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By Ivy Compton-Burnett

The Donne family's circulation to the rustic is electrified by means of a desire to be with regards to their cousins, who're to be their nearest neighbours. It proves too shut for convenience, in spite of the fact that. For a mystery switching of wills factors the main genteel pursuit of self-interest to threaten sturdy relatives or even strong manners...

Ivy Compton-Burnett employs her sharp ear for comedy and celebrated powers of discussion to extraordinary impact. She finds a devastating microcosm of human society, within which the elders are not at all continually the betters, during which no personality is completely scrupulous, yet none with no their appeal.

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Sample text

Roque et sa fille.  Dambreuse.  de Larsillois, dont la femme fréquente le salon de Mme Dambreuse. ), à l’exception de son précepteur et de Frédéric12. Aux soirées de Frédéric, on retrouve toujours Deslauriers, accompagné de Sénécal, Dussardier, Pellerin, Hussonnet, Cisy, Regimbart et Martinon (ces deux derniers étant absents lors de la dernière soirée)13. Enfin, Dussardier rassemble Frédéric et la fraction petite-bourgeoise de ses amis, Deslauriers, Sénécal, et un architecte, un pharmacien, un placeur de vins et un employé d’assurances14.

Quant aux intérêts artistiques qu’il exprime de loin en loin, ils n’ont pas assez de constance et de consistance pour offrir un point d’appui à une ambition plus haute, capable de contrarier positivement les ambitions communes : lui qui, lors de sa première apparition, « pensait au plan d’un drame et à des sujets de tableaux », et, d’autres fois, « rêvait de symphonies », « voulait peindre » et composait des vers, il commence un jour « à écrire un roman intitulé Sylvio, le fils du pêcheur », où il se met en scène, avec Mme Arnoux ; puis il « loue un piano et compose des valses allemandes », se convertit ensuite à la peinture, qui le rapproche de Mme Arnoux, pour revenir enfin à l’ambition d’écrire, une Histoire de la Renaissance cette fois6.

Et on ne peut qu’approuver une tentative comme celle de Michel Chaillou lorsque, se fondant sur le primat du sentir, de l’éprouver, de l’aisthèsis, il propose une évocation littéraire de la vie littéraire, étrangement absente des histoires littéraires de la littérature8 : en s’ingéniant à réintroduire dans un espace littéraire singulièrement confiné ce qu’on peut appeler, avec Schopenhauer, les parerga et paralipomena, les entours négligés du texte, tout ce que les commentateurs ordinaires laissent de côté, et en évoquant, par la vertu magique de la nomination, ce qui fit et fut la vie des auteurs, les détails familiers, domestiques, pittoresques, voire grotesques ou « crotesques » de leur existence et de son décor le plus quotidien, il opère un renversement de la hiérarchie ordinaire des intérêts littéraires.

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