La storia di un solitario che disgustato dal trambusto dell’era moderna vive “lontano dal secolo”, dedica il suo tempo a rievocare epoche trascorse, per lui più cordiali, meno vili. His contempt for humanity deepened. He reached the conclusion that the world, for the most part, was composed of scoundrels and imbeciles...Already, he was dreaming of a refined solitude, a comfortable desert, a motionless ark in which to seek refuge from the unending deluge of human stupidity." Houellebecq considers himself “someone who believes in unlimited happiness, which is eternal and possible right away,” yet he writes books that are so depressing they belong to a movement called déprimisme (“depressionism”). Then again, he’s as unreliable as his latest narrator, François. Houellebecq told some journalists that “Submission” is satire; he informed others that it is not. In 2010, he told The Paris Review that he believes in the existence of a soul while simultaneously refusing to accept “a truth beyond science.” And now he’s found agnosticism. Non so quando il concetto di controcorrente è andato fuori moda, quando è esattamente diventato un’immagine e uno stato da evitare: quand’è che improvvisamente essere integrati, parte della massa (e quindi anche del branco) ha cominciato a riempire i nostri cuori di soddisfazione.

Highet, Gilbert (1957). "The Decadent." In: Talents and Geniuses. New York: Oxford University Press, pp.92–99. Nevertheless, the choice of books for his "breviary of decadence" compounds a sense of what can only be described as narcissism: I say "novel" because--in spite of its sound realist credentials--I'm not sure it really is a novel at all. It resembles more the philosophical treatise/fictionalized autobiography of Confessions of an English Opium Eater, Sartor Resartus, or Marius the Epicurean. In total effect, Huysmans' work has more in common with De Quincey, Carlyle, and Pater than it does with Zola, Frank Norris, or Dreiser.

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If this had been a send-up of such a ridiculous fool, it could have proven a remarkable and wondrous work--it worked well enough for Carlyle, Cervantes, and Sterne--but, though there are certainly moments of irony and contradiction throughout, overall, the message seems to be that Des Esseintes is meant to be taken in earnest--that we are meant somehow to respect or find interesting the cobbles of his life, his scattered opinions, his false identity. And here is the reaction of Des Esseintes when forced to encounter others on the street, “The very sight of certain faces made him suffer. He considered the crabbed expressions of some, insulting. He felt a desire to slap the fellow who walked, eyes closed, with such a learned air; the one who minced along, smiling at his image in the window panes; and the one who seemed stimulated by a whole world of thought while devouring with contracted brow, the tedious contents of a newspaper.” Conceived as harangues, they contained a certain strong muscular energy and were astonishing in the intolerance of their convictions."

Dry curaçao, for instance, was like the clarinet with its shrill, velvety note: kümmel like the oboe, whose timbre is sonorous and nasal; crème de menthe and anisette like the flute, at one and the same time sweet and poignant, whining and soft. Then to complete the orchestra, comes kirsch, blowing a wild trumpet blast; gin and whisky, deafening the palate with their harsh outbursts of cornets and trombones:liqueur brandy, blaring with the overwhelming crash of the tubas." [14] I must rejoice beyond the bounds of time ... though the world may shudder at my joy, and in its coarseness know not what I mean. [6]Maybe some people will find des Esseintes funny. That’s a matter of opinion.It’s like— you know that drunk who slides into the bar on his own vomit only to chip a tooth on someone else’s glass, then steals a bottle from the bartender “for the pain’ and loudly proclaims he’s going to sue the bar for injuries because he’s going to law school next year?

One would hope so, because des Esseines’s vibe that “pedophilia is chill as long as they’re aesthetically beautiful enough to warrant predation; alternatively, true aesthetic beauty has no age” is predictable from such a character, but no less easy to stomach.He [Baudelaire] had revealed the morbid psychology of a mind that has reached the autumn of its experiences, had described the symptoms of a soul conscripted by suffering and licensed by spleen, had exposed the growing decay of feeling after the enthusiasm and belief of youth have evaporated ... " Des Esseintes in his study, by Arthur Zaidenberg ( Against the Grain, New York, Illustrated Editions, 1931) Twenty-three-year-old Schopenhauer, who had a great influence on Huysmans, told Wieland: "Life is an unpleasant business. I have resolved to spend it reflecting on it. (Das Leben ist eine mißliche Sache. Ich habe mir vorgesetzt, es damit hinzubringen, über dasselbe nachzudenken.)" (Rüdiger Safranski, Schopenhauer and the Wild Years of Philosophy, Chapter 7).

fazla sanat eseri, akımlar, müzik ve edebiyat temalı düşünce savaşları vermiş. Her şeyi birbiriyle dövüştürmüş ve maalesef tamamlanmış hissiyatı yaratan bir havada kalmışlıkla kasık ağrıları yaratan süreci oluşturuyor. Brophy, Liam (1956). "J.–K. Huysmans, Aesthete Turned Ascetic," Irish Ecclesiastical Review, Vol. LXXXVI, pp.43–51. Don't we all wish we could be like that ancient soul, and just "seize the day, leaving to tomorrow its own cares?" Esseintes is an ascetic of art, and ends up sacrificing his life by metamorphose it into a work of art, his masochistic devotion draws him to the brink of alienation, intensifying his neurosis.Other senses, too, get close examination. An entire chapter is given over to various exotic scents and perfumes which des Esseintes is trying to create. When it comes to taste, our hero has what he calls a ‘mouth organ’, which consists of several dozen barrels of alcoholic liqueurs ranged side by side, which he mixes-and-matches to create a variety of gustatory symphonies or harmonies to suit his current mood. Thus, he also pays a special attention to choosing the colors and nuances he will surround himself with. The chromatics are analyzed and interpreted for a long time, each nuance being tested in the diffused light of the candle, for to capitalize on his reflections. In his conception, the essence of chromatics and its metamorphoses can be detected "only by the trained eye to enjoy beauty . There is a close connection between the sensual nature of a true artist, and the color that his eyes see in a more vivid way ". Huysmans's next novel, En rade, an unromantic account of a summer spent in the country, did not sell as well as its predecessor. Huneker, James (1909). "The Pessimists' Progress: J.–K. Huysmans." In: Egoists. New York: Charles Scribner's Sons, pp.167–207. This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: "Section is mainly a list of quotations with no unifying formatting, making the sources unclear for some of the material. Please help improve this section if you can. ( December 2018) ( Learn how and when to remove this template message)