Product Description

When Meaulnes first arrives at the local school in Sologne, everyone is captivated by his good looks, daring and charisma. But when Meaulnes disappears for several days, and returns with tales of a strange party at a mysterious house and a beautiful girl hidden within it, he has been changed forever. In his restless search for his Lost Estate and the happiness he found there, Meaulnes, observed by his loyal friend Francois, may risk losing everything he ever had. Poised between youthful admiration and adult resignation, Alain-Fournier's compelling narrator carries the reader through this evocative and unbearably poignant portrayal of desperate friendship and vanished adolescence.

Product Details

• Amazon Sales Rank: #31157 in Books
• Published on: 2007-05-03
• Original language: French
• Number of items: 1
• Binding: Paperback
• 256 pages

Synopsis
When Meaulnes first arrives at the local school in Sologne, everyone is captivated by his good looks, daring and charisma. But when Meaulnes disappears for several days, and returns with tales of a strange party at a mysterious house and a beautiful girl hidden within it, he has been changed forever. In his restless search for his Lost Estate and the happiness he found there, Meaulnes, observed by his loyal friend Francois, may risk losing everything he ever had. Poised between youthful admiration and adult resignation, Alain-Fournier's compelling narrator carries the reader through this evocative and unbearably poignant portrayal of desperate friendship and vanished adolescence.

About the Author
Alain Fournier was born in La Chapelle d'Angillon in 1886. Le Grand Meaulnes was published in 1912. Les Miracles appeared posthumously in 1924. Alan Fourneir was killed in action on the Lesuse in 1914. Robin Buss is a writer and translator who works for the Independent on Sunday and as television critic for The Times Educational Supplement. He is part-author of the article 'French Literature' in Encyclopaedia Britannica and has published critical studies of works by Vigny and Cocteau, and three books on European cinema, The French Through Their Films (1988), Italian Films (1989) and French Film Noir (1994). He has also translated a number of volumes for Penguin Classics. Adam Gopnik is a New Yorker staff writer and author of the recently published Paris To The Moon.

Customer Reviews

Novel about lost and recovered love
This is a great novel. An adolescent experiences paradise for 3 days and spends the rest of his life trying to recover it. Eventually he seems to succeed but...

It is based on the author's own experience of an impossible love.

To put it in Dylan's words: But it's alright, Ma, it's life, and life only.

The Good Gatsby
First published in 1913, Le Grand Meaulnes (which really is the more sensible title, despite the renaming for this excellent new translation) is narrated by Francois Seurel, who remains a secondary character in favour of his friend Augustin Meaulnes, whose arrival at his school "was the start of a new life." Everyone at school loves le grand Meaulnes, and we are left to believe that he is a young man of irresistible charm, though we don't see much direct evidence of this.

Certainly though the book is rich in sensory detail, which helps involve the reader in its seductive (and sometimes suffocating) world. Every sense and scene is smothered in detail: a disused room contains "drying lime leaves and ripening apples;" people stand "in the magical light" of fireworks, watching "two sprays of red and white stars bursting;" a wheelwright's workshop has "the bellows of the forge squeaking ... in this murky, clanging place;" to give examples just from the first few pages.

Meaulnes disappears from school one day with a pony and trap, unaccounted for until his return a few days later. He tells of his discovery of a mysterious estate where a wedding fete is about to take place. He is "dazzled" by the sights:

"He could hear doors opening and see two fifteen-year-old faces, pink with the cool of the evening and the heat of the chase, under their wide-brimmed bonnets with laces, all about to vanish in a sudden burst of light. For an instant, they twirled around, playfully; their full, lighted skirts lifted and filled with air. He glimpsed the lace of their long, quaint knickers and then, both together, after this pirouette, they leapt into the room and shut the door behind them."

He is dazzled also by the sight of a beautiful young girl, and his discovery of her is to become the centre point of his life, to which everything before had been a prelude, and everything after an unwilling retreat. Meaulnes' obsessive search for the lost estate and the beautiful girl, and his sense of lifeless loss, pervade the remainder of the book.

Although Le Grand Meaulnes is not a long book, at times I could have wished for it to be shorter yet. The end of the second part of the story is so complete in its own way that to continue seems unnecessary. And the remainder of the book moves away from the modern, ethereal, mysterious nature of the early chapters to a more concrete and clear, but unsatisfying, 19th century mix of hardened plotting and sudden developments.

But the most striking feature of all was that Le Grand Meaulnes seemed to me a clear precursor to The Great Gatsby. (Now we see the importance of the original, untranslatable title.) Both have an unassuming narrator - Seurel becomes Carraway - who has an almost worshipful fascination for the central character, an actor against the narrator's observer. He in turn leads us to further outposts of hedonism and irresponsibility - here the wealthy wedding guests, there the "careless" Tom and Daisy Buchanan. And unless I am seeing things, the following passage from Le Grand Meaulnes looks to have striking similarities to the famous last paragraph of Gatsby:

"One morning, instead of waking up in his room where his trousers and his coats were hanging, he found himself in a long green room with tapestries like forest greenery. The light flowing into this place was so sweet that you felt you could taste it. Beside the nearest window, a girl was sewing, with her back turned to him, as though waiting for him to wake up. He had not the strength to slip out of bed and walk through this enchanted mansion. He had gone back to sleep. But the next time, he swore that he would get up - tomorrow morning, perhaps!"

The imagery of greenness, of light, of the girl, of expectations for tomorrow, all seem too much to be coincidental. And after all, what better epigraph for Le Grand Meaulnes' tale of the tragedy of irrecoverable nostalgia could there be than this?

"So we beat on, boats against the current, borne back ceaselessly into the past."

Wonderful, memorable, evocative novel
This novel is, as Adam Gopnik says in his introduction to this sparkling new translation, like a French 'Great Gatsby', 'Catcher in the Rye' or 'Brideshead Revisited'. Nearly a century after it was first written it is as powerful and memorable a novel as ever - capturing a sense of lost youth like few other novels you'll ever read. I loved it already but enjoyed it even more in this new translation. Meaulnes is a character you never forget.