Here are 100 books that Proust's Way fans have personally recommended if you like
Proust's Way.
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I first read Swann’s Way when I was seventeen. Throughout the following five decades, In Search of Lost Time has always remained within reach, a parallel universe more enriching than words can express. As a painter, I’m drawn to Proust’s subtle use of paintings to reveal and mystify the relationship between what we see and what we know. I’ve spoken on Proust at Berkeley, the Museum of Fine Arts in Boston and Houston, and was invited to give the annual Proust lecture at the Center for Fiction in New York as well as the Amon Carter Lecture on the Arts at the Harry Ransom Center in Austin.
Howard Moss brings a poet’s grasp of the ineffable to this enchanting study of Proust. His commentaries on the novelist’s use of psychology and philosophy, on habit and memory, are remarkable contributions to our understanding. He writes about In Search of Lost Time as “a total vision, not relying on any system outside itself for support. It is as if Dante had set out to write The Divine Comedy using only the facts of his own existence, without any reference to Christianity.” Moss was poetry editor at The New Yorker for almost forty years. A small gem.
"[The Magic Lantern of Marcel Proust] reduces the ungainly and intricately designed masterpiece to its shape, and with hardly a wasted word...The paragraphs on habit and memory are truly wonderful—wonderful as explication, as psychology, and as philosophy."—John Updike
"Almost everything Moss says seems to me right, illuminating, and new. This is the book of a mature and individual mind and sensibility, with a deep experience of moral, social, psychological, and aesthetic values which is rare among critics." —George D. Painter
"A moving and inspiring book. Moss clears away dark corners, clarifies motivations, and places the huge work within the reader's…
I first read Swann’s Way when I was seventeen. Throughout the following five decades, In Search of Lost Time has always remained within reach, a parallel universe more enriching than words can express. As a painter, I’m drawn to Proust’s subtle use of paintings to reveal and mystify the relationship between what we see and what we know. I’ve spoken on Proust at Berkeley, the Museum of Fine Arts in Boston and Houston, and was invited to give the annual Proust lecture at the Center for Fiction in New York as well as the Amon Carter Lecture on the Arts at the Harry Ransom Center in Austin.
It was because of Proust that I came to learn of the existence of the Polish painter and writer Józef Czapski. While a prisoner of war in the dark heart of Soviet Russia during the Second World War, this singular, cosmopolitan spirit devised a series of lectures on Proust and In Search of Lost Time as a vital counterpoint to the grim surroundings he and his fellow prisoners were forced to endure, offering them a context for addressing their lives and their bleak fates. Freezing, nearly starving, lice-ridden, Czapski mapped out Proust’s cosmology in several pages of his journal that served to fuel his talks. Scheherazade-like, night after night, he slowly revealed the already-legendary French novelist’s complex world of ideas and characters, giving voice to the life-enhancing magic great art bestows.
The first translation of painter and writer Józef Czapski's inspiring lectures on Proust, first delivered in a prison camp in the Soviet Union during World War II.
During the Second World War, as a prisoner of war in a Soviet camp, and with nothing but memory to go on, the Polish artist and soldier Józef Czapski brought Marcel Proust’s In Search of Lost Time to life for an audience of prison inmates. In a series of lectures, Czapski described the arc and import of Proust’s masterpiece, sketched major and minor characters in striking detail, and movingly evoked the work’s originality,…
I first read Swann’s Way when I was seventeen. Throughout the following five decades, In Search of Lost Time has always remained within reach, a parallel universe more enriching than words can express. As a painter, I’m drawn to Proust’s subtle use of paintings to reveal and mystify the relationship between what we see and what we know. I’ve spoken on Proust at Berkeley, the Museum of Fine Arts in Boston and Houston, and was invited to give the annual Proust lecture at the Center for Fiction in New York as well as the Amon Carter Lecture on the Arts at the Harry Ransom Center in Austin.
When the Hungarian-French photographer Brassai arrived in Paris in 1924, he taught himself French by reading Proust. As a photographer, he was fascinated by a similarity between his own impulse to make pictures and how the novelist used the photographic process as a metaphor for establishing or obscuring his character’s inner and outer worlds, as if both he and Proust were developing images in their respective darkrooms. Proust, Brassai saw, “used his own body as an ultra-sensitive plate, managing to capture and register thousands of impressions.” He was like a reporter with a camera—sometimes a portraitist, a landscapist, and, “sometimes Proust rivals the paparazzi.”
One of the most original and memorable photographers of the 20th century, Brassai was also a journalist, sculptor and writer. He took great pride in his writing, and he loved literature and language - French most of all. When he arrived in Paris in 1924, Brassai began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassai soon became convinced that he had discovered a kindred spirit. Brassai wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also…
I first read Swann’s Way when I was seventeen. Throughout the following five decades, In Search of Lost Time has always remained within reach, a parallel universe more enriching than words can express. As a painter, I’m drawn to Proust’s subtle use of paintings to reveal and mystify the relationship between what we see and what we know. I’ve spoken on Proust at Berkeley, the Museum of Fine Arts in Boston and Houston, and was invited to give the annual Proust lecture at the Center for Fiction in New York as well as the Amon Carter Lecture on the Arts at the Harry Ransom Center in Austin.
Proust’s passion for the English writers George Eliot and John Ruskin is well known, as is his scrutiny of the Anglophilia of Parisians at the turn of the twentieth century, but his connection with American thinkers and painters has been less carefully scrutinized. ”It is strange," Proust wrote in 1909, "that, in the most widely different departments . . . there should be no other literature which exercises over me so powerful an influence as the English and American.” Ralph Waldo Emerson, Edgar Allen Poe, and James McNeill Whistler are examined as Proust's key American influences. Critic Michael Murphy also investigates the previously overlooked influence of the American neurologist George Beard, whose writings on neurasthenia and "American nervousness” helped contribute to the essential modernity of In Search of Lost Time.
An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.
"It is strange," Proust wrote in 1909, "that, in the most widely different departments . . . there should be no other literature which exercises over me so powerful an influence as English and American." In the spirit of Proust's admission, this engaging and critical volume offers the first comparative reading of the French novelist in the context of American art, literature, and culture. In addition to examining Proust's key American influences-Ralph Waldo Emerson, Edgar Allen Poe, and James McNeill Whistler-Proust…
There are so many different ways of thinking and writing about history. I first noticed this while studying at university, when I saw just how different economic history looked from other kinds of history. I later learned that all kinds of historical writing are forms of literature, only they are rarely recognized as such. I am now a university professor and this is my area of expertise: the overlap between the philosophy of history and economics. The books on this list are great examples of unusual or ‘weird’ works on history that challenge some of our deepest assumptions about what history is and how best to think or write about it.
Kermode is a literary critic and this book is a study of apocalyptic narrative throughout the ages. But as Lowith shows, all Western historical thought is apocalyptic. Kermode takes this point further by looking not just at the Bible, but also Roman philosophy, modern English poetry, and more. It might sound like a bit of a detour, only it doesn’t feel that way when he brings it all to a head in an early diagnosis of the postmodern condition. Because we now know the power of stories, he argues, they can only continue to do their work by ‘defying our sense of reality.' Talk about the ultimate cliffhanger!
Frank Kermode is one of our most distinguished and beloved critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burroughs, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit.…
There are so many different ways of thinking and writing about history. I first noticed this while studying at university, when I saw just how different economic history looked from other kinds of history. I later learned that all kinds of historical writing are forms of literature, only they are rarely recognized as such. I am now a university professor and this is my area of expertise: the overlap between the philosophy of history and economics. The books on this list are great examples of unusual or ‘weird’ works on history that challenge some of our deepest assumptions about what history is and how best to think or write about it.
Most people think that history and religion are two completely opposed registers, much like science and religion. Lowith upends that idea in this book, which shows how all modern historical thinking and writing is theological. Besides this, another great thing about the book is the way it is organised. Instead of running forward, in chronological order, from the Bible through to Hegel, Marx, and Burckhardt, it begins with these thinkers and works its way backward. It’s a really simple but effective way of getting his point across.
Modern man sees with one eye of faith and one eye of reason. Consequently, his view of history is confused. For centuries, the history of the Western world has been viewed from the Christian or classical standpoint-from a deep faith in the Kingdom of God or a belief in recurrent and eternal life-cycles. The modern mind, however, is neither Christian nor pagan-and its interpretations of history are Christian in derivation and anti-Christian in result. To develop this theory, Karl Loewith-beginning with the more accessible philosophies of history in the nineteenth and eighteenth centuries and working back to the Bible-analyzes the…
After devouring fantasy novels in my late teens and early twenties, I eventually hit a dead end. Where had all the good old-school fantasy gone? I wanted dashing heroes, compelling love stories, and epic battles between good and evil, but I could not seem to find it anymore–at least not as regularly as I wanted to. Eventually I set about writing my own stories, the kind of stories I always wanted to read. When I’m writing, I always go back to books on this list to rekindle my fire and remind me what good fantasy should be.
This novel features a strong protagonist, separated from his love by an evil emperor.
I love characters that aren’t just fighting for a good cause, but are fighting for love, and this series features a gripping love story. The characters find a way to beat impossible odds using wits, magic, and courage. It’s one of the few books I was excited to read more than once.
SOUL OF THE FIRE saw the political machinations that have dogged the midlands reach new heights as the Chimes ran free and threatened magic everywhere. As the novel ended Kahlan has narrowly avoided death and now she and Richard Rahl, the Seeker, must strive again to save the world from the resurgent armies of the Emperor Jagang. From the very first page FAITH OF THE FALLEN PITCHES Richard and Kahlan into their most desperate fight yet, a fight where worlds once again hang in the balance. Richard must embark on a course of action that will leave his people feeling…
I am eternally fascinated by the way in which a string of words can take on a life of its own. With a mere 26 letters, a good writer can have a reader believe anything. When realist fiction first became a category in the 18th century in England, there was a lot of handwringing over whether readers were being lied to. Of course, they were! That is the point of fiction. My own work has always played with the boundary of realist fiction, fairytale, and truth. I’m interested in the way a story can make meaning—and the more hijinks, the better!
I set out very determined to despise this first book of Knausgard’s series. Knausgard’s life is no more fascinating than anyone’s. This is not necessarily his life but some reasonable facsimile that dips in and out of reverie, philosophy, and the hardcore reality of cleaning up after an alcoholic parent dies. Hoarding, self-loathing, and Nordic landscape are all features. I mean, what is NOT to love about that?
My lust for this book is not so much what it is about, though, as how it does this thing of drawing me along in its unadorned vocabulary to wholesale belief in everything that is put down. It is a supreme hoax that I am grateful to have encountered.
A New York Times bestseller, My Struggle: Book 1 introduces American readers to the audacious, addictive, and profoundly surprising international literary sensation that is the provocative and brilliant six-volume autobiographical novel by Karl Ove Knausgaard.
It has already been anointed a Proustian masterpiece and is the rare work of dazzling literary originality that is intensely, irresistibly readable. Unafraid of the big issues—death, love, art, fear—and yet committed to the intimate details of life as it is lived, My Struggle is an essential work of contemporary literature.
I'm a journalist, fiction writer, and screenwriter, as well as the author of ten books, the most recent of which isCreative Types and Other Stories, which will be published later this year. Along with Neil Cross, I developed for televisionThe Mosquito Coast, based on Paul Theroux’s novel, which is now showing on Apple TV. Currently, I live with my family in Los Angeles.
This striking, intense, and beautifully meditative book offers a daughter struggling to understand her father in the wake of his suicide. It’s structured, yes, like an index, which does nothing to dilute its immense emotional power. There’s a lot of love and anger in this book, yet it’s told with extraordinary calm and exemplary clarity. Simply put, The Suicide Index is one of the most inventive, affecting memoirs I’ve ever read—a drop-everything-and-read-this-now book if there ever was one.
Sixteen years ago, Joan Wickersham's father shot himself in the head. The father she loved would never have killed himself, and yet he had. His death made a mystery of his entire life. Using an index - that most formal and orderly of structures - Wickersham explores this chaotic and incomprehensible reality. Every bit of family history - marriage, parents, business failures - and every encounter with friends, doctors, and other survivors exposes another facet of elusive truth. Dark, funny, sad, and gripping, at once a philosophical and deeply personal exploration, "The Suicide Index" is, finally, a daughter's anguished, loving…
This collection started when I had to take a course on Milton as part of my Literature degree program. It didn't make any sense to me blame Eve for the downfall of Man. (I hadn't yet developed much of a feminist consciousness and so didn't realize that women are always blamed... perhaps especially by men, perhaps especially for their own—i.e., men's—behaviour...) "I am Eve" (the first piece in the collection) is actually based on my term paper. After I graduated, I decided to go through the Bible to see who else needed to protest...
Although the scope of this book is broader than the title of my book list, Green does have a chapter dedicated to "Treatment of Women in the Sweetest Story Ever Told." I believe, like she did, that an almost sure way to atheism is to actually read The Bible – which she did while convalescing from cancer in the 1970s). Two years later, she wrote this book in her 60s.
