A fresh and vivid translation of Flaubert’s influential bildungsroman Gustave Flaubert conceived Sentimental Education, his final complete novel, as the history of his own generation, one that failed to fulfill the promise of the Revolution of 1848. Published a few months before the start of the 1870 Franco–Prussian War, it offers both a sweeping panorama of French society over three decades and an intimate bildungsroman of a young man from a small town who arrives in Paris when protests against the monarchy are increasing.   The novel’s protagonist, Frédéric Moreau, alternates between aimlessness and ambition as he searches for a meaningful life through love affairs and republican politics. Flaubert’s narrative includes scenes of high drama, as scattered protests across Paris swell into revolution, and quiet moments of self-aware romanticism, crafting a story that possesses the sweep and scope of a historical novel combined with deep emotion and scandalous intimacy. Suffused with tragedy and the poignancy of lost chances and wasted lives, Sentimental Education is sharpened by satirical observations of what Flaubert condemned as the Second Empire’s endemic hypocrisy and willful blindness.   This vibrant, new translation by Raymond N. MacKenzie includes an extensive critical introduction and annotations to help the modern reader appreciate Flaubert’s achievement. Sentimental Education intertwines the personal, the intimate, and the subjective with the political, social, and cultural, embedding Frédéric’s story in the larger arc of what Flaubert saw as France’s decline into mediocrity and imbecility in its politics and manners.

Fran_ois Mauriac, winner of the 1952 Nobel Prize in literature, is one of the most prominent Catholic novelists of the modern era, yet in the English speaking world he is known primarily for only one novel, 1927's ThZr_se Desqueyroux. In this new translation of two other seminal works by Mauriac, the 1930 novel What Was Lost and its theoretical basis, the 1929 essay God and Mammon, Raymond N. MacKenzie re-introduces Mauriac to the English speaking world. Featuring a scholarly introduction by MacKenzie that provides background on Mauriac's religious and artistic struggles, this new edition will delight scholars of Mauriac as well as contemporary readers previously unfamiliar with his work.

Francois Mauriac's masterpiece and one of the greatest Catholic novels, Therese Desqueyroux is the haunting story of an unhappily married young woman whose desperation drives her to thoughts of murder. Mauriac paints an unforgettable portrait of spiritual isolation and despair, but he also dramatizes the complex realities of forgiveness, grace, and redemption. Set in the countryside outside Bordeaux, in a region of overwhelming heat and sudden storms, the novel's landscape reflects the inner world of Therese, a figure who has captured the imaginations of readers for generations. Raymond N. MacKenzie's translation of Therese Desqueyroux, the first since 1947, captures the poetic lyricism of Mauriac's prose as well as the intensity of his stream-of-consciousness narrative. MacKenzie also provides notes and a biographical and interpretive introduction to help readers better appreciate the mastery of Francois Mauriac, who was awarded the Nobel Prize in Literature in 1952. This volume also includes a translation of "Conscience, The Divine Instinct," Mauriac's first draft of the story, never before available in English.

In his Introduction, MacKenzie discusses Flaubert's life, the writing of Madame Bovary, the world in which the novel is set, and its publication and reception. Footnotes, a bibliography, and a chronology are also provided.

Paris Spleen , a diverse collection of fifty prose poems, is provided here in a clear, engaging, and accurate translation that conveys the lyricism and nuance of the original French text. Also included is a translation of Baudelaire's early novella, La Fanfarlo , which, alongside Paris Spleen, sheds light on the development of Baudelaire's work over time. Raymond N. MacKenzie's introductory essay discusses Baudelaire's life and the literary climate in which he lived and worked. Focusing on the theory of the prose poem, MacKenzie suggests that Baudelaire turned to this form for both aesthetic and ethical reasons, and because the form allowed him to explore more fully the complexities of the modern, urban, human condition. By turns comic, somber, satiric, and self-questioning, Paris Spleen is one of the nineteenth century's richest masterpieces.

A classic work of the European Enlightenment--and one of the most popular, if scandalous, in its day--the Persian Letters captures, in an engaging epistolary format, the transformational spirit of the era. Amid an ongoing tale rife with sex, violence, and wit, the work addresses a diverse range of topics from human nature and the origins of society, to the nature and role of religious belief, the role of women, statecraft, justice, morality, and human identity. With skill and artistry, Raymond MacKenzie's stunning new translation accurately reflects the mood and character of the work. In his richly conceived Introduction, MacKenzie seamlessly weaves together an overview of the period with details of Montesquieu's life, including the influences that inspired the Persian Letters , the character and power of the book, and its reception. This edition also includes a Calendar of the Persian Letters , a Bibliography of Works in English, and a Bibliography of Works in French. Related texts provide insight into the legacy of the Persian Letters . They include selections from works by George Lyttelton, Voltaire, Oliver Goldsmith, and Maria Edgeworth.

A new annotated translation of the keystone of Balzac’s Comédie Humaine—a sweeping narrative of corrupted idealism in a cynical urban milieu  Lost Illusions is an essential text within Balzac’s Comédie Humaine, his sprawling, interconnected fictional portrait of French society in the 1820s and 1830s comprising nearly one hundred novels and short stories. This novel, published in three parts between 1837 and 1843, tells the story of Lucien de Rubempré, a talented young poet who leaves behind a scandalous provincial life for the shallow, corrupt, and cynical vortex of modernity that was nineteenth-century Paris—where his artistic idealism slowly dissipates until he eventually decides to return home.  Balzac poured many of his thematic preoccupations and narrative elaborations into Lost Illusions, from the contrast between life in the provinces and the all-consuming world of Paris to the idealism of poets, the commodification of art, the crushing burden of poverty and debt, and the triumphant cynicism of hack journalists and social climbers. The novel teems with characters, incidents, and settings, though perhaps none so vivid as its panoramic and despairing view of Paris as the nexus of modernity’s cultural, social, and moral infection. For Balzac, no institution better illustrates the new reality than Parisian journalism: “amoral, hypocritical, brazen, dishonest, and murderous,� he writes.  In this new translation, Raymond N. MacKenzie brilliantly captures the tone of Balzac’s incomparable prose—a style that is alternatingly impassioned, overheated, angry, moving, tender, wistful, digressive, chatty, intrusive, and hectoring. His informative annotations guide the modern reader through the labyrinth of Balzac’s allusions. 

Nineteenth-century French writer Marie-Henri Beyle, better known by his pen name Stendhal, is one of the earliest leading practitioners of realism, his stories filled with sharp analyses of his characters' psychology. This translation of Stendhal's Chroniques italiennes is a collection of nine tales written between 1829 and 1840, many of which were published only after his death. Together these collected tales reveal a great novelist working with highly dramatic subject matter to forge a vision of life lived at its most intense. The setting for these tales is a romanticized Italy, a place Stendhal viewed as unpolluted by bourgeois inhibitions and conformism. From the hothouse atmosphere of aristocratic convents to the horrors of the Cenci family, the tales in Italian Chronicles all feature passionate, transgressive characters engaged in "la chasse au bonheur"-the quest for happiness. Most of the tragic, violent tales are based on historical events, with Stendhal using history to validate his characters' extreme behaviors as they battle literal and figurative oppression and try to break through to freedom. Complete with revenge, bloody daggers, poisonings, and thick-walled nunneries, this new translation of Italian Chronicles includes four never-before-translated stories and a fascinating introduction detailing the origins of the book. It is sure to gratify established Stendhal fans as well as readers new to the writer.

A classic work of the European Enlightenment--and one of the most popular, if scandalous, in its day--the Persian Letters captures, in an engaging epistolary format, the transformational spirit of the era. Amid an ongoing tale rife with sex, violence, and wit, the work addresses a diverse range of topics from human nature and the origins of society, to the nature and role of religious belief, the role of women, statecraft, justice, morality, and human identity. With skill and artistry, Raymond MacKenzie's stunning new translation accurately reflects the mood and character of the work. In his richly conceived Introduction, MacKenzie seamlessly weaves together an overview of the period with details of Montesquieu's life, including the influences that inspired the Persian Letters , the character and power of the book, and its reception. This edition also includes a Calendar of the Persian Letters , a Bibliography of Works in English, and a Bibliography of Works in French. Related texts provide insight into the legacy of the Persian Letters . They include selections from works by George Lyttelton, Voltaire, Oliver Goldsmith, and Maria Edgeworth.

Paris Spleen , a diverse collection of fifty prose poems, is provided here in a clear, engaging, and accurate translation that conveys the lyricism and nuance of the original French text. Also included is a translation of Baudelaire's early novella, La Fanfarlo , which, alongside Paris Spleen, sheds light on the development of Baudelaire's work over time. Raymond N. MacKenzie's introductory essay discusses Baudelaire's life and the literary climate in which he lived and worked. Focusing on the theory of the prose poem, MacKenzie suggests that Baudelaire turned to this form for both aesthetic and ethical reasons, and because the form allowed him to explore more fully the complexities of the modern, urban, human condition. By turns comic, somber, satiric, and self-questioning, Paris Spleen is one of the nineteenth century's richest masterpieces.

A masterpiece of nineteenth-century literature in a fresh translation that fully captures the language, psychology, and social reach of Stendhal's original Fueled with a combustible mix of ambition, naivete, and Napoleonic ideals, Julien Sorel sets his sights on the heights of French society. But for the son of a provincial carpenter in post-Napoleonic France, the prospects for advancement are vanishingly narrow, the chances for glory rarer yet. After securing a toehold as a tutor to a wealthy family, Julien proceeds through a series of misadventures, illicit affairs, and lucky reversals to breach the ranks of French aristocracy-only to be undone by treasonous schemes, cynical romantic calculations, and an unexpectedly genuine and ultimately disastrous passion. Shocking at the time of its original publication, startling in its relevance today, Stendhal's masterpiece is a scorching social satire, a remarkably detailed portrait of a fraught moment in history and, as perhaps the first psychological novel, a brilliant precursor to modern literature at once comical and tragic, cerebral and passionate. This new translation faithfully reproduces the nimble wit, emotional depth, and social acuity of Stendhal's text. Distinguished translator Raymond N. MacKenzie includes an extensive introduction to Stendhal's world and time, as well as copious annotations that explain allusions and terms for the modern reader.

Coal mines have become rare, but the miners of Germinal are immortal. This new edition of the novel, with a translation by Raymond MacKenzie, is an exquisite tribute to their work, their misery and their eventual revolt. In his introduction, David Baguley--one of the most respected authorities on the work of Zola--brilliantly illuminates the genetic, historical and aesthetic aspects of the novel. His lucid, sensitive and critical gaze highlights the real secrets of the work: its underlying anthropological and social investigation, the dark power of the tragic imagination and the brightness of symbolic and mythic intuitions. --Henri Mitterand, Professor Emeritus, Columbia University

In its first modern translation, a novel-cum-memoir of a Frenchman's erotic awakening in Italy by a preeminent writer of the Romantic period In 1812 Alphonse de Lamartine, a young man of means, traveled through southern Italy, where, during a sojourn in Naples, he fell in love with a young woman who worked in a cigar factory-and whose death after he returned to France would haunt him throughout his writing life. Graziella, Lamartine called this lost girl in his poetry and memoirs-and also in Graziella, a novel that closely follows the story of his own romance. "When I was eighteen," the narrator begins, as if penning his memoir, "my family entrusted me to the care of a relative whose business affairs called her to Tuscany." The tale that unfolds, of the young man's amorous experiences amid the natural grandeur and subtle splendors of the Italian countryside, is one of the finest works of fiction in the French Romantic tradition, a bildungsroman that is also a melancholy portrait of the artist as a young man discovering the muse who would both inspire and elude him. Remarkable for its contemplative prose, its dreamy passions and seductive drawing of the Italian landscape, and its place in the Romantic canon, Graziella is a timeless portrait of love, chronicling the remorse and the misguided ideals of youth that find their expression, if not their amends, in art.

The first new translation of Balzac's 1847 novel Splendeurs et miseres des courtisanes in half a century, fully annotated and with an extensive introduction In Lost Souls, Honore de Balzac's brilliant evocation of nineteenth-century Paris, we enter a world of glittering wealth and grinding poverty, teeming with strivers, poseurs, and pleasure seekers along with those who struggle merely to survive. Between the heights of Parisian society and the criminal world lurking underneath, fate is about to catch up with Lucien de Rubempre, last seen in Lost Illusions, as his literary aspirations, his love for the courtesan Esther van Gobseck, and his scheme to marry the wealthy Clotilde become entangled in the cunning and ultimately disastrous ambitions of the Abbe Herrera, a villain for the ages. An extraordinary volume in Balzac's vast Human Comedy (in which he endeavored to capture all of society), Lost Souls appears here in its first new English translation in half a century. Keenly attuned to the acerbic charm and subtleties of Balzac's prose, this edition also includes an introduction presenting thorough biographical, literary, and historical context, as well as extensive notes throughout the text-an invaluable resource for today's readers as they navigate Balzac's copious allusions to classical and contemporaneous politics and literature.

Coal mines have become rare, but the miners of Germinal are immortal. This new edition of the novel, with a translation by Raymond MacKenzie, is an exquisite tribute to their work, their misery and their eventual revolt. In his introduction, David Baguley--one of the most respected authorities on the work of Zola--brilliantly illuminates the genetic, historical and aesthetic aspects of the novel. His lucid, sensitive and critical gaze highlights the real secrets of the work: its underlying anthropological and social investigation, the dark power of the tragic imagination and the brightness of symbolic and mythic intuitions. --Henri Mitterand, Professor Emeritus, Columbia University

With its six trenchant tales of perverse love, Diaboliques proved so scandalous on its original appearance in 1874 that it was declared a danger to public morality and seized on the grounds of blasphemy and obscenity. More shocking in our day is how little known this masterpiece of French decadent fiction is, despite its singular brilliance and its profound influence on writers from Charles Baudelaire to Marcel Proust, Oscar Wilde, J. K. Huysmans, and Walter Benjamin. This new, finely calibrated translation-the first in nearly a century-returns Jules Barbey d'Aurevilly's signature collection to its rightful place in the ranks of literary fiction that tests the bounds of culture. Psychologically intense in substance and style, the stories of Diaboliques combine horror, comedy, and irony to explore the affairs and foibles of men and women whose aristocratic world offers neither comfort nor protection from romantic failure or sexual outrage. Conquest and seduction, adultery and revenge, prostitution and murder-all are within Barbey d'Aurevilly 's purview as he penetrates the darker recesses of the human heart. Raymond N. MacKenzie, whose deft translation captures the complex expression of the original with its unique blend of the literary high and low, also includes an extensive introduction and notes, along with the first-ever translation of Barbey d'Aurevilly's late story "A Page from History" and the important preface to his novel The Last Mistress.

In its first modern translation, a novel-cum-memoir of a Frenchman's erotic awakening in Italy by a preeminent writer of the Romantic period In 1812 Alphonse de Lamartine, a young man of means, traveled through southern Italy, where, during a sojourn in Naples, he fell in love with a young woman who worked in a cigar factory-and whose death after he returned to France would haunt him throughout his writing life. Graziella, Lamartine called this lost girl in his poetry and memoirs-and also in Graziella, a novel that closely follows the story of his own romance. "When I was eighteen," the narrator begins, as if penning his memoir, "my family entrusted me to the care of a relative whose business affairs called her to Tuscany." The tale that unfolds, of the young man's amorous experiences amid the natural grandeur and subtle splendors of the Italian countryside, is one of the finest works of fiction in the French Romantic tradition, a bildungsroman that is also a melancholy portrait of the artist as a young man discovering the muse who would both inspire and elude him. Remarkable for its contemplative prose, its dreamy passions and seductive drawing of the Italian landscape, and its place in the Romantic canon, Graziella is a timeless portrait of love, chronicling the remorse and the misguided ideals of youth that find their expression, if not their amends, in art.