Including a number of short essays by Bataille and Leiris on aspects of the other's work as well as excerpts on Bataille from Leiris' diaries, this collection of correspondence throws new light on two of Surrealism's most radical dissidents.   In the autumn of 1924, just before André Breton published the Manifeste du surréalisme, two young men met in Paris for the first time.  Georges Bataille, 27, starting work at the Bibliothèque Nationale; Michel Leiris, 23, beginning his studies in ethnology.  Within a few months, they were both members of the Surrealist group, although their adherence to Surrealism (unlike their affinities with it) would not last long: in 1930 they were among the signatories of "Un cadavre," the famous tract against Breton, the "Machiavelli of Montmartre," as Leiris put it.  But their friendship would endure for more than 30 years, and their correspondence, assembled here for the first time in English, would continue until the death of Bataille in 1962.

"Not only one of the frankest of autobiographies, but also a brilliantly written book, Leiris' "Manhood" mingles memories, philosophic reflections, sexual revelation, meditations on bullfighting, and the life-long progress of self-discovery."--"Washington Post Book World "
"Leiris writes to appall, and thereby to receive from his readers the gift of a strong emotion--the emotion needed to defend himself against the indignation and disgust he expects to arouse in his readers."--Susan Sontag, "New York Review of Books "

In this novel of extremes, whose author's distaste for 'things as they are' includes the whole idea of 'novels', Michael Leiris pursues his heroine, Aurora, through a visionary landscape shot through with catastrophe and disaster. His lucid and baroque language, with its incredible descriptions and ever more extravagant metaphors, is only just able to maintain his pursuit.

A dazzling translation by Lydia Davis of the first volume of Michel Leiris's masterwork, perhaps the most important French autobiographical enterprise of the twentieth century Michel Leiris, a French intellectual whose literary works inspired high praise from the likes of Simone de Beauvoir and Claude Levi-Strauss, began the first volume of his autobiographical project at the age of 40. It was the beginning of an endeavor that ultimately required 35 years and three additional volumes. In Volume 1, Scratches, Leiris proposes to discover a savoir vivre, a mode of living that would have a place for both his poetics and his personal morality. "I can scarcely see the literary use of speech as anything but a means of sharpening one's consciousness in order to be more-and in a better way-alive," he declares. He begins the project of uncovering memories, returning to moments and images of childhood-his father's recording machine, the letters of the alphabet coming to life-and then of his later life-Paris under the Occupation, a journey to Africa, and a troubling fear of death.

One of the towering classics of twentieth century French literature, Phantom Africa is a singular and ultimately unclassifiable work: a book composed of one man's compulsive and constantly mutating daily travel journal--by turns melodramatic, self-deprecating, ecstatic, and morose--as well as an exhaustively detailed account of the first French state-sponsored anthropological expedition to visit sub-Saharan Africa. In 1930, Michel Leiris was an aspiring poet drifting away from the orbit of the Surrealist movement in Paris when the anthropologist Marcel Griaule invited him on an ethnographic journey that traversed the African continent from 1931 to 1933. Leiris, while maintaining the official records of the Mission, also kept a diary where he noted not only a given day's activities and events but also his impressions, his states of mind, his anxieties, his dreams, and even his erotic fantasies. Upon returning to France, rather than compiling a more conventional report or ethnographic study, Leiris decided simply to publish his diary. The result is an extraordinary book: a day-by-day record of one European writer's experiences in an Africa inexorably shaded by his own exotic delusions and expectations, on the one hand, and an unparalleled depiction of the paradoxes and hypocrisies of conducting anthropological field research at the height of the colonial era on the other. First published in English by Seagull Books in 2017, Phantom Africa is an invaluable document. Now available in paperback, this important book bears witness to the full range of social and political forces reshaping the African continent in the period between the World Wars.

Short fragments and essays that explore how a seemingly irrelevant aesthetic detail may cause the eruption of sublimity within the mundane. That the nude painted by Manet (in a painting so conceptually new that it created a scandal in its day) achieves so much truth through such a minor detail, that ribbon that modernizes Olympia and, even more than a beauty mark or a patch of freckles would, renders her more precise and more immediately visible, making her a woman with ties to a particular milieu and era: that is what lends itself to reflection, if not divagation! -from The Ribbon at Olympia's Throat In The Ribbon at Olympia's Throat, Michel Leiris investigates what Lydia Davis has called the "expressive power of fetishism": how a seemingly irrelevant aesthetic detail may cause the eruption of sublimity within the mundane. Written in 1981, toward the end of Leiris's life, The Ribbon at Olympia's Throat serves as a coda to his autobiographical masterwork, The Rules of the Game, taking the form of both shorter fragments (poems, memory scraps, notes) that are as formally disarming as the fetishistic experiences they describe, and longer essays, more exhaustive critical meditations on writing, apprehension, and the nature of the modern. Rooted in remembrance, devoted to the kaleidoscopic intricacies of wordplay, Leiris draws from his own aesthetic experiences as writer and spectator to explore the fetish that "exposes and disarms the sinister passage of time," conferring "an undeniable realness upon the whole by essentially causing it to crystallize in a reality it would never have possessed if that sturdy fragment hadn't acted as bait."

Stories and Remarks collects the best of Raymond Queneau's shorter prose. The works span his career and include short stories, an uncompleted novel, melancholic and absurd essays, occasionally baffling "Texticles", a pastiche of Alice in Wonderland, and his only play. Talking dogs, boozing horses, and suicides come head to head with ruminations on the effects of aerodynamics on addition, rhetorical dreams, and a pioneering example of permutational fiction influenced by computer language. Also included is Michel Leiris's preface from the French edition, an introduction by the translator, and endnotes addressing each piece individually.

Raymond Queneau -- polyglot, novelist, philosopher, poet, mathematician, screenwriter, and translator -- was one of the most significant figures in twentieth-century French letters. His work touches on many of the major literary movements of his life-time, from surrealism to the experimental school of the nouveau roman. He also founded the Oulipo, a collection of writers and mathematicians dedicated to the search for artificial inspiration via the application of constraint.