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368 pages, Hardcover
First published August 28, 2014
Many letters from the Great War are about carnage and stinking trenches and lice and disease, but, although he experienced all of these, Charles wrote chiefly about friendships and flowers, and about the beauty of the French countryside and the idiosyncrasies of the French and Flemish people, especially at places where he was billeted.Yet, even from the trenches and the hospitals (where he ended up, missing part of his leg), he produced unsparing criticism of the war poets:
He suggested that war played a trick on English poets, distorting their perspective, confusing their roles and exiling their muses. He maintained that real poets did not improve through war, if anything they deteriorated. He attacked the emotion war inspired in poetry, its demolition of idealism, its degradation of human hope. Poetry was for him about truth and beauty and preserving these as shields for the human heart.This "poetic bubble" protected him the rest of his short life from despair. In his letters from Italy where he'd gone to live in the Twenties, one senses his delight in life even as he suffers bouts of trench fevor and his body is slowly eaten away by stomach cancer.
The new Penguin translation is more literal, but Charles's version goes through the sieve of his soul; it involes his history, his education, and his experience of the trenches.For me, there's also the matter of pure charm that is especially important in the first volume, in which Marcel recounts the tale of his childhood visits to Combray and the tortured passion of Charles Swann. The Lydia Davis translation is generally hailed as superior, yet (for me) it misses the Moncrieff sensibility that captured me on my first reading. For example, the scene in which when Marcel has been sent to bed so that the family could entertain Swann in their country garden:
But to-night, before the dinner bell had sounded, my grandfather said with unconscious cruelty, "The little man looks tired; he'd better go up to bed. Besides, we're dining late to-night."Marcel is in agony and convinces Françoise, his aunt's servant, to deliver a note to his mother.
At once my anxiety subsided; it was now no longer … until tomorrow that I had lost my mother, for my little line was going –to annoy her, no doubt, and doubly so because this contrivance would make me ridiculous in Swann's eyes – but was going all the same to admit me, invisibly and by stealth, into the same room as herself, was going to whisper from me into her ear; for that forbidden and unfriendly dining-room, where but a moment ago the ice itself—with burned nuts in it—and the finger-bowls seemed to me to be concealing pleasures that were mischievous and of a mortal sadness because Mamma was tasting of them and I was far away, had opened its doors to me and, like a ripe fruit which bursts through its skin, was going to pour out into my intoxicated heart the gushing sweetness of Mamma's attention while she was reading what I had written. Now I was no longer separated from her; the barriers were down; an exquisite thread was binding us. Besides, that was not all, for surely Mamma would come.Those burnt nuts served with the ices seem to me the emblem of that lost summer evening. In the Davis translation it is indeed less flowery:
… where, just a moment before, even the ice cream – the granité – and the rinsing bowls seemed to me to contain pleasures that were noxious and mortally sad because Mama was enjoying them so far away from me …Even with the granité, the magic is missing.
It was an intimate dinner, after which Charles no longer called him Mr Marsh but addressed his letters to 'Dearest Eddie'. Marsh showed him his famous art collection… by 1914 he had brought together the nucleus of what became one of the most valuable collections of modern work in private hands. It covered every inch of the wall space in his apartments at 5 Raymond Buildings. Surrounded by colourful paintings, they had a lively and literary conversation, and Charles left at 2 a.m.That final sentence is as perfect a description of ordinary happiness as any I know.