness my chest of drawers, my desk, my fireplace, the window onto the street and the two doors. But even though I knew I was not in any of the houses of which my ignorance upon waking had instantly, if not presented me with the distinct picture, at least made me believe the presence possible, my memory had been stirred; generally I would not try to go back to sleep right away; I would spend the greater part of the night remembering our life in the old days, in Combray at my great-aunt’s house, in Balbec, in Paris, in Doncières, in Venice, elsewhere still, remembering the places, the people I had known there, what I had seen of them, what I had been told about them.

At Combray, every day, in the late afternoon, long before the moment when I would have to go to bed and stay there, without sleeping, far away from my mother and grandmother, my bedroom again became the fixed and painful focus of my preoccupations. They had indeed hit upon the idea, to distract me on the evenings when they found me looking too unhappy, of giving me a magic lantern, which, while awaiting the dinner hour, they would set on top of my lamp; and, after the fashion of the first architects and master glaziers of the Gothic age, it replaced the opacity of the walls with impalpable iridescences, supernatural multicolored apparitions, where legends were depicted as in a wavering, momentary stained-glass window. But my sadness was only increased by this since the mere change in lighting destroyed the familiarity which my bedroom had acquired for me and which, except for the torment of going to bed, had made it tolerable to me. Now I no longer recognized it and I was uneasy there, as in a room in some hotel or “chalet” to which I had come for the first time straight from the railway train.

‘A triumph’ New Statesman

‘Heuet has certainly succeeded in conveying the “flavour” of Proust’s novel’ Financial Times

‘Sumptuous, elegant and beautifully paced, it is completely absorbing…I’ll be forever glad to have spent so much time bent over it’ The Observer

‘Heuet’s love of Proust shines through in his inventive drawings.’ The Independent

'A handsome volume in its own right.' --Sean Sheehan, Irish Left Review\"},{\"id\":\"21222132T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"3\",\"text\":\"Audie Award winner Simon Vance (see Behind the Mike, LJ 11/15/08) elegantly narrates this first volume in Proust's poetic seven-volume work, first published in 1913 and alternately translated as Remembrance of Things Past and In Search of Lost Time. In it, the anonymous narrator's flowing reminiscences about Parisian high society explore and reexplore personalities, relationships, and frustrated ambitions. Those who consider Proust's monumental work to be one of the finest novels of the 20th century will enjoy this title; others may find it intolerably heavy going, particularly on audio. Vance's handling of the sweeping narrative, however, is excellent, recommending this title where there is interest. [Includes a bonus full-text PDF ebook.—Ed.]—R. Kent Rasmussen, Thousand Oaks, CA\"},{\"id\":\"4400608T\",\"type\":\"Reading Group Guide\",\"linkText\":\"Reading Group Guide\",\"typeId\":\"1021\",\"abbr\":\"RGG\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

\"},{\"id\":\"8774238T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"Marcel Proust was born in Paris in 1871. His family belonged to the wealthy upper middle class, and Marcel began frequenting aristocratic salons at a young age. Leading the life of a society dilettante, he met numerous artists and writers. He wrote articles, poems, and short stories (collected as Les Plaisirs et les Jours), as well as pastiches and essays (collected as Pastiches et Mélanges) and translated John Ruskin’s Bible of Amiens. He then went on to write novels. 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For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of Á la recherché du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).

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Author Biography:

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