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Escal-Vigor
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First published January 1, 1899
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About the author
Georges Eekhoud
64 books4 followersGeorges Eekhoud est un écrivain belge. En 1899, son roman Escal-Vigor fait scandale en tant que premier roman en littérature française belge à traiter ouvertement l'homosexualité.
Georges Eekhoud dans la Wikipédia française
Georges Eekhoud was een Belgische Franstalige schrijver van Vlaamse afkomst. Zijn roman Escal-Vigor uit 1899 veroorzaakte een schandaal als eerste roman in de franstalige Belgische literatuur die openlijk het onderwerp homoseksualiteit aansneed.
Georges Eekhoud in de Nederlandstalige Wikipedia
Georges Eekhoud was a Belgian writer of Flemish roots who wrote in French. His novel Escal-Vigor from 1899 caused a scandal as the first novel in the francophone Belgian literature that broached the topic of homosexuality.
Georges Eekhoud in the English Wikipedia
Georges Eekhoud dans la Wikipédia française
Georges Eekhoud was een Belgische Franstalige schrijver van Vlaamse afkomst. Zijn roman Escal-Vigor uit 1899 veroorzaakte een schandaal als eerste roman in de franstalige Belgische literatuur die openlijk het onderwerp homoseksualiteit aansneed.
Georges Eekhoud in de Nederlandstalige Wikipedia
Georges Eekhoud was a Belgian writer of Flemish roots who wrote in French. His novel Escal-Vigor from 1899 caused a scandal as the first novel in the francophone Belgian literature that broached the topic of homosexuality.
Georges Eekhoud in the English Wikipedia
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Displaying 1 - 22 of 22 reviews
July 2, 2011
A very early gay novel, originally published in 1900, by a Belgian writer with the first English translation in 1908, set in 19th Century rural Flanders. A gay count returns after years abroad to an isolated uptight community where his love for a peasant boy brings furious attacks by fanatic and bigoted villages whipped up by the girl he spurned. The count’s gay education of his peasant boy includes the history of the boy-Emperor whose lover voluntarily joined him for beheading. This pioneer work of fiction was among the first novels to focus unapologetically on gay relationships and the author, a distinguished Belgian literary figure, faced legal prosecution for this book. Georges Eekhoud (1854-1927), a Belgian poet and novelist, became known as the editor of the Antwerp Precurseur, from which post he passed to the position of literary critic of the Etoile Belge.
I had to do a bit of research on this book, because it predates pretty much all of the gay fiction I know of, and I simply hadn’t heard of it, so I’ll talk about that before I do the review.
It was published in 1899. Eekhoud is the premier literary figure of the age in Belgium and very famous. He was well-known for his pieces describing peasant life, such as Campine. He wrote in French, and there is a free copy of the book–in French–on the Gutenburg website for those who might prefer to read it in the original. It was titled Escal-Vigor and I’m not sure how the title changed to A Strange Love. It–like many other books–was prosecuted in court but there was a literary swell of support, and Eekhoud was acquitted without a stain on his character. Shame more books didn’t get the same support!
The story concerns the young Count Henry Kehlmark who comes into his inheritance at quite a young age, and who is more than a little spoiled. This doesn’t make him a monster, but it does make him the kind of young man who wants to do what he likes. He lives quite a wild life and then suddenly he decides to retire to his country estate taking with him his housekeeper Blandine, a young woman with whom he had a brief affair in his youth, and Landrillon, his manservant. It is there, whilst being introduced to the neighbourhood, he meets and falls passionately in love with Guidon, the son of the local burgomaster.
You can see by the illustration on the cover how this ends, which is badly, but that’s no real surprise, as far as I know Maurice was the first (and only for a long time) which dared to give gay men a happy ending. The story itself, while quite simple, has a lot of themes, such as the nature of loyalty, ambition, and what is true friendship. There’s (possibly) the first faghag in Blandine–who loves Henry to distraction, so much so that she stays with him, despite knowing that she’ll never have him, even before she finds out his true nature. She is, however, angry at the way Guidon has usurped her as his best friend, and is alarmed at the gossip in the village–which is inflamed by the disloyal Landrillon. But when Henry explains it all to her, (with a rather disturbing confession that he lusted at one point over pre-pubescent boys but got control of this problem) she accepts him for what he is, and vows to stand by him, and will be friends with Guidon.
What I liked about this book was the way that Henry was no longer ashamed of his predilictions. He’d spent years hiding his nature–trying to “pass.” Making jokes about men like himself, pretending to leer at women with his friends and thinking he was truly alone in the world. But he came to terms with himself and his feelings and when he meets Guidon, he sees it as fate, something that was truly meant to be. Guidon was not an innocent that he had corrupted, but a man with similar desires. The ugliness is all perceived by the outside forces. The priest who wishes to destroy Henry, the dismissed servant, the woman (Guidon’s sister, Claudie) who wants Henry for herself.
This ugliness reaches a head, with the final chapter of the book, and it’s clear who the real monsters are.
The language is rather hard to take, and I wonder how faithful the translation is. It’s a curious blend of slang and thees and thous. It’s rather over flowery but not a difficult read because of that, just a little smirk inducing at times. Luckily there’s little conversation between Guidon and Henry because I couldn’t have taken much of the earnest declaiming. Even the huge argument that Blandine and Henry have is exquistely formal.
The edition I have is the plain green cover version, also found on Amazon, and the preface is most peculiar. It doesn’t give any indication as to who wrote it, and it’s almost as impassioned as the book itself, resorting to hyperbole and many many exclamation marks. It’s worth a read, but isn’t exactly instructive about the book, the time of its writing, or much about the author, prefering rather to bang on about how worthy the book is and how many other gay writers came before and since. The facts about the book I had to find elsewhere!
I can’t give it a high mark, because to the modern eye, and certainly compared to Wilde or Forster the prose doesn’t hold a candle to them (although the French itself might be beautiful, so if you do read it, let me know) but it’s an important book in the genre and if you get a chance to get hold of a copy and are interested in the development of gay literature then it’s worth seeking out.
I had to do a bit of research on this book, because it predates pretty much all of the gay fiction I know of, and I simply hadn’t heard of it, so I’ll talk about that before I do the review.
It was published in 1899. Eekhoud is the premier literary figure of the age in Belgium and very famous. He was well-known for his pieces describing peasant life, such as Campine. He wrote in French, and there is a free copy of the book–in French–on the Gutenburg website for those who might prefer to read it in the original. It was titled Escal-Vigor and I’m not sure how the title changed to A Strange Love. It–like many other books–was prosecuted in court but there was a literary swell of support, and Eekhoud was acquitted without a stain on his character. Shame more books didn’t get the same support!
The story concerns the young Count Henry Kehlmark who comes into his inheritance at quite a young age, and who is more than a little spoiled. This doesn’t make him a monster, but it does make him the kind of young man who wants to do what he likes. He lives quite a wild life and then suddenly he decides to retire to his country estate taking with him his housekeeper Blandine, a young woman with whom he had a brief affair in his youth, and Landrillon, his manservant. It is there, whilst being introduced to the neighbourhood, he meets and falls passionately in love with Guidon, the son of the local burgomaster.
You can see by the illustration on the cover how this ends, which is badly, but that’s no real surprise, as far as I know Maurice was the first (and only for a long time) which dared to give gay men a happy ending. The story itself, while quite simple, has a lot of themes, such as the nature of loyalty, ambition, and what is true friendship. There’s (possibly) the first faghag in Blandine–who loves Henry to distraction, so much so that she stays with him, despite knowing that she’ll never have him, even before she finds out his true nature. She is, however, angry at the way Guidon has usurped her as his best friend, and is alarmed at the gossip in the village–which is inflamed by the disloyal Landrillon. But when Henry explains it all to her, (with a rather disturbing confession that he lusted at one point over pre-pubescent boys but got control of this problem) she accepts him for what he is, and vows to stand by him, and will be friends with Guidon.
What I liked about this book was the way that Henry was no longer ashamed of his predilictions. He’d spent years hiding his nature–trying to “pass.” Making jokes about men like himself, pretending to leer at women with his friends and thinking he was truly alone in the world. But he came to terms with himself and his feelings and when he meets Guidon, he sees it as fate, something that was truly meant to be. Guidon was not an innocent that he had corrupted, but a man with similar desires. The ugliness is all perceived by the outside forces. The priest who wishes to destroy Henry, the dismissed servant, the woman (Guidon’s sister, Claudie) who wants Henry for herself.
This ugliness reaches a head, with the final chapter of the book, and it’s clear who the real monsters are.
The language is rather hard to take, and I wonder how faithful the translation is. It’s a curious blend of slang and thees and thous. It’s rather over flowery but not a difficult read because of that, just a little smirk inducing at times. Luckily there’s little conversation between Guidon and Henry because I couldn’t have taken much of the earnest declaiming. Even the huge argument that Blandine and Henry have is exquistely formal.
The edition I have is the plain green cover version, also found on Amazon, and the preface is most peculiar. It doesn’t give any indication as to who wrote it, and it’s almost as impassioned as the book itself, resorting to hyperbole and many many exclamation marks. It’s worth a read, but isn’t exactly instructive about the book, the time of its writing, or much about the author, prefering rather to bang on about how worthy the book is and how many other gay writers came before and since. The facts about the book I had to find elsewhere!
I can’t give it a high mark, because to the modern eye, and certainly compared to Wilde or Forster the prose doesn’t hold a candle to them (although the French itself might be beautiful, so if you do read it, let me know) but it’s an important book in the genre and if you get a chance to get hold of a copy and are interested in the development of gay literature then it’s worth seeking out.
January 23, 2016
Escal-Vigor with its homosexual theme was penned in 1899, a time when such literature was considered anathema... Though not generally accepted at the time of writing the plot is quite an interesting one and I like the way that Eekhoud even permits his protagonist degrees of choice and presents to the reader snapshots of his thoughts and his past and the effects of such on those close to him...
Also read a review on my blog complete with related sites to visit:
https://formuchdeliberation.wordpress...
Also read a review on my blog complete with related sites to visit:
https://formuchdeliberation.wordpress...
November 15, 2015
Continuati sa cititi chiar daca inceputul vi se pare cam lent. Devine o carte buna despre LGBT. Mult dramatism si multa pasiune.
July 11, 2014
Gelezen in de schitterende vertaling van Katelijne De Vuyst! Deze roman, 115 jaar geleden geschreven door de Franstalige Vlaamse auteur, is zeer vlot leesbaar, een sublieme "moderne" roman waarin homoseksualiteit positief aan bod komt. Een sensuele roman die getuigt van een bijzondere ruimdenkendheid van de auteur. Speciaal! En een aanrader.
January 11, 2023
Citaat : Mijn hel heeft veel te lang geduurd. Het begon al tijdens mijn puberteit. Ik werd naar het college gestuurd, waar mijn vriendschappen zich kleurden met de levendigste, maar tegelijk weemoedigste gevoelens van tederheid.
Review : Georges Eekhoud (Antwerpen, 27 mei 1854 - Schaarbeek (Brussel), 29 mei 1927) was een Belgische Franstalige schrijver die zijn Vlaamse afkomst nooit heeft ontkend. Hij was tevens dichter, kunstcriticus en vertaler. Eekhoud is vooral opmerkelijk omdat hij één van de eerste auteurs in het Westen was die openlijk en positief over homoseksualiteit schreef in een tijdsstipt dat dit in het Groot Brittannië van Oscar Wilde, niet mogelijk was.
Uit arme ouders geboren en vroeg wees kwam hij terecht in een welstellende familie die hem in het Frans liet studeren in Mechelen en in Zwitserland. Daarna bezocht hij de Militaire School in België. Hij ontmoette er Charles de Coster (als repetitor), wiens invloed bepalend is geweest. Woonachtig te Brussel en sedert 1880 redacteur bij het Brusselse dagblad L’étoile Belge, nam Eekhoud actief deel aan de literaire groep La Jeune Belgique. Gedurende twintig jaar werkte hij als correspondent voor België mee aan de Mercure de France. In 1881 publiceerde hij zijn verhalenbundel Kermesses. Daarop volgden o.m. zijn eerste roman, Kees Doorik (1883), La nouvelle Carthage (1888), Voyous de velours (1904, ook L’Autre vue genoemd) en Magrice en Flandre (1928).
In 1899 verwekte Escal-Vigor zijn roman over homoseksualiteit opschudding. Eekhoud was inderdaad de eerste Franstalige auteur die over homoseksualiteit schreef, in het bijzonder over het uranisme, de mannelijke homoseksualiteit. In 1995 schreef Hugo Claus in het Nederlands een filmscenario, gebaseerd op Eekhouds Escal-Vigor. Claus’ versie bleef echter in de laden liggen tot Mirande Lucien ze vertaalde en in 2001 in het Frans publiceerde. In 1899 werden in een boekhandel te Heist vier publicaties in beslag genomen omdat ze zedenschennend zouden zijn, waaronder L'Escal-Vigor van Eekhoud (de andere werken waren van Octave Mirbeau, Octave Pradels en Camille Lemonnier).
L'Escal-Vigor had op een terughoudende, ondubbelzinnige manier homoseksualiteit tot onderwerp. Het boek handelt over een graaf Henry de Kehlmark en zijn platonische verhouding met een jonge boer, Guidon Govaertz. Verschillende letterkundige vrienden stonden achter hem. Eekhoud werd vrijgesproken, na een pleidooi van advocaat Edmond Picard, die overigens ook Camille Lemonnier en Félicien Rops in soortgelijke processen verdedigde.
Na twintig jaar afwezigheid keert dijkgraaf Henry de Kehlmark terug naar het Escal-Vigor, de voorouderlijke burcht in Klaarvatsch, een dorpje op het idyllische eiland Smaragdis. Hij geeft een groot feest waarop alle bewoners –rijk en arm, jong en oud– worden uitgenodigd, en maakt er kennis met Claudie, de dochter van burgemeester en herenboer Govaertz, en met haar broertje Guido – de zondenbok van het gezin, een dromerige nietsnut die dan maar koeien moet hoeden op de heide. Claudie heeft haar zinnen gezet op Kehlmark en droomt ervan gravin te worden, maar Kehlmark zelf heeft alleen oog voor de jonge koewachter, in wie hij een zielsgenoot herkent. Hij krijgt de burgemeester en zijn dochter zo ver dat Guido op het kasteel onderricht kan krijgen en er ook mag komen wonen. Door zijn belangstelling voor de gewone mens wint de graaf de harten van zijn onderdanen, maar ze laten hem vallen als een bakstenen, wanneer blijkt dat zijn genegenheid voor Guido méér is dan een zoektocht naar artistiek talent.
Escal-Vigor is ook nu nog steeds een sterke symbolistische roman, waarin de auteur een oprecht pleidooi houdt voor de gelijkwaardigheid van elke vorm van liefde, en het is meteen ook een aanklacht tegen elke discriminatie op grond van afkomst, sociale rang of geloof. Tegelijkertijd handelt het boek over de strijd tussen goed en kwaad en hoe weinig er nodig is om de utopie in gruwel te laten omslaan.
L'Escal-Vigor had een beslissende invloed op de Nederlandse dichter en schrijver Jacob Israël de Haan. Die vroeg Eekhoud het voorwoord te schrijven van zijn decadentistisch-homoseksuele roman Pathologieën (1908). De Haan wist de sfeer van Eekhouds romans op zijn eigen manier op te roepen in zijn dichtbundel Libertijnse liederen (1914) en zijn lange gedicht Een nieuw Carthago, die respectievelijk refereren aan Les libertins d'Anvers (1912) en La nouvelle Carthage (1888).
Review : Georges Eekhoud (Antwerpen, 27 mei 1854 - Schaarbeek (Brussel), 29 mei 1927) was een Belgische Franstalige schrijver die zijn Vlaamse afkomst nooit heeft ontkend. Hij was tevens dichter, kunstcriticus en vertaler. Eekhoud is vooral opmerkelijk omdat hij één van de eerste auteurs in het Westen was die openlijk en positief over homoseksualiteit schreef in een tijdsstipt dat dit in het Groot Brittannië van Oscar Wilde, niet mogelijk was.
Uit arme ouders geboren en vroeg wees kwam hij terecht in een welstellende familie die hem in het Frans liet studeren in Mechelen en in Zwitserland. Daarna bezocht hij de Militaire School in België. Hij ontmoette er Charles de Coster (als repetitor), wiens invloed bepalend is geweest. Woonachtig te Brussel en sedert 1880 redacteur bij het Brusselse dagblad L’étoile Belge, nam Eekhoud actief deel aan de literaire groep La Jeune Belgique. Gedurende twintig jaar werkte hij als correspondent voor België mee aan de Mercure de France. In 1881 publiceerde hij zijn verhalenbundel Kermesses. Daarop volgden o.m. zijn eerste roman, Kees Doorik (1883), La nouvelle Carthage (1888), Voyous de velours (1904, ook L’Autre vue genoemd) en Magrice en Flandre (1928).
In 1899 verwekte Escal-Vigor zijn roman over homoseksualiteit opschudding. Eekhoud was inderdaad de eerste Franstalige auteur die over homoseksualiteit schreef, in het bijzonder over het uranisme, de mannelijke homoseksualiteit. In 1995 schreef Hugo Claus in het Nederlands een filmscenario, gebaseerd op Eekhouds Escal-Vigor. Claus’ versie bleef echter in de laden liggen tot Mirande Lucien ze vertaalde en in 2001 in het Frans publiceerde. In 1899 werden in een boekhandel te Heist vier publicaties in beslag genomen omdat ze zedenschennend zouden zijn, waaronder L'Escal-Vigor van Eekhoud (de andere werken waren van Octave Mirbeau, Octave Pradels en Camille Lemonnier).
L'Escal-Vigor had op een terughoudende, ondubbelzinnige manier homoseksualiteit tot onderwerp. Het boek handelt over een graaf Henry de Kehlmark en zijn platonische verhouding met een jonge boer, Guidon Govaertz. Verschillende letterkundige vrienden stonden achter hem. Eekhoud werd vrijgesproken, na een pleidooi van advocaat Edmond Picard, die overigens ook Camille Lemonnier en Félicien Rops in soortgelijke processen verdedigde.
Na twintig jaar afwezigheid keert dijkgraaf Henry de Kehlmark terug naar het Escal-Vigor, de voorouderlijke burcht in Klaarvatsch, een dorpje op het idyllische eiland Smaragdis. Hij geeft een groot feest waarop alle bewoners –rijk en arm, jong en oud– worden uitgenodigd, en maakt er kennis met Claudie, de dochter van burgemeester en herenboer Govaertz, en met haar broertje Guido – de zondenbok van het gezin, een dromerige nietsnut die dan maar koeien moet hoeden op de heide. Claudie heeft haar zinnen gezet op Kehlmark en droomt ervan gravin te worden, maar Kehlmark zelf heeft alleen oog voor de jonge koewachter, in wie hij een zielsgenoot herkent. Hij krijgt de burgemeester en zijn dochter zo ver dat Guido op het kasteel onderricht kan krijgen en er ook mag komen wonen. Door zijn belangstelling voor de gewone mens wint de graaf de harten van zijn onderdanen, maar ze laten hem vallen als een bakstenen, wanneer blijkt dat zijn genegenheid voor Guido méér is dan een zoektocht naar artistiek talent.
Escal-Vigor is ook nu nog steeds een sterke symbolistische roman, waarin de auteur een oprecht pleidooi houdt voor de gelijkwaardigheid van elke vorm van liefde, en het is meteen ook een aanklacht tegen elke discriminatie op grond van afkomst, sociale rang of geloof. Tegelijkertijd handelt het boek over de strijd tussen goed en kwaad en hoe weinig er nodig is om de utopie in gruwel te laten omslaan.
L'Escal-Vigor had een beslissende invloed op de Nederlandse dichter en schrijver Jacob Israël de Haan. Die vroeg Eekhoud het voorwoord te schrijven van zijn decadentistisch-homoseksuele roman Pathologieën (1908). De Haan wist de sfeer van Eekhouds romans op zijn eigen manier op te roepen in zijn dichtbundel Libertijnse liederen (1914) en zijn lange gedicht Een nieuw Carthago, die respectievelijk refereren aan Les libertins d'Anvers (1912) en La nouvelle Carthage (1888).
January 24, 2025
Bien narrado, pero la historia resulta bastante tópica y melodramática. Lo único que puede hacer que «Escal-Vigor» destaque entre otras novelas de su clase, es la inclusión de un amor entre hombres. Por lo demás, ni pena ni gloria.
February 4, 2021
I read the Freedonia Press English translation (the one with the orange-brown cover) entitled "A Strange Love".
This book is unique. The story of this 1899 novel unexpectedly goes on the offensive against homophobia. An excellent translation, prefaced by a delectable gem of an introduction, gives the stylized prose the right effect. It conveys a sensibility and sense of humor perhaps not every reader can appreciate.
Eekhoud relates this scandalized tale using a "pagans vs Christians" framework which even invokes an apparently gay saint, martyred for resisting the salacious predations of the local hussies some 800 years before the story begins.
How could I not like it? It's a story well set up and well told by a daring author who infuses it with a Wildean spirit that brings out the best in fiction.
This book is unique. The story of this 1899 novel unexpectedly goes on the offensive against homophobia. An excellent translation, prefaced by a delectable gem of an introduction, gives the stylized prose the right effect. It conveys a sensibility and sense of humor perhaps not every reader can appreciate.
Eekhoud relates this scandalized tale using a "pagans vs Christians" framework which even invokes an apparently gay saint, martyred for resisting the salacious predations of the local hussies some 800 years before the story begins.
How could I not like it? It's a story well set up and well told by a daring author who infuses it with a Wildean spirit that brings out the best in fiction.
February 5, 2017
Questa, più che una celebrazione dell'amore omosessuale, è una celebrazione della meschinità e della cattiveria umane.
Parliamo di un romanzo scritto nel lontano 1899, un'epoca molto diversa dalla nostra, quindi provate a immaginare: se oggigiorno esistono ancora pregiudizi, come poteva essere a quei tempi? Le testimonianze storiche lasciano pochi dubbi, in merito. Processi, condanne, lapidazioni pubbliche, esili, se non addirittura reclusione e pratiche "rieducative" aberranti per "rimediare" alle tendenze omosessuali. Purtroppo questo libro denuncia proprio questo - l'inciviltà, l'inumanità e la presunzione di decidere cosa sia bene e cosa sia male, con conseguente punizione. Ma è anche una denuncia di cosa può arrivare a fare la gelosia, uno dei sentimenti più abietti.
Partiamo dall'inizio.
STORIA: si svolge in un luogo immaginario, un'isola, dove il Conte Henry si ritira a vivere nel proprio castello lontano dalla mondanità. È un giovane uomo dal carattere melanconico, riservato, poco avvezzo ai divertimenti e alla vita pubblica. Con lui Blandine, una ragazza che dopo un'adolescenza difficile - durante la quale sopporta uno stupro e una gravidanza che termina col parto di un neonato morto - arriva a lavorare per la sua famiglia. Tra i due inizialmente nasce una storia, ma quando Guidon, la "pecora nera" di una famiglia paesana dell'isola entra nella vita di Henry, quest'ultimo le si allontana progressivamente per intrecciare col giovane una intensa storia d'amore. Una storia che finalmente sembra "riconciliarlo con la vita". Saranno la gelosia e la voglia di vendetta di Landrillon, in principio alle dipendenze di Henry e invaghito di Blandine, e di Claudie, che aspira da sempre al matrimonio con Henry, a decretare la fine di tutto: uniti nei loro propositi e in un'alleanza spietata, colgono l'occasione della festa pagana annuale per aizzare la folla sprezzante e fanatica contro Guidon e poi Henry, intervenuto per soccorrere il giovane compagno.
PERSONAGGI: molto belli e perfettamente caratterizzati. Probabilmente è l'indiscutibile capacità della letteratura francese, ma in 180 pagine si ha un ritratto perfetto di ognuno di loro: Henry, melanconico e tormentato, che soffre della sua diversità, si condanna eppure non riesce a fare a meno di amare disperatamente Guidon; Guidon, disprezzato dalla famiglia che in lui non riscontra alcuna qualità e che trova invece in Henry un mentore, un amico, una guida, un uomo da amare; Blandine, forse la figura più bella di tutti per la sua devozione, il suo amore incondizionato, il suo spirito di sacrificio e la sua totale accettazione di Henry grazie alla consapevolezza del fatto che non sono le leggi umane a stabilire il bene e il male - bellissima figura. Questa donna forte, che non si piega, non cede ai ricatti, alle minacce, che affronta il dolore e la rinuncia all'uomo che ama con uno stoicismo ammirevole. Al contrario Claudie - la cui descrizione nei primi capitoli è davvero vivida e intensa, bellissima -, aggressiva, orgogliosa e vendicativa, che fin dalla prima apparizione trasmette tutto il suo carattere collerico; e, non ultima se non perfino prima, vera protagonista, la popolazione dell'isola, uno spaccato della società del tempo (e se vogliamo anche di una parte di quella moderna) che rifiuta, condanna, schernisce, disprezza; che emette giudizi serrati e si assurge a giudice in ultima istanza, al punto non solo di infliggere pene dolorose e umilianti, ma perfino goderne, trovarle giuste, vedere in esse lo strumento di "sanificazione" morale e sociale. Una vera belva. Le descrizioni della folla in tumulto, del delirio, della completa perdita di controllo che ne fa Eekhoud sono angoscianti, ma efficaci.
FORMA: non oso aprire bocca. Qui si parla di Letteratura, quindi c'è poco da "recensire". Al massimo posso dire se mi sia piaciuto o meno lo stile, ma ovviamente la risposta è "mi è piaciuto molto". Premetto che ho letto il romanzo in lingua francese e consiglio sempre, a chi riesca, di leggere in lingua originale perché ci sono sfumature e costrutti che tradotti perdono parecchio - nulla togliendo ai traduttori, parliamo proprio di diversità semantiche che per forza di cose variano. Poi il francese è una lingua particolare, più ricca rispetto all'inglese, come l'italiano. E diciamocelo: leggere in francese ha tutt'altro sapore. Senza tediarvi su quanto ami l letteratura di questo Paese, dico solo che la forma mi è piaciuta: chi non apprezza le descrizioni può trovarlo un romanzo lento, perché l'autore indugia spesso su comportamenti e "affreschi" psicologici e sociali dei personaggi, ma ci stanno tutte, le trovo imprescindibili. Senza tanta accuratezza descrittiva non si coglierebbero molti aspetti né dei protagonisti, né della società in cui si svolgono le vicende - che poi è il cuore del romanzo. Descrizioni sempre vivide e intense. Registro a tratti osato, se pensiamo al periodo storico, soprattutto quando parlano certi personaggi - in primis Landrillon. Questo è l'altro aspetto che ho apprezzato molto: la voce narrante mantiene un'impostazione pulita, alta, elegante; ma quando sono specifici personaggi a parlare, giustamente saltano fuori termini più "bassi", volgari (la madre di Blandine che le dà della "cagna", tra i tanti complimenti), rendendo perfettamente la loro estrazione. Penso che gli "autori" contemporanei dovrebbero imparare proprio questo: la voce narrante è un conto, quella dei personaggi un altro, ma sembra proprio che nessuno le distingua. Permettere l'uso di registri di dubbio gusto nella narrazione è un abuso che viene fatto nel nome del "per la situazione ci sta bene, è un contesto duro" etc. etc. etc. Ma assolutamente no. Se parlano i protagonisti è vero, è sensato; ma il narratore esterno non dovrebbe scadere in simile grossolanità.
In conclusione: leggetelo se amate gli aspetti storici e sociali delle storie. Non è un romanzo qualificabile come M/M, sarebbe perfino ridicolo definirlo con questa neologia. È una denuncia, un affresco sociologico, non una storia d'amore. In realtà della storia fra Henry e Guidon c'è poco - ma quel poco, credetemi, è intenso e commovente. Le parole che si scambiano e la resa della loro unione è molto intensa. La dimostrazione di come, quando le parole sono bene impiegate, ne bastano poche per rendere tanto. Meglio ancora leggetelo in lingua se masticate il francese. Io, ovviamente, lo consiglio. Poi come sempre sono gusti ;)
Parliamo di un romanzo scritto nel lontano 1899, un'epoca molto diversa dalla nostra, quindi provate a immaginare: se oggigiorno esistono ancora pregiudizi, come poteva essere a quei tempi? Le testimonianze storiche lasciano pochi dubbi, in merito. Processi, condanne, lapidazioni pubbliche, esili, se non addirittura reclusione e pratiche "rieducative" aberranti per "rimediare" alle tendenze omosessuali. Purtroppo questo libro denuncia proprio questo - l'inciviltà, l'inumanità e la presunzione di decidere cosa sia bene e cosa sia male, con conseguente punizione. Ma è anche una denuncia di cosa può arrivare a fare la gelosia, uno dei sentimenti più abietti.
Partiamo dall'inizio.
STORIA: si svolge in un luogo immaginario, un'isola, dove il Conte Henry si ritira a vivere nel proprio castello lontano dalla mondanità. È un giovane uomo dal carattere melanconico, riservato, poco avvezzo ai divertimenti e alla vita pubblica. Con lui Blandine, una ragazza che dopo un'adolescenza difficile - durante la quale sopporta uno stupro e una gravidanza che termina col parto di un neonato morto - arriva a lavorare per la sua famiglia. Tra i due inizialmente nasce una storia, ma quando Guidon, la "pecora nera" di una famiglia paesana dell'isola entra nella vita di Henry, quest'ultimo le si allontana progressivamente per intrecciare col giovane una intensa storia d'amore. Una storia che finalmente sembra "riconciliarlo con la vita". Saranno la gelosia e la voglia di vendetta di Landrillon, in principio alle dipendenze di Henry e invaghito di Blandine, e di Claudie, che aspira da sempre al matrimonio con Henry, a decretare la fine di tutto: uniti nei loro propositi e in un'alleanza spietata, colgono l'occasione della festa pagana annuale per aizzare la folla sprezzante e fanatica contro Guidon e poi Henry, intervenuto per soccorrere il giovane compagno.
PERSONAGGI: molto belli e perfettamente caratterizzati. Probabilmente è l'indiscutibile capacità della letteratura francese, ma in 180 pagine si ha un ritratto perfetto di ognuno di loro: Henry, melanconico e tormentato, che soffre della sua diversità, si condanna eppure non riesce a fare a meno di amare disperatamente Guidon; Guidon, disprezzato dalla famiglia che in lui non riscontra alcuna qualità e che trova invece in Henry un mentore, un amico, una guida, un uomo da amare; Blandine, forse la figura più bella di tutti per la sua devozione, il suo amore incondizionato, il suo spirito di sacrificio e la sua totale accettazione di Henry grazie alla consapevolezza del fatto che non sono le leggi umane a stabilire il bene e il male - bellissima figura. Questa donna forte, che non si piega, non cede ai ricatti, alle minacce, che affronta il dolore e la rinuncia all'uomo che ama con uno stoicismo ammirevole. Al contrario Claudie - la cui descrizione nei primi capitoli è davvero vivida e intensa, bellissima -, aggressiva, orgogliosa e vendicativa, che fin dalla prima apparizione trasmette tutto il suo carattere collerico; e, non ultima se non perfino prima, vera protagonista, la popolazione dell'isola, uno spaccato della società del tempo (e se vogliamo anche di una parte di quella moderna) che rifiuta, condanna, schernisce, disprezza; che emette giudizi serrati e si assurge a giudice in ultima istanza, al punto non solo di infliggere pene dolorose e umilianti, ma perfino goderne, trovarle giuste, vedere in esse lo strumento di "sanificazione" morale e sociale. Una vera belva. Le descrizioni della folla in tumulto, del delirio, della completa perdita di controllo che ne fa Eekhoud sono angoscianti, ma efficaci.
FORMA: non oso aprire bocca. Qui si parla di Letteratura, quindi c'è poco da "recensire". Al massimo posso dire se mi sia piaciuto o meno lo stile, ma ovviamente la risposta è "mi è piaciuto molto". Premetto che ho letto il romanzo in lingua francese e consiglio sempre, a chi riesca, di leggere in lingua originale perché ci sono sfumature e costrutti che tradotti perdono parecchio - nulla togliendo ai traduttori, parliamo proprio di diversità semantiche che per forza di cose variano. Poi il francese è una lingua particolare, più ricca rispetto all'inglese, come l'italiano. E diciamocelo: leggere in francese ha tutt'altro sapore. Senza tediarvi su quanto ami l letteratura di questo Paese, dico solo che la forma mi è piaciuta: chi non apprezza le descrizioni può trovarlo un romanzo lento, perché l'autore indugia spesso su comportamenti e "affreschi" psicologici e sociali dei personaggi, ma ci stanno tutte, le trovo imprescindibili. Senza tanta accuratezza descrittiva non si coglierebbero molti aspetti né dei protagonisti, né della società in cui si svolgono le vicende - che poi è il cuore del romanzo. Descrizioni sempre vivide e intense. Registro a tratti osato, se pensiamo al periodo storico, soprattutto quando parlano certi personaggi - in primis Landrillon. Questo è l'altro aspetto che ho apprezzato molto: la voce narrante mantiene un'impostazione pulita, alta, elegante; ma quando sono specifici personaggi a parlare, giustamente saltano fuori termini più "bassi", volgari (la madre di Blandine che le dà della "cagna", tra i tanti complimenti), rendendo perfettamente la loro estrazione. Penso che gli "autori" contemporanei dovrebbero imparare proprio questo: la voce narrante è un conto, quella dei personaggi un altro, ma sembra proprio che nessuno le distingua. Permettere l'uso di registri di dubbio gusto nella narrazione è un abuso che viene fatto nel nome del "per la situazione ci sta bene, è un contesto duro" etc. etc. etc. Ma assolutamente no. Se parlano i protagonisti è vero, è sensato; ma il narratore esterno non dovrebbe scadere in simile grossolanità.
In conclusione: leggetelo se amate gli aspetti storici e sociali delle storie. Non è un romanzo qualificabile come M/M, sarebbe perfino ridicolo definirlo con questa neologia. È una denuncia, un affresco sociologico, non una storia d'amore. In realtà della storia fra Henry e Guidon c'è poco - ma quel poco, credetemi, è intenso e commovente. Le parole che si scambiano e la resa della loro unione è molto intensa. La dimostrazione di come, quando le parole sono bene impiegate, ne bastano poche per rendere tanto. Meglio ancora leggetelo in lingua se masticate il francese. Io, ovviamente, lo consiglio. Poi come sempre sono gusti ;)
July 9, 2017
Hoy os traemos la reseña de Escal-Vigor de Georges Eekhoud, publicada en 1899 ha sido reeditada varias veces en francés e incluso se ha llevado al teatro y ahora por primera vez la Editorial Amistades Particulares
Puedes leer la reseña completa en https://algunoslibrosbuenos.com/escal...
Puedes leer la reseña completa en https://algunoslibrosbuenos.com/escal...
May 16, 2023
Un des premiers romans à défendre l’homosexualité mais en contrepartie mais il faudrait des TW pour chaque chapitre
December 26, 2018
Published in 1899, this short book is surprisingly explicit in its depiction of male same-sex feelings (there's even some kissing!) despite a rather slow and indecisive start in that respect.
Like many, if not all, pre-Stonewall books (and quite a few more recent ones) there is an advocacy element to it, in this case in the form of a longish confession/monologue, but Eekhoud's point seems to be mostly to compare heterosexual and same-sex behaviours, to the favour of the latter. The "straight" society is portrayed as corrupt and vitiated, whereas the "gay" relationship is presented as pure, along the lines of the Greek ideal.
The language is both archaic (as is somehow often the case for books of that period in a way that is not the case for 19th century books) and highly idiosyncratic but on the whole rather enjoyable and almost poetic. The whole narrative and the dialogues are however sadly on the melodramatic and slightly highfalutin side.
**SPOILER**
The book concludes with a gruesome lynching by rutting women, which leads the reader to wonder if Tennessee Williams ever read it before writing the Glass Menagerie. Despite this early concession to the all-to-familiar trope of the dead homosexual, the finishing note appears to be one of hope, where, following a quasi-religious martyrdom, the loving couple is finely united and able to escape the persecutions of the uncomprehending world.
**END OF SPOILER**
Despite its constrictions, Escal-Vigor (apparently a partial anagram of Oscar Wilde) is very far from being a bad book, and it's value as historical curiosity shouldn't be its only appeal to a modern reader.
Like many, if not all, pre-Stonewall books (and quite a few more recent ones) there is an advocacy element to it, in this case in the form of a longish confession/monologue, but Eekhoud's point seems to be mostly to compare heterosexual and same-sex behaviours, to the favour of the latter. The "straight" society is portrayed as corrupt and vitiated, whereas the "gay" relationship is presented as pure, along the lines of the Greek ideal.
The language is both archaic (as is somehow often the case for books of that period in a way that is not the case for 19th century books) and highly idiosyncratic but on the whole rather enjoyable and almost poetic. The whole narrative and the dialogues are however sadly on the melodramatic and slightly highfalutin side.
**SPOILER**
The book concludes with a gruesome lynching by rutting women, which leads the reader to wonder if Tennessee Williams ever read it before writing the Glass Menagerie. Despite this early concession to the all-to-familiar trope of the dead homosexual, the finishing note appears to be one of hope, where, following a quasi-religious martyrdom, the loving couple is finely united and able to escape the persecutions of the uncomprehending world.
**END OF SPOILER**
Despite its constrictions, Escal-Vigor (apparently a partial anagram of Oscar Wilde) is very far from being a bad book, and it's value as historical curiosity shouldn't be its only appeal to a modern reader.
January 3, 2016
Expoziţia acestei cărţi durează foarte mult, acţiunea începând cu adevărat abia la mijlocul cărţii când Henry începe să-l înveţe Guidon să scrie, să citească, ceva artă şi istorie. Fosta amantă a lui Henry, Blandine se sacrifică la orice pas din dragoste pentru el şi fiindcă vrea să fie o bună creştină. E mult prea trist să citeşti despre un asemea personaj care nu are nici un instinct de auto-apărare. Henry şi Guidon devin amanţi dar asta nu le convine sătenii conservatori în frunte cu sora lui Guidon, Claudine (ofticată că nu e ea iubită de contele Henry).
Nu pot să neg că povestea este interesantă, dar e mult prea lentă pentru mine.
Nu pot să neg că povestea este interesantă, dar e mult prea lentă pentru mine.
February 2, 2021
Very melodramatic. The archaic language used in the translation doesn't help, exactly; nor does the way in which virtually everything is told, and very little shown. All the same, enjoyable; I can see it could make for an engrossing romance in the hands of a different story-teller. The way in which the main character ends up embracing and celebrating his same-sex desire -- rather than regretting it, or merely learning to live with it -- is particularly satisfying. So is the platonic love triangle with the otherworldly Blandine.
August 12, 2015
Gay-rights activism avant-la-lettre (1899), dealing with the burden of inner conflicts and social ruptures. Lots of pathos but an interesting approach of the caste system...eroticisation of working class heroes and the underbelly of society.
Want to read
November 13, 2023I intend to read this, eventually. I had to look it up after its mention in Jennie June/Ralph Werther/Earl Lind's Autobiography of an Androgyne (1918), which is as follows:
“Active inverts,” improperly so called, have been referred to as cases of “a female mind in a male body,” as in the Introduction to Eekhoud’s “Escal Vigor.” The subject of this novel, as well as Oscar Wilde, whose case evidently forms the theme of the book, were not such instances. Theirs were cases of innate and therefore irresponsible sexual perversion rather than of inversion. They were “urnings.” “Escal Vigor” is of value as portraying the development and inner life of the urning, while this autobiography deals with the passive invert, or “the invert” properly speaking. The urning or active pederast loves an adolescent as a normal man loves a woman, and desires active pædicatio or else mutual onanism. The passive invert loves the adolescent as a woman loves a man, and desires fellatio, or occasionally the part of the pathic in pædicatio.
While reading “Escal Vigor” many years ago, your author was convinced that the book was primarily written by Oscar Wilde and based on his own life experience. This suspicion is confirmed by the name of the book, the two words having the same length as those of the name of the individual; the second and third letters of the first name being the same in both, as well as the second letter of the surname; while the initial V is the French equivalent of the English W, the novel having been first published in French. I have myself built a pseudonym on my baptismal name in similar fashion. The suspicion is further confirmed by the rumor of 1918 that Wilde is still alive.
August 31, 2025
I make this a reluctant three stars because of its historical importance. Is it the first queer novel in Europe in two thousand years? And hey, it's about a hot guy and a cute guy, I always like that. Call me by your name ;)
The novel as such is really not good. (It might, however, make a passable opera or a pretty good film. Artsyfartsy films like that were made in the 1970s.) The style of writing is ridiculously flowery, the plot is pathetic, the characters are ridiculously cliché, and worst of all, the reader gets told in every other line what to think of actions and people. Like, when the villain gets mentioned, we are unfailingly told explicitly that he is an "abominable scoundrel". And the next time he gets mentioned, we are told again. This book is a textbook example of the "tell don't show" school. Also, such a clearcut distinction of good guys (hot/top Count Henry, cute/bottom Guidon Govaertz, loyal Blandine) and villains (Landrillon and Claudie) has rarely been found outside the dime novel. Note that I am not necessarily opposed to the woodcut approach (I also write, and I am not excessively subtle either), but in this book it really annoyed me.
The novel as such is really not good. (It might, however, make a passable opera or a pretty good film. Artsyfartsy films like that were made in the 1970s.) The style of writing is ridiculously flowery, the plot is pathetic, the characters are ridiculously cliché, and worst of all, the reader gets told in every other line what to think of actions and people. Like, when the villain gets mentioned, we are unfailingly told explicitly that he is an "abominable scoundrel". And the next time he gets mentioned, we are told again. This book is a textbook example of the "tell don't show" school. Also, such a clearcut distinction of good guys (hot/top Count Henry, cute/bottom Guidon Govaertz, loyal Blandine) and villains (Landrillon and Claudie) has rarely been found outside the dime novel. Note that I am not necessarily opposed to the woodcut approach (I also write, and I am not excessively subtle either), but in this book it really annoyed me.
December 24, 2025
Georges Eekhoud propose une mythologie de l’homosexualité dans une histoire de libération. L’ouvrage est une invitation a dépasser les interdits et à nous affranchir du joug de la pression social. Le livre propose non seulement des personnages athées mais aussi de tous les horizons (riches pauvres, croyants, non croyants…) qui se rassemblent autour de l’homophobie.
C’est un peu comme un manifeste pour l’homosexualité qui fait état des violences que portent avec lui un modèle hétéro-partriarcal. Puis on voit très bien le contexte qui anime l’histoire à savoir la condamnation d’Oscar Wilde.
Je dois avouer que la première partie du bouquin (y’en a 3) m’a un peu ennuyé et le style d’écriture ne m’a pas tout de suite parlé. Mais une fois dedans j’ai fini d’une traite.
Franchement c’était déchirant et beau, la réification de Saint-Sebastien m’a chamboulé.
Une de mes lectures favorites de 2025 et même en général une de mes plus belles découvertes dans la littérature.
C’est un peu comme un manifeste pour l’homosexualité qui fait état des violences que portent avec lui un modèle hétéro-partriarcal. Puis on voit très bien le contexte qui anime l’histoire à savoir la condamnation d’Oscar Wilde.
Je dois avouer que la première partie du bouquin (y’en a 3) m’a un peu ennuyé et le style d’écriture ne m’a pas tout de suite parlé. Mais une fois dedans j’ai fini d’une traite.
Franchement c’était déchirant et beau, la réification de Saint-Sebastien m’a chamboulé.
Une de mes lectures favorites de 2025 et même en général une de mes plus belles découvertes dans la littérature.
November 13, 2024
Blandine mbb la pauvre
et Guidon et Henry trop chou
leur mort hyper triste
et Guidon et Henry trop chou
leur mort hyper triste
November 22, 2025
😭😭😭😭😭😭😭
This entire review has been hidden because of spoilers.
February 12, 2025
roman doublement révolutionnaire puisqu'il est le premier livre francophone belge à aborder ouvertement le thème de l'homosexualité mais aussi, et surtout, parce qu'il la traite de manière nuancée et positive. bien sûr, c'est un roman publié en 1899, donc l'homosexualité n'est pas encore en mesure d'être séparée de la tragédie, de la violence et de la mort, mais elle n'est jamais admise comme un acte immoral que dans les yeux des villageois, qui représentent le véritable danger. Le personnage de Kehlmark, s'il n'échappe pas au dégoût de soi et à la remise en question de ses "penchants", comprend finalement que son attirance n'est pas anormale mais que c'est bien le reste du monde qui l'est.
l'écriture est parfois un peu pompeuse voire même trop florissante (je ne dis pas ça souvent) mais on ne peut pas enlever le talent de Eehkoud qui est remarquable.
terrible dénouement à une histoire qui est plus tragique qu'elle n'est belle, mais son impact littéraire et le thème qu'elle traite en font un roman d'une importante capitale à la compréhension de l'évolution de l'homosexualité en littérature. À lire si on s'intéresse au sujet!!
très gros TW pour viol.
l'écriture est parfois un peu pompeuse voire même trop florissante (je ne dis pas ça souvent) mais on ne peut pas enlever le talent de Eehkoud qui est remarquable.
terrible dénouement à une histoire qui est plus tragique qu'elle n'est belle, mais son impact littéraire et le thème qu'elle traite en font un roman d'une importante capitale à la compréhension de l'évolution de l'homosexualité en littérature. À lire si on s'intéresse au sujet!!
très gros TW pour viol.
July 19, 2013
I liked all the references to history, philosophy, art and so on throughout the book, and it's really nice, I'm glad I read it. But somehow it didn't impress me as much as I thought I did. Perhaps it's the translation, because I enjoyed the story and the characters a lot. I think it's a good book, but not excellent.
October 12, 2015
Controversieel voor zijn genre in die periode, maar zonder enige vorm van perversiteit en steeds voortgaand op de "verboden liefde". Het plot kent een verrassende wending.
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