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Book Description
Imagine, if you can, Freud and Proust sitting down for a chat with Zippy the Pinhead and the Marquis de Sade. Then, just when things are starting to get a bit silly, in walks Karl Marx with a dead serious face to deliver a vitriolic diatribe. After he has finished his speech, Jacques Lacan enters ands slips a couch under the narrator, who begins psychoanalyzing himself and his text. Zippy soon prevails, however, and the narrative has turned into a political allegory with characters out of Felix the Cat: a surrealist, graphic (historiographic, geographic, pornographic) version of The Romance of the Rose.
Rene Crevel's 1933 novel Putting My Foot in It (Les Pieds dans le plat) has long been considered a classic of the surrealist period, but has never been translated into English until now. Loosely structured around a luncheon attended by thirteen guests, the novel is a surrealistic critique of the intellectual corruption of post-World War I France, especially the capitalist bourgeoisie and its supporter, the Catholic Church.
The novel begins with an account of the family of the major character, known as the "Prince of Journalists." This bizarre family—the grandparents a soldier and a sodomized woman, the parents an orphaned epileptic and a hunchback—is matched by Crevel's bizarre syntax and vocabulary: nouns that initially appear legitimate, intact, and respectable, soon decompose into obscene epithets, making other nouns, both common and proper, suspect.
The story continues in this way to deconstruct itself on many levels—literary, semantic, psychological, ideological—until the final chapter, when the luncheon degenerates in a way reminiscent of a Bunuel film and all of the novel's characters appear in a dirty movie entitled "The Geography Lesson," a final metaphor for the corruption of European society between the world wars.
This edition also reprints Ezra Pound's well-known essay on Crevel as a foreword, and includes an introduction by Edouard Roditi, who knew Crevel in the 1930s. (Mr. Roditi died in May of 1992 while this book was in production.)
About the Author
| Rene Crevel, born in Paris in 1900, played a key role in the surrealist movement, engaged in militant left-wing politics, and wrote several novels and essays before committing suicide in 1935. His novels Babylon, Difficult Death, and Putting My Foot in It have been translated into English. | ![]() |
Praise
"Crevel was born rebellious the way others are born with blue eyes."—Philippe Soupault"He will be read more and more as the wind carries away the ashes of the 'great names' that preceded him."—Ezra Pound
"Putting My Foot in It. Verbal excess? But how can one fill the gaps in reality without having recourse to excessive words? Crevel's work, a desperate confrontation between man and his condition, is a frantic leveling of life and language. Proust's work (with which Crevel is infused) attempts to be an extra-temporal compensation for all past, present, and future deficiencies. Crevel, on the contrary, flees time or runs ahead of it. . . . If you don't find Crevel's fever contagious, then you are definitely vaccinated against rebellion. So close this book: exaltation is tiring and you know how to float on your back, letting time carry you along. What's the use of trying to cut through the waves to go out to sea, since in any event, odds are that the sea will bring your drowned body back to the beach, so close and so comfortable, from which you never should have wandered."—Claude Courtot, Rene Crevel (1969)
"[French critics] refused to forgive Crevel for having put his foot in the mouth of the opportunism of the French Third Republic society, which he suspected of preparing the way for a French fascism."—Michel Carassou, Rene Crevel
"A scathing political and social satire about a post-World War I Europe increasingly darkened by Hitlerian shadows. . . . In a radical departure from the standard French-fiction fare of his day, Crevel brilliantly renews the force and the farce of Petronius' Satryicon. Indeed this ribald, acerbic, at times, uproarious . . . series of interconnected caricatures graphically illustrates the abrupt changes in prose writing brought on by surrealist aesthetics."—San Francisco Chronicle
"The works that Crevel left us indicate that he was one of the most original, gifted French novelists of the century."—San Francisco Bay Guardian
"Crevel remains one of the most readable surrealists. . . . [H]e is a beautiful writer, beautifully translated. His liquid language tumbles along, powered by his strong descriptions, by his love of Freudian wordplay—rarely is a cigar just a cigar—and by his strong Communist beliefs."—Publishers Weekly
"This classic surrealistic novel satirizes capitalism, the Catholic Church, and fascism, using risque language and vivid, dreamlike imagery. . . . Crevel creates absurd little scenes that degenerate wittily but grotesquely into sexual vignettes."—Library Journal
"Crevel constructs a biting satire of hypocrisy and affectation in the literary circles of his era. . . . This admirable translation opens to many new readers the funny, tragic, and courageous world of Rene Crevel."—World Literature Today
"He struggled all his life, without degrading himself in the coils of the struggle, struggled against everything: against his germs, against his family heritage, against injustice, against dishonesty which he loathed, against the task that others wanted to get him to do near the end of his life under the pretext of drawing him into I don't know what stupid obedience."—Rene Char
More Information
Sun and tradition. A dazzling light and the firm intention not to let yourself be blinded, etc., etc.
Symbols need not limit their scope to this pendulum swing of images. But a well-balanced mind won’t try and roost on a swing of antithesis that, at the height of its arc, would only look down on treacherous metaphors and promenades strewn with wolf traps that snare innocent beige fawns in flight, rather than large carnivores.
Here, today, the herd of cavorting ideas would hardly seem threatened. Fog-toothed melancholy can only sink its teeth into moonlight. And presently, it is high noon. So much for time. As for place, the Roman Empire passed through. It even stayed, blended with the dirt on this hillside, disciplined it, militarized it, metamorphosing amorphous terrain into terraces.
One of the mighty of this earth, one of the opinion makers whose sense of order takes pleasure in evoking the grand classical past, not for vain regrets but for quite virile resolutions, is jaunting merrily along — although there is nothing merry about the thoroughfare in question—snuggly ensconced in a motorcar worthy of the Roman road. This brand-new car is French-made, for if the ear of the Caesars, including the subsequent period, was the age of hippic locomotion, it is important, when purchasing motor vehicles, to observe a certain solidarity which, if not specifically French, is Latin, or at the very least, European, but strictly European, for after all of the tricks they have played on us, those sons of Uncle Sam with their Bonus Armies, their gangsters, their crashing and crashed millionaires—they can go hang themselves elsewhere.
With a light breeze tickling the white hairs on his chest and those which serve as a nest for a certain bird and its septuagenarian eggs (fresh as a daisy, moreover, thanks to Voronoff), the man who rejoices in the title of the Prince of Journalists savors the joy of living.
Here, in the hollow of a small valley, is a ruin used to transport water before the birth of Christ. Thus, to the paradoxical and nearly imperceptible accompaniment of an almighty motor, thoughts can let themselves float along. It won’t be long before they reach the banks of reverie. They won’t, moreover, lose any of their moderation in the process. Mustn’t forget that, if Fragonard and Hubert Robert measured up to this landscape, then any French mind worthy of the name can and must, out of the greatest disorder, out of a certain shambles, indeed out of a complete mess, compose a garden, a French garden, to be exact.
And to think that the great redheaded barbarians sung (though not in earnest) by Verlaine dare to return to our countryside, to our beaches, to attack our spas, to talk about how old this country is, and even spend their money on the rags that insinuate, with each venture undertaken by the Prince of Journalists, that this time it could be his swan song. A Prince of Journalists’ song, if he is aware of his national rights and duties, can only come out as a cock’s crow. The Gallic cockerel’s. His head is bursting with bugles. He is always ready to sound the charge. Even his dreams are dedicated to his country—only last night, he dreamt he was the Unknown Soldier’s widow! Ah, that cadaveric stiffness!
But to be aware of one’s rights and duties as a Frenchman is first of all to be liberal. Thus, the Prince of Journalists agreed to have lunch today with an Austrian woman. An archduchess, of course. And if other compatriots of our former enemies should try to slip in behind the grand dame, he will take care of them. And above all, watch out for so-called philosophers, poets, and filmmakers from Central Europe. Each morning, the director of a large daily dutifully reminds the editor of his Arts and Letters column that an intellectual invasion never fails to foreshadow the other kind. So guard and watch all frontiers—the frontiers of the mind no less than those in the north and the east. Defend the moral heritage of France, French culture, the culture of French thought, French gardens, French-style gardens, the French woman’s gardens, with boxwood-lined paths, the wood itself being carved into a darning egg; for the owner, the Frenchwoman, the bourgeoisie Frenchwoman (any Frenchwoman worthy of the name being a bourgeoisie), even athletic or a touch brainy, is and will remain, until the end of time, thrifty enough to keep both the wooden stocking, wherein lies the family nest egg, and her own nylons from unraveling, mending them as soon as they begin to run.
Sitting at her window, with a song on her lips, a flower in her bosom, but never with a fire down below, this guardian of traditions, next to a table adorned with the tastiest fruits of her orchard—isn’t it something out of Chardin?
The Prince of Journalists is moved. He melts. And not only from the midsummer heat but from the warmth, far more touching, of memory. In his mind’s eye, he sees his father, his mother, the decent people who spent their lives growing old. By the time they procreated him they were in their twilight years, hoping that very solid experience would compensate for certain congenial and perhaps hereditary handicaps. The good souls had no reason to worry. Their son, although he is short and lively tempered, holds himself straight as a ruler, and, at bottom, always masters his reflexes. Actually he turned out well enough, both mentally and physically, to savor with his utmost gratitude, in the scene before him, the memory of the ruin which had been built, on his father’s orders, near a pond whose waters were confined by exquisite little banks. The wise old man, after having asked the valet who never left him for a second to set up his folding stool and cover his shoulders with a Scottish plaid, was ready to sit down, aim, shoot (wasn’t this firearmed fisherman an expert on refraction?) one, two, three, four times. He killed the father, the mother, the little boy, the little girl bleak-fish.
Only the most genuinely French virtues had caused this carbine fisherman to become an Olympian statue of warm fabrics at the edge of autumn’s waters. Beneath such majesty he was hiding a painful secret. Our firearmed fisherman’s mother, in the days when she was carrying him, had been assaulted on a dark night and, before she even had time to catch her breath, got hosed—and, what’s worse, from the flip side. How could the unborn child have possibly avoided the repercussion of this heinous violence? Expecting his offspring to bear a double original sin which no amount of baptism would wash away, the husband of the woman sodomized in spite of herself, a great friend of Cambronne, used his connections to get enlisted and heroically killed immediately, at the head of a small troop which had only recently bestowed upon him the proud title of commander.
Every sin, even unintentional, can be forgiven. Of course, the orphan paid for this forgiveness with congenital epilepsy. He was all but deprived of the joys of childhood. He can still remember his mother’s mustached nieces sitting in a circle all around her, the woman sodomized in spite of herself. These cousins, if distant memory serves him well, were neither fish nor foul, neither hide nor hair, but salt and pepper and more bitter than sweet. They were going to prevent a further accident at all costs, which is why they lived on the plains of Beauce.
On the horizon, there wasn’t a single grove that could conceal a satyr. As soon as the wheat reached a certain height, the young widow was confined to the house until the last row had been gleaned.
As a result of her adventure, she had become prone to melancholy. The sweet, desperate automatism of certain gestures which she repeated indefinitely made her guardians conclude that she was eccentric or even obsessed. For days upon end she would caress her hair, which was naturally wavy, but straightened each morning. She hardly ever opened her mouth. On one exceptional evening, however, she was talking a great deal when, perhaps, she was frightened by a reproving stare from one of the old women? In any event she jumped up and took off running. Since one of the jailers had just made sure that all the doors and windows were securely locked, none of them bothered to follow her. The young woman didn’t get far, of course, no farther than the dining room; but there, out of a Dutch candelabra she pulled a purplish candle (everything was mourning and half-mourning in her charming little interior) and, in pious kiss, brushed her lips against its wax, which was softer than the softest human skin.


