Soumission French Edition Michel Houellebecq 9782290113615 Books
Download As PDF : Soumission French Edition Michel Houellebecq 9782290113615 Books
Dans une France assez proche de la nôtre, un homme s'engage dans la carrière universitaire. peu motivé par l'enseignement, il s'attend à une vie ennuyeusemais calme, protégée des grands drames historiques. Cependant les forces en jeu dans le pays ont fissuré le système politique jusqu'à provoquer son effondrement. Cette implosion sans soubresauts, sans vraie révolution, se développe comme un muavais rêve.
Le talent de l'auteur, sa force visionnaire nous entraînent sur un terrain ambigu et glissant ; son regard sur notre civilisation vieillissante fait coexister dans ce roman les intuitions poétiques, les effets comiques, une mélancolie fataliste. Ce livre est une saisissante fable politique et morale.
Soumission French Edition Michel Houellebecq 9782290113615 Books
This is a marvelous book about a daring subject -- a French election victory by the Muslim Brotherhood -- but it has been difficult for me to read. It was not just the fact that I was reading in French; I didn't know a lot of the slang (for example, for sexual parts and functions), but Houellebecq's style is not especially difficult; I have read several chapters of Lorin Stein's translation as well, and it flows easily. No, my major problem was unfamiliarity with the French political system and the numerous parties that seem to have sprung up in the last two decades. The alphabet soup of abbreviations of these and other entities (PS, UDI, UMP; BFM, ENA, DGSI) can be difficult to navigate unless these are terms (like CIA and GOP) you use every day. Stein simplifies where possible, but even so this seems to be a book that requires not merely translation but also annotation. The plot turns on the outcome of a French presidential election at an unspecified time in the near future (although diary entries such as "Tuesday, 31 May" all fit the year 2022, which would be the next presidential election but one); Americans or Britons not familiar with the run-off system might not easily understand the backstage negotiations necessary to achieve a working majority, which may paradoxically result in a hitherto minority party coming into power.Which is in fact what happens. Heated though the American debate on immigration can get, it is a very different situation from that in France and several other European countries, where it has dominated the political discourse. Especially since it touches so many hot-button issues: terrorism, racism, anti-semitism, the nativist counterreaction, all set against the battle between Islam and the waning Catholic Church for the moral high ground in a collapsing culture. Houellebecq has a record of causing scandals with his books, whether through sexual frankness or portraying real people in an unflattering light. But this time he has struck a real nerve, raising the real possibility to handing over the Republic to forces which many Europeans secretly fear. Certain events in the middle of the novel suggest a coup, perhaps the prelude to a civil war. But they are temporary; this regime change comes not through revolution but through skilled manipulation of the electoral process. It is not a thriller, not even an Islamic 1984, but something altogether quieter. In a word: Submission.
There is another reason why it may be a difficult book for non-French readers. It does not take place in the streets, but as filtered through the secluded world of French academia. The narrator, François, is a professor of literature at the Sorbonne, a fortyish philanderer. His subject is the 19th-century author J-K Huysmans, who is probably not read much outside France. Taking its time, the first part of the novel is a description of the professor's life and his serial liaisons with students -- pretty convincing given the author's confession that he has never studied at a university. It opens in the ivory tower and it will end that way too, in a university much changed from the original, but no less privileged. And Houellebecq's choice of Huysmans is no accident. Starting off with books such as A REBOURS (Against Nature) that were the cornerstones of the Decadent movement and an influence on Oscar Wilde, the author underwent a mid-life conversion to Catholicism, ultimately becoming a lay brother. Houellebecq seems to be setting the return to an almost medieval Christianity in the 19th century against a similar movement of religious fundamentalism in the Muslim world over a century later. Again, submission: a word that does not appear until page 260 in the 300-page French edition -- but now with the double meaning of man's submission to God, and woman's to man.
I notice that the cover of the English translation calls the book a satire that is often extremely funny. I have a poor nose for satire generally, and would not have thought the term appropriate, unless you define it as logical extrapolation from current trends. Looking at it in this light, though, I can see palpable satire in that François' own submission is partly motivated by the promise of women submitting to him; the frequent sex in the novel turns out not to be irrelevant after all. There are certainly moments of irony and comic bathos, but nothing I found really funny. It would be truer, I think, to quote the French cover, which I attempt to translate here: "The author's talent and visionary imagination take us into an ambiguous and treacherous terrain. His view of our aging civilization in this novel brings together a poetic intuition, moments of comedy, and a melancholy fatalism. This book is a gripping fable, both political and moral." Indeed it is.
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Soumission French Edition Michel Houellebecq 9782290113615 Books Reviews
I know I should admire this author but frankly I cannot read this book. After 20 pages I gave up.
A masterpiece. Nobody nowadays has Houellebecq's vision and ability to implement it in writing, combining literature and politics and religion. The social and anthropological context is magically described, with a strange strength and an indisputable power of provocation. Chapeau! Houellebecq is a wizard and exactly knows what is going to happen to the western, weak civilisation. Another great book.
Not his best work. But the topic is relevant to todays time. I would recommend reading it and thinking about its implications. Why do people make the choice's they do? When there is a void in thought and experience, how easy is it to manipulate people? Is this a possible reality? IS there a higher good that people need to think about rather than just being for one's own self?
Scathing indictment of French pretensions to enlighten'lment, etc, such as liberte, etc. Shows how easily, and cheaply 'best and brightest 'of academic world can be seduced into 'submitting' to ANY ideology that promises creature comforts of coddling in career, kitchen and bed
A near future dystopia (I guess?) describing a plausible beginning of the end of western civilization as we know it. The story is told in the first person by a misanthropic and apolitical academic. This format makes the book easy to read and belies a great deal of thought on the topics of theology, aging, national identity, French politics and political correctness. Houellebecq peppers the story with some (predictable) lurid discussions about sexual encounters and fantasies. The story wraps up a bit awkwardly and unsatisfactorily, but overall a highly entertaining read.
Ce livre laisse un sentiment de profond malaise, comme après la lecture de 1984, par exemple.
Rappelons-nous que ce livre, écrit en 1949, n'était qu'une fiction et que, maintenant, nous souffrons de nombreux éléments de cette fiction....
Je souhaite que Soumission reste fiction, pure et dure....
Excellente lecture, néanmoins, dans le liste perturbé de Houellebecq qui utilise magistralement la langue française.
This is a marvelous book about a daring subject -- a French election victory by the Muslim Brotherhood -- but it has been difficult for me to read. It was not just the fact that I was reading in French; I didn't know a lot of the slang (for example, for sexual parts and functions), but Houellebecq's style is not especially difficult; I have read several chapters of Lorin Stein's translation as well, and it flows easily. No, my major problem was unfamiliarity with the French political system and the numerous parties that seem to have sprung up in the last two decades. The alphabet soup of abbreviations of these and other entities (PS, UDI, UMP; BFM, ENA, DGSI) can be difficult to navigate unless these are terms (like CIA and GOP) you use every day. Stein simplifies where possible, but even so this seems to be a book that requires not merely translation but also annotation. The plot turns on the outcome of a French presidential election at an unspecified time in the near future (although diary entries such as "Tuesday, 31 May" all fit the year 2022, which would be the next presidential election but one); Americans or Britons not familiar with the run-off system might not easily understand the backstage negotiations necessary to achieve a working majority, which may paradoxically result in a hitherto minority party coming into power.
Which is in fact what happens. Heated though the American debate on immigration can get, it is a very different situation from that in France and several other European countries, where it has dominated the political discourse. Especially since it touches so many hot-button issues terrorism, racism, anti-semitism, the nativist counterreaction, all set against the battle between Islam and the waning Catholic Church for the moral high ground in a collapsing culture. Houellebecq has a record of causing scandals with his books, whether through sexual frankness or portraying real people in an unflattering light. But this time he has struck a real nerve, raising the real possibility to handing over the Republic to forces which many Europeans secretly fear. Certain events in the middle of the novel suggest a coup, perhaps the prelude to a civil war. But they are temporary; this regime change comes not through revolution but through skilled manipulation of the electoral process. It is not a thriller, not even an Islamic 1984, but something altogether quieter. In a word Submission.
There is another reason why it may be a difficult book for non-French readers. It does not take place in the streets, but as filtered through the secluded world of French academia. The narrator, François, is a professor of literature at the Sorbonne, a fortyish philanderer. His subject is the 19th-century author J-K Huysmans, who is probably not read much outside France. Taking its time, the first part of the novel is a description of the professor's life and his serial liaisons with students -- pretty convincing given the author's confession that he has never studied at a university. It opens in the ivory tower and it will end that way too, in a university much changed from the original, but no less privileged. And Houellebecq's choice of Huysmans is no accident. Starting off with books such as A REBOURS (Against Nature) that were the cornerstones of the Decadent movement and an influence on Oscar Wilde, the author underwent a mid-life conversion to Catholicism, ultimately becoming a lay brother. Houellebecq seems to be setting the return to an almost medieval Christianity in the 19th century against a similar movement of religious fundamentalism in the Muslim world over a century later. Again, submission a word that does not appear until page 260 in the 300-page French edition -- but now with the double meaning of man's submission to God, and woman's to man.
I notice that the cover of the English translation calls the book a satire that is often extremely funny. I have a poor nose for satire generally, and would not have thought the term appropriate, unless you define it as logical extrapolation from current trends. Looking at it in this light, though, I can see palpable satire in that François' own submission is partly motivated by the promise of women submitting to him; the frequent sex in the novel turns out not to be irrelevant after all. There are certainly moments of irony and comic bathos, but nothing I found really funny. It would be truer, I think, to quote the French cover, which I attempt to translate here "The author's talent and visionary imagination take us into an ambiguous and treacherous terrain. His view of our aging civilization in this novel brings together a poetic intuition, moments of comedy, and a melancholy fatalism. This book is a gripping fable, both political and moral." Indeed it is.
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