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Дневник незнакомца
«Дневник незнакомца» Жана Кокто – это не классические мемуары или дневники, но глубоко интимные и глубоко философские размышления «глашатая нового искусства». Кокто пишет о природе, поэзии и красоте, психоанализе, свободе и смертной казни, дружбе, памяти и рождении идей. Вспоминает встречи и беседы с Сартром, Стравинским, Прустом и Пикассо. И в этих очерках раскрывается личность Кокто, одного из самых оригинальных художников века.
256 pages, Paperback
First published September 1, 1952
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227 people want to read
About the author
Jean Cocteau
575 books898 followersJean Maurice Eugène Clément Cocteau (5 July 1889 – 11 October 1963) was a French poet, novelist, dramatist, designer, boxing manager, playwright and filmmaker. Along with other Surrealists of his generation (Jean Anouilh and René Char for example) Cocteau grappled with the "algebra" of verbal codes old and new, mise en scène language and technologies of modernism to create a paradox: a classical avant-garde. His circle of associates, friends and lovers included Jean Marais, Henri Bernstein, Colette, Édith Piaf, whom he cast in one of his one act plays entitled Le Bel Indifferent in 1940, and Raymond Radiguet.
His work was played out in the theatrical world of the Grands Theatres, the Boulevards and beyond during the Parisian epoque he both lived through and helped define and create. His versatile, unconventional approach and enormous output brought him international acclaim.
His work was played out in the theatrical world of the Grands Theatres, the Boulevards and beyond during the Parisian epoque he both lived through and helped define and create. His versatile, unconventional approach and enormous output brought him international acclaim.
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Displaying 1 - 11 of 11 reviews
December 27, 2007
not the most interesting book. it, however, has a unique story in it. it's about a man witnessing a funeral procession for the king of cats.
July 3, 2022
Like his earlier The Difficulty of Being, Cocteau's Diary of an Unknown is a book of personal essays on life, art, friendship, his career as filmmaker / poet / novelist / visual artist, and on his experiences as an international celebrity. I did enjoy this one, but at the same time, I think the book does not succeed as well as it could have, mostly because of the themes of visibility and invisibility that he employs in several of the essays. Not that the themes do not work: rather, my objection is that the terms visible and invisible appear to refer to different things depending on whether Cocteau is discussing his artistic process or his audience's reception of his work, but Cocteau does not appear to make the necessary distinctions among these contextual changes of meaning, leaving the reader to work these out for him or herself. Of course, I could be the kind of audience member of whom Cocteau complains, focusing on unimportant details or misreading the symbolic as the literal and vice versa, and thereby missing the meaning of the artwork (but I would argue that I care about what Cocteau is saying and feel I have taken more trouble than he has to work out what that is). At the same time, it could be that Cocteau is sometimes sloppy in his writing. As he notes in The Difficulty of Being, "I correct carelessly, let a thousand faults pass, am lazy about rereading my work and only reread the idea. So long as what's to be said is said, it's all one to me." (But then I remember a few of the essays included here, in which the writing is anything but sloppy: I am thinking in particular of "On a cat story" with its beautiful language, vivid detail and imagery, gradual buildup of suspense, and its exit line. This essay has stuck with me in a way that few things have done, so much so that I sometimes have the mistaken impression that my most recent reading of this book is my third, when actually it is only my second.)
Acquired 1996
Gift from Anthony
Acquired 1996
Gift from Anthony
August 15, 2024
3.5 stars. Cocteau’s second collection of essays (although he referred to
The Difficulty of Being
as “lectures”) touches on many of the same themes throughout his career – youth, the invisibility of the poet, Greek myth – but also explores more metaphysical (and dare I say spiritual?) topics that I haven’t seen much in his work. This goes beyond his usual discussion of fable and myth (which are here, to be sure), but into the realm of quantum theory and what we might even call string theory. His essay on distances riffs on the concept of a universe in an atom, and shows a side of him that I hadn’t seen: the poet grappling with (and resisting) science. Perhaps this is the “unknown” of the title?
The other highlights for me: essays on public quarrels with Gide and Mauriac – the latter due to Mauriac’s trashing of Cocteau’s brilliant anti-clerical play, Bacchus – and a chapter of aphorisms, which very much makes sense, considering the aphoristic nature of his oeuvre.
Recommended for readers of Cocteau, but only after diving into most of his other work.
The other highlights for me: essays on public quarrels with Gide and Mauriac – the latter due to Mauriac’s trashing of Cocteau’s brilliant anti-clerical play, Bacchus – and a chapter of aphorisms, which very much makes sense, considering the aphoristic nature of his oeuvre.
Recommended for readers of Cocteau, but only after diving into most of his other work.
May 15, 2021
Reread again last night.
I only wish I could read the original version and not rely on the English translation.
Highly recommend
I only wish I could read the original version and not rely on the English translation.
Highly recommend
December 3, 2013
Read for insights into the creative life of one of the twentieth century's most interesting film artists.
October 8, 2024
“Perhaps we are finites, containing finite systems that contain others, ad infinitem. Perhaps we all dwell within one of these finite systems…Perhaps this infinity of finitudes one within another, this Chinese box, is not the kingdom of God, but God himself.”
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May 20, 2024"With diary of an unknown (originally published in France in 1953), Jean Cocteau takes up that most French of all literary forms, the essay." ix
"Recant though he may, he {man} continues to dismiss the thought that his dwelling place might be a speck of dust in the Milky Way." p.22"
"Man is utterly confused by the fact that truth can be multiples..." p. 132
"In my opinion, the mythologist is preferable to the historian. Once probed, Greek mythology is far more interesting than the distortions and simplifications of history, because its lies are in no way alloyed to reality and falsehood. History's reality becomes a lie. " p. 140
"Allow the power of the soul to grow as flagrant as the power of sex."
"Hate only hatred."
"Disavow anyone who provokes or accepts that extermination of a race to which he does not belong."
Cocteau wished to be compared to Montaigne, and he earns that comparison. My knowledge of Montaigne is that although he spoke of himself frequently, he was more abstract. He did not get into gossip. Cocteau does, yet his honesty prevails. His willingness to forgive those who wronged him or wished him ill is quite touching.
"Recant though he may, he {man} continues to dismiss the thought that his dwelling place might be a speck of dust in the Milky Way." p.22"
"Man is utterly confused by the fact that truth can be multiples..." p. 132
"In my opinion, the mythologist is preferable to the historian. Once probed, Greek mythology is far more interesting than the distortions and simplifications of history, because its lies are in no way alloyed to reality and falsehood. History's reality becomes a lie. " p. 140
"Allow the power of the soul to grow as flagrant as the power of sex."
"Hate only hatred."
"Disavow anyone who provokes or accepts that extermination of a race to which he does not belong."
Cocteau wished to be compared to Montaigne, and he earns that comparison. My knowledge of Montaigne is that although he spoke of himself frequently, he was more abstract. He did not get into gossip. Cocteau does, yet his honesty prevails. His willingness to forgive those who wronged him or wished him ill is quite touching.
October 10, 2015
The author starts off setting up the structure of the book for the reader. He's chosen to emulate Montaigne and his approach to essays.
A reader needs to take two things account when reading this book. 1) having some familiarity with the works of Jean Cocteau and 2) approaching the book with an understanding of the cultural timeline in which it resides. For me I was weak on the first, and more familiar with the second. In this way there is much to forget to keep it in context with everything that has happened before the publishing date of 1958. I, no doubt, had a less rich read without being fluent in the art world pre and post world wars. Art was still Art. Theatre played a larger societal role. Film as a medium was still ramping up. As with any historical read footnotes and annotations are helpful. Alas, the book contains none. You would not read Shakespeare the same way without all the erudite marginalia to act as historical tour guides and translators.
The essay subjects aren't quite apparently cohesive to the stated theme of the book which is invisibility. What is invisibility? It could be subtext, the different social masks one wears, the
hidden and unshared impetus and reasons behind actions, art and living.
the majority of themes are all around, no surprise, art, but also the art world. An early essay deals with his critics and he names a nemesis. Critics back then seemed to hold more weight as they indicated who were perhaps charlatans and who where not. Kind of makes sense in the depression.
Whereas now mainstream critics, if they can be called that, vie to get quoted on for movies, books and music. It's an industry now with less legitimacy. Either way, an artists critic does not resonate with me - so what, who cares?
Other artists referenced have greater familiarity, Stravinsky, Picasso, Proust, other less, Gide, and some fallen out of the memory of artisanal ether.
For the most part I found the writing self-indulgent and egotistical. There were still some interesting points of view on art, people and living, but this is in now way a tour de force about life. It's more of a leisure one-way conversation happening over, perhaps, a second glass of wine.
An observation made on the banality of certain music is compared to being just tourists on the music scene visiting and then gone without leaving a mark. There is so much of this type of music now I have classified it as being 'disposable.' In the time when Albums were created in sold (it's been replaced with just singles) there were usually songs called 'throwaways' by the artists just to fill up the space. Some are bad, but some were sleepers. Disposable seems to be everywhere in modern music. it's as if there's a holding pattern on creativity, if you will. I think the listener is part of this holding pattern. When less is demanded, that's exactly what the industry will strive to provide and mine. (a note on the term 'disposable': I was happily surprised to have this viewpoint reiterated by Freddy Mercury in Freddie Mercury, His Life in His Own Words.
Near the end Cocteau does provide short adages to mind in life just as Benjamin Franklin created a list he minded to improve himself. Whether either actively adopted those in their daily life or merely provided them for posterity as a post note for future generations is a mystery.
In the end it's up to the reader to take heart and decide.
A reader needs to take two things account when reading this book. 1) having some familiarity with the works of Jean Cocteau and 2) approaching the book with an understanding of the cultural timeline in which it resides. For me I was weak on the first, and more familiar with the second. In this way there is much to forget to keep it in context with everything that has happened before the publishing date of 1958. I, no doubt, had a less rich read without being fluent in the art world pre and post world wars. Art was still Art. Theatre played a larger societal role. Film as a medium was still ramping up. As with any historical read footnotes and annotations are helpful. Alas, the book contains none. You would not read Shakespeare the same way without all the erudite marginalia to act as historical tour guides and translators.
The essay subjects aren't quite apparently cohesive to the stated theme of the book which is invisibility. What is invisibility? It could be subtext, the different social masks one wears, the
hidden and unshared impetus and reasons behind actions, art and living.
the majority of themes are all around, no surprise, art, but also the art world. An early essay deals with his critics and he names a nemesis. Critics back then seemed to hold more weight as they indicated who were perhaps charlatans and who where not. Kind of makes sense in the depression.
Whereas now mainstream critics, if they can be called that, vie to get quoted on for movies, books and music. It's an industry now with less legitimacy. Either way, an artists critic does not resonate with me - so what, who cares?
Other artists referenced have greater familiarity, Stravinsky, Picasso, Proust, other less, Gide, and some fallen out of the memory of artisanal ether.
For the most part I found the writing self-indulgent and egotistical. There were still some interesting points of view on art, people and living, but this is in now way a tour de force about life. It's more of a leisure one-way conversation happening over, perhaps, a second glass of wine.
An observation made on the banality of certain music is compared to being just tourists on the music scene visiting and then gone without leaving a mark. There is so much of this type of music now I have classified it as being 'disposable.' In the time when Albums were created in sold (it's been replaced with just singles) there were usually songs called 'throwaways' by the artists just to fill up the space. Some are bad, but some were sleepers. Disposable seems to be everywhere in modern music. it's as if there's a holding pattern on creativity, if you will. I think the listener is part of this holding pattern. When less is demanded, that's exactly what the industry will strive to provide and mine. (a note on the term 'disposable': I was happily surprised to have this viewpoint reiterated by Freddy Mercury in Freddie Mercury, His Life in His Own Words.
Near the end Cocteau does provide short adages to mind in life just as Benjamin Franklin created a list he minded to improve himself. Whether either actively adopted those in their daily life or merely provided them for posterity as a post note for future generations is a mystery.
In the end it's up to the reader to take heart and decide.
August 31, 2009
What didn't Jean Cocteau do in his life? Personally I love him for his movies (Beauty and the Beast especially), but he did so much more from writing novels to poetry to plays. Diary of an Unknown is a posthumous collection of his essays on different aspects of life (friendship, injustice, memories, etc.). They're short essays, diary entries almost, simple thoughts on different matters - okay, it's Cocteau, so it's actually rather complex thoughts on relatively simple matters... but when it gets right down to it, that's what made him such an awesome Surrealist anyhow.
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April 16, 2009Recommended
July 24, 2013
Can't finish this book. While it's interesting, it's a little beyond my reach at this point in my life. It's simply not the book for me right now.
Displaying 1 - 11 of 11 reviews