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The Serpent of Stars
The Serpent of Stars (Le serpent d'étoiles, 1933; reprinted 1999 Grasset) takes place in rural southern France in the early part of the century. The novel’s elusive narrative thread ties landscape to character to an expanse just beyond our grasp. The narrator encounters a shepherding family and glimpse by glimpse, each family member and the shepherding way of life is revealed to us. The novel culminates in a large shepherds’ gathering where a traditional Shepherd’s Play—a kind of creation myth that includes in its cast The River, The Sea, The Man, and The Mountain—is enacted. The work’s proto-environmental world view as well as its hybrid form—part play, part novel—makes The Serpent of Stars astonishingly contemporary. W.S. Merwin’s "Green Fields" begins, "By this part of the century few are left who believe in the animals for they are not there in the carved parts/of them served on plates and the pleas from slatted trucks..." This novel leaves the reader believing not only in the animals, but the terrain they are part of, the people who tend them, and the life all these elements together compose.
117 pages, Paperback
First published January 1, 1933
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About the author
Jean Giono
339 books346 followersJean Giono, the only son of a cobbler and a laundress, was one of France's greatest writers. His prodigious literary output included stories, essays, poetry, plays, film scripts, translations and over thirty novels, many of which have been translated into English.
Giono was a pacifist, and was twice imprisoned in France at the outset and conclusion of World War II.
He remained tied to Provence and Manosque, the little city where he was born in 1895 and, in 1970, died.
Giono was awarded the Prix Bretano, the Prix de Monaco (for the most outstanding collected work by a French writer), the Légion d'Honneur, and he was a member of the Académie Goncourt.
Giono was a pacifist, and was twice imprisoned in France at the outset and conclusion of World War II.
He remained tied to Provence and Manosque, the little city where he was born in 1895 and, in 1970, died.
Giono was awarded the Prix Bretano, the Prix de Monaco (for the most outstanding collected work by a French writer), the Légion d'Honneur, and he was a member of the Académie Goncourt.
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Displaying 1 - 18 of 18 reviews
December 16, 2008
I found this book in the SPD warehouse during last weekend’s open house, and the reason why I was drawn to these Archipelago Books was because they are such lovely productions, lovely textured cardstock covers with French flaps, cream colored thick stock paper body, simple and consistent design, clean serif font; these are understated and elegant productions.
The story itself is elusive at first, and this is also due to Jean Giono’s poetic, vivid, vast, involved descriptions of the countryside, the trees, the grass, the texture of the terrain, which are alive and with their own agency. They are the foreground and the narrative is working on their sense of time and space. His narrator, a resident of a nearby village, is at its mercy, but also seems so revitalized to be so close to the earth. A river is a body like a serpent winding its way through the grass. The dialogue and interaction with the potter’s family and the shepherd, who live so far outside of the village, seems very “inside,” in tune with the countryside, and Giono mediates very little such that our understanding as readers I think grows with the same slowness that the narrator’s does.
All of this I realize later on sets us up for the shepherds, as what the narrator, Jean finds is this awe, almost enthrallment with the shepherd as a “master of beasts.” In the sheepshed, the shepherd tells the narrator of the universe of stars; the master of beasts has uttered one word or utterance, and all the thousands of sheep eyes in the dark reflect the glow of the lantern as they all look to him. This is like the night sky. This vastness, this universe, is what the shepherd leads. The flock follows him into the countryside, again, like a river, one body. This river of sheep moving as one body is a serpent of stars. Any power that man has in villages of men, any papers and wealth he may hold, is tiny when compared to the power a young shepherd awakens into when he stops trying to exert his shepherd-ness and finds he simply is one.
What the narrative leads up to is the shepherd’s play, in which many shepherds and their flocks of tens of thousands of sheep converge in a faraway clearing to “perform” a semi-rehearsed, semi-improvisational “play,” in which one central narrator acts the part of Earth, calls upon Sea, Mountain, River, Beast, in search of Man. It is at the moment of the calling that one shepherd will stand up among the congregation and take upon himself the part, spontaneously composing these poetic monologues/in dialogue with one another. So the narrative of this performance shifts and turns as each shepherd both speaks the poetry he’s been thinking on for the past year while roaming the countryside with his flock. Each has had so much mental and geographical space and human silence, with the elements, again the trees, the sky, the wind, the rivers, and the beasts as his only companions.
I am gleaning this all from the text itself, its turning narratives, and then from the author’s very poetic footnotes, which reveal the interaction of the actors, who really are trying to verbally best one another in favor of both the power of his own soliloquy, and the direction in which he desires the narrative to flow. So this “control” which each poetically skilled shepherd “exerts” over the narrative’s turns I think mirrors the kind of mastery of the beasts, which the narrator views with much awe.
The story itself is elusive at first, and this is also due to Jean Giono’s poetic, vivid, vast, involved descriptions of the countryside, the trees, the grass, the texture of the terrain, which are alive and with their own agency. They are the foreground and the narrative is working on their sense of time and space. His narrator, a resident of a nearby village, is at its mercy, but also seems so revitalized to be so close to the earth. A river is a body like a serpent winding its way through the grass. The dialogue and interaction with the potter’s family and the shepherd, who live so far outside of the village, seems very “inside,” in tune with the countryside, and Giono mediates very little such that our understanding as readers I think grows with the same slowness that the narrator’s does.
All of this I realize later on sets us up for the shepherds, as what the narrator, Jean finds is this awe, almost enthrallment with the shepherd as a “master of beasts.” In the sheepshed, the shepherd tells the narrator of the universe of stars; the master of beasts has uttered one word or utterance, and all the thousands of sheep eyes in the dark reflect the glow of the lantern as they all look to him. This is like the night sky. This vastness, this universe, is what the shepherd leads. The flock follows him into the countryside, again, like a river, one body. This river of sheep moving as one body is a serpent of stars. Any power that man has in villages of men, any papers and wealth he may hold, is tiny when compared to the power a young shepherd awakens into when he stops trying to exert his shepherd-ness and finds he simply is one.
What the narrative leads up to is the shepherd’s play, in which many shepherds and their flocks of tens of thousands of sheep converge in a faraway clearing to “perform” a semi-rehearsed, semi-improvisational “play,” in which one central narrator acts the part of Earth, calls upon Sea, Mountain, River, Beast, in search of Man. It is at the moment of the calling that one shepherd will stand up among the congregation and take upon himself the part, spontaneously composing these poetic monologues/in dialogue with one another. So the narrative of this performance shifts and turns as each shepherd both speaks the poetry he’s been thinking on for the past year while roaming the countryside with his flock. Each has had so much mental and geographical space and human silence, with the elements, again the trees, the sky, the wind, the rivers, and the beasts as his only companions.
I am gleaning this all from the text itself, its turning narratives, and then from the author’s very poetic footnotes, which reveal the interaction of the actors, who really are trying to verbally best one another in favor of both the power of his own soliloquy, and the direction in which he desires the narrative to flow. So this “control” which each poetically skilled shepherd “exerts” over the narrative’s turns I think mirrors the kind of mastery of the beasts, which the narrator views with much awe.
April 30, 2024
3,5/5
Voilà que nous nous rencontrons donc, monsieur Giono.
Je n’ai pas toujours tout compris, mais pourtant cette plume (qui désarçonne par moments) m’a porté tout au long de ce voyage. Oui c’est un style bien singulier qui s’anime ici autour de ses mots. A la limite de l’absurde à des moments. Mais qu’est-ce que c’est mélodieux.
Je n’ai pas toujours tout compris, mais j’ai aimé ce compte métaphorique, qui semble vouloir transcender l’humain, vouloir l’unir à la nature. Et j’ai aimé la vibration puissante de cette nature et les chants des montages, des mers, des bergers, des arbres… Les chants du monde.
Voilà que nous nous rencontrons donc, monsieur Giono.
Je n’ai pas toujours tout compris, mais pourtant cette plume (qui désarçonne par moments) m’a porté tout au long de ce voyage. Oui c’est un style bien singulier qui s’anime ici autour de ses mots. A la limite de l’absurde à des moments. Mais qu’est-ce que c’est mélodieux.
Je n’ai pas toujours tout compris, mais j’ai aimé ce compte métaphorique, qui semble vouloir transcender l’humain, vouloir l’unir à la nature. Et j’ai aimé la vibration puissante de cette nature et les chants des montages, des mers, des bergers, des arbres… Les chants du monde.
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August 8, 2018I love exquisite descriptions. Well they were numerous here but I feel they were overkill. Now whether the translator is responsible for this I don't know. I think that I will search out the French original because I cannot believe that it will be so awful. We have here a wonderful author.
September 6, 2025
This was an interesting read. I enjoyed reading Jean Giono, a French author I knew through name but not actually having read. A bit flowery and with less type of substance than I was looking for, but a clearly, nature loving account. I skimmed more than I would have liked because I was impatient. Maybe that was a bad thing. Nonetheless, I have a bit more appreciation for an author that was neglected in my studies.
August 13, 2025
bouuuuh c'était trop chiant ça m'a choqué
January 9, 2025
Jean Giono's The Serpent of Stars is a novel that intertwines myth, nature, and mysticism into a narrative tapestry set in the heart of Provence. Originally published in 1933, this work is now presented in English through the translation by Jody Gladding, offering readers a journey through a landscape both real and otherworldly.
The novel's setting in Giono's cherished Provence becomes more than just a backdrop; it is a character that breathes through the pages, with descriptions that evoke the senses and immerse the reader in the natural world. Giono's prose is poetic, with a rhythm that might particularly appeal to those who enjoy literary styles that blur the lines between poetry and narrative.
Giono explores the themes of life, death, and the cyclical nature of existence, presenting them through a lens that elevates the everyday to something almost mythical. The narrative structure is unique, not following a traditional plot but rather moving through a series of interconnected vignettes that together form the novel's core.
The novel's approach can be both its strength and its challenge. For those who appreciate a meditative, almost dreamlike narrative, The Serpent of Stars offers a rich experience. However, readers looking for a more conventional story-line might find the novel's episodic nature and its focus on atmosphere over plot to be less engaging.
In summary, The Serpent of Stars is a distinctive work that will resonate with readers drawn to poetic prose, the mystique of nature, and narratives that explore the deeper connections between humans and their environment.
The novel's setting in Giono's cherished Provence becomes more than just a backdrop; it is a character that breathes through the pages, with descriptions that evoke the senses and immerse the reader in the natural world. Giono's prose is poetic, with a rhythm that might particularly appeal to those who enjoy literary styles that blur the lines between poetry and narrative.
Giono explores the themes of life, death, and the cyclical nature of existence, presenting them through a lens that elevates the everyday to something almost mythical. The narrative structure is unique, not following a traditional plot but rather moving through a series of interconnected vignettes that together form the novel's core.
The novel's approach can be both its strength and its challenge. For those who appreciate a meditative, almost dreamlike narrative, The Serpent of Stars offers a rich experience. However, readers looking for a more conventional story-line might find the novel's episodic nature and its focus on atmosphere over plot to be less engaging.
In summary, The Serpent of Stars is a distinctive work that will resonate with readers drawn to poetic prose, the mystique of nature, and narratives that explore the deeper connections between humans and their environment.
February 13, 2018
Ambientato nella notte di San Giovanni, quando i pastori francesi si riuniscono in una valle più vicino al cielo che alla terra e in questa ambientazione suggestiva danno vita ad una recita che ha qualcosa di mitico e primitivo. Romanzo molto suggestivo, che non ho capito se è ispirato a fatti reali oppure se è solo frutto dell'immaginazione di Giono.
January 17, 2019
Récit initiatique qui transporte son lecteur dans une campagne profonde, l'auteur cherche à se renouer à la nature et avec beaucoup d'élégance nous invite à faire de même, à reconstituer ce lien avec le cosmos. J'ai particulièrement aimé la fin, ce dialogue poignant entre ces bergers qui se définissent comme des forces de la nature !
This entire review has been hidden because of spoilers.
November 2, 2020
I love Giono and have many of his stories but this one was horrible.
April 5, 2021
Scrittura molto particolare, molto poetica, ho faticato un po' ad entrare in sintonia.a
May 14, 2022
J'avais très hâte de lire ce livre. Peut-être mes attentes étaient trop hautes.
December 24, 2021
„Die Sternenschlange“ ist ein Buch, das wie ein Rausch durch mich hindurchfegte und mit seinen intensiven Sprachbildern, einem fiebrigen Traum gleich, etwas Tranceartiges in mir erzeugte. Die Geschichte spielt in Südfrankreich im Umfeld von Schafhirten. Im Mittelpunkt steht ein Spiel der Hirten auf einem Bergplateau, in dem einzelne Hirten die Elemente verkörpern und in wortgewaltigen Reden über die Natur und den Menschen philosophieren. Nichts ist einstudiert, alles entsteht im Augenblick und erzeugt damit eine momentane Wahrheit, die nicht haltbar ist, aber in dieser Flüchtigkeit etwas Ewiges in sich birgt. Jean Giono gelingt es ausgezeichnet, sein pantheistisches Weltbild in dieser Hirtenlandschaft spürbar zu machen; und so hallen diese gewaltigen Wortbilder in meinem Inneren nach und ich verspüre eine Sehnsucht, mein eigener Hirte zu werden.
August 19, 2013
this one was just too inscrutable ~ even for me. or perhaps i wasn't in the right mood.
there's a narrative ~ but not much of a plot. there's a lot of terrific philosophical and lyrical imagery ~ which doesn't coalesce into anything profound or even interesting. and there's a shepherd's creation play ~ that is ultimately just a droning bore.
disappointed, but i guess i was expecting too much from a cool little book with a great little title. not sure i will look for other works from this author since this felt like the kind of unfettered stream-of-consciousness that's more interested in language itself rather than conveying anything with it.
there's a narrative ~ but not much of a plot. there's a lot of terrific philosophical and lyrical imagery ~ which doesn't coalesce into anything profound or even interesting. and there's a shepherd's creation play ~ that is ultimately just a droning bore.
disappointed, but i guess i was expecting too much from a cool little book with a great little title. not sure i will look for other works from this author since this felt like the kind of unfettered stream-of-consciousness that's more interested in language itself rather than conveying anything with it.
October 8, 2016
Dear Jody Gladding -
I am presently reading your translation of The Serpent of Stars. I have been a professional storyteller for going on 35 years and with a group of other professionals in Forcalquier, we are planning to do a storytelling production of the book in 2019.
I would like to get in touch with you to discuss this.
sam@samcannarozzi.com
All the best -
I am presently reading your translation of The Serpent of Stars. I have been a professional storyteller for going on 35 years and with a group of other professionals in Forcalquier, we are planning to do a storytelling production of the book in 2019.
I would like to get in touch with you to discuss this.
sam@samcannarozzi.com
All the best -
August 11, 2007
oh! beautiful.
September 19, 2011
Brilliant mixture of styles
March 20, 2012
I would marry this book
October 9, 2015
Text se stává tím, co líčí.
Displaying 1 - 18 of 18 reviews