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The autobiography of Eugene Jolas, available for the first time nearly half a century after his death in 1952, is the story of a man who, as the editor of the expatriate American literary magazine "Transition," was the first publisher of James Joyce's "Finnegans Wake" and other signal works of the modernist period. Jolas' memoir provides often comical and compelling details about such leading modernist figures as Joyce, Stein, Hemingway, Breton, and Gide, and about the political, aesthetic, and social concerns of the Surrealists, the Expressionists, and other literary figures during the 1920s and 1930s. "Man from Babel" both enriches and challenges our view of international modernism and the historical avant-garde.
- Sales Rank: #717226 in Books
- Published on: 1998-10-11
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 1.22" w x 6.42" l, 1.43 pounds
- Binding: Hardcover
- 368 pages
Amazon.com Review
Readers who have dined on a surfeit of private lives this past year might find themselves quipping, à la Gertrude Stein: a memoir is a memoir is a memoir is a memoir. But, in the hands of Eugene Jolas, friend and sometimes editor to such pivotal modernist figures as Stein, Joyce, Hemingway, Breton, and Gide, the memoir becomes an invaluable intellectual and historical document. Born in New Jersey and reared in Alsace-Lorraine, the trilingual Jolas was intimately acquainted with borders and frontiers. In fact, his life crossed and recrossed a series of sharp divides: poetry and journalism; romanticism and modernism; France, Germany, and the U.S. After a hardscrabble decade spent chasing after journalism jobs in the United States, Jolas returned to Paris as a reporter for the Chicago Tribune. There he made the acquaintance of some of the century's greatest literary and artistic figures; later, he came to found and edit Transition, the influential journal that first published portions of Finnegans Wake. To some extent, his recollections can be read as a paean to being in the right place at the right time (possible subtitle: Famous Surrealists I Have Known). Jolas is a powerful writer in his own right, however, and his anecdotes shed light on far more than just his own individual life. Even in the rarefied avant-garde circles in which Jolas moved, the political movements of the '30s cast their long shadow, and some of the book's most powerful passages detail his disillusionment with the German Romantic poets and their brand of idealized nationalism. Now being published for the first time, almost 50 years after Jolas's death, Man from Babel is a memorable chronicle of the century in the process of being born to itself.
From Publishers Weekly
Jolas made his mark as a multilingual writer, editor and friend of James Joyce in 1920s and '30s Paris. Jolas worked persistently on this "novel?autobiography?my fact and fiction book" starting in the 1930s, but his death in 1952 prevented him from making final revisions. Although posterity does not remember Jolas's writings, he himself took them very seriously, and he writes much of the evolution of his poetic sensibility as a writer. There are a number of valuable insights here into literary friends like Gertrude Stein, who is quoted as telling him, that "Joyce is a third-rate Irish politician," and announcing that "[t]he greatest living writer of the age is Gertrude Stein." With Joyce, the approach is less anecdotal, given that great writer's taciturnity, but it's clear that Jolas understood the Irishman like few other friends. This would be a valuable text for its perceptions of prewar Paris alone, but fortunately Jolas continued the narrative to his work in postwar Germany, where his view of the defeated Axis powers just after the war is devastating in its total condemnation of all things Teutonic: "Along with his rapaciousness and cruelty the German's capacity for self-pity would appear to be inexhaustible." So acute are Jolas's aesthetic goals and so happy was he to discover new artistic achievement that we may easily forgive his own poems, which he quotes at length and, sadly, to little artistic effect. All told, this is a valuable memoir by someone who was there and knew everyone.
Copyright 1998 Reed Business Information, Inc.
From Library Journal
Jolas is now best remembered as founder of the modernist magazine transition and as the publisher of James Joyce and other avant-garde writers of the 1920s. But in this fascinating autobiography, compiled from drafts and journals, we meet a man who was a vital factor in the intellectual life of Europe and the United States. Raised in Alsace-Lorraine, Jolas grew up speaking French and German and later learned English as a newspaperman in this country. Although a journalist by trade, he immersed himself in the literary world of whatever city he lived in?New York, Chicago, Paris?and was a fluent poet in all his languages. His life in Paris between the two wars and his many friends among the Dadaists, Surrealists, Modernists, and others involved in his "revolution of the word" will interest most readers. The story of his later years as a World War II censor and newsman for the U.S. Army is essential reading for anyone who wants to understand postwar Germany and Europe. Highly recommended, especially for academic libraries.?Shelley Cox, Southern Illinois Univ., Carbondale
Copyright 1998 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Excellent resource for modernist scholars. Jolas was a brilliant editor.
By JP
Excellent resource for modernist scholars. Jolas was a brilliant editor. His global literary connections were unparalleled. He knew everybody who was anybody in the Parisian art scene of the 20's and 30's.
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