Why an Imperfect Version of Proust Is a Classic in English

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Why an Imperfect Version of Proust Is a Classic in English
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Marcel Proust, who was born on this day in 1871, is part of the American reader’s experience in a way that his contemporaries are not. But is this Proust even Proust?

The art of translation is usually a semi-invisible one, and is generally thought better for being so. A few translators’ names are familiar to the amateur reader—we know about Chapman’s Homer, through Keats, and Richard Wilbur’s Molière is part of the modern American theatre—but mostly translators struggle with sentences for even less moment than other writers do. One key exception to this rule is C. K.

It is good to be reminded, too, that the mood and spirit of the circle was not remotely radical but rather cautiously reactionary and happily militaristic: the alternative to Uranian love was not socialism but Catholicism, of the kind to which Wilde himself succumbed in the end. Edward Marsh, Compton Mackenzie, Reggie Turner, and Noël Coward—theof what W. H. Auden called the Homintern—attended Moncrieff’s farewell lunch when he left for Italy, in the nineteen-twenties.

Proust himself, in a cranky letter of thanks, put his finger on the conventional complaint about Moncrieff’s version—which was that Moncrieff tended to smooth out or sweeten certain knotty or perverse moves in Proust. The question of the first volume’s title captures the issue: “Du Cote de chez Swann” is a weird construction in French, meaning more or less “The Way by Swann’s Place.

James’s is a very odd kind of autobiography where, as often happens in Proust, there is no obvious hierarchy of incidents: anything remembered matters. It’s a memoir whose chief subjects are memory itself and the relationship of the child to the man—or to men, as Henry constantly defers to his brother William, whom he presents as an intimidating pillar of superior sense.

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