Paris Peasant (1926) is one of the central works of Surrealism, yet Exact Change's edition is the first U.S. publication of Simon Watson Taylor's authoritative translation, completed after consultations with the author. Unconventional in form--Aragon consciously avoided recognizable narration or character development--Paris Peasant is, in the author's words, "a mythology of the modern." The book uses the city of Paris as a stage or framework, and Aragon interweaves his text with images of related ephemera: café menus, maps, inscriptions on monuments and newspaper clippings. A detailed description of a Parisian arcade (nineteenth-century precursor to the mini-mall) and another of the Buttes-Chaumont park, are among the great set pieces within Aragon's swirling prose of philosophy, dream and satire. André Breton wrote of this work: "no one could have been a more astute detector of the unwonted in all its forms; no one else could have been carried away by such intoxicating reveries about a sort of secret life of the city. . . ."

Nightwalker (Le paysan de Paris) (New library of French classics)

Literature & Fiction

ARAGON, Louis

Literary

PRENTICE/HALL

In two volumes bound in the publisher's original white cloth over boards, spines and covers stamped in red. Minor sunning to spines of dust jackets, otherwise fine. Illustrated throughout with over 540 illustrations in black &amp; white and over 150 illustrations in full color. Housed in a red cloth covered slipcase.

Henri Matisse

HARCOURT, BRACE & JOVANOVICH. NY 1972

The Libertine

Aragon

Dramas & Plays

Riverrun Pr

LesBeaux Quartiers Le Monde Reel

French & European Pubns

Published in 1922 and modeled on Fénelon's seventeenth-century epic of the same name, Aragon's work parodies its heroic models, didacticism, psychological stability, and descriptive and narrative balance.

The Adventures of Telemachus (French Modernist Library) (English and French Edition)

Humor & Entertainment

Hubert, Renee Riese

Hubert, Judd David

Humor

Univ of Nebraska Pr

Surprising juxtapositions like goats spread across pianos and fearful optical illusions like eyeballs being sliced characterized the surrealistic movement in the arts in 1928 when Louis Aragon published Traité du Style in Paris. Aragon had become ever more contemptuous of vogues and pretensions. In the name of surrealism, he produced the first significant critique of it. Instead of merely upsetting old relationships and skewering sensibilities, Traité du Style was meant to shock with a capital S, and it did. Only now has it been completely translated into English. Although time has attenuated the scandalous nature of Aragon's language, his criticism has lost none of its edge in this translation by Alyson Waters.
From the beginning, which describes a postcard showing a little boy on a potty as representative of French humor and the French spirit, to the end, an attack in scatalogical language on the French military establishment, Aragon zeros in on one target after another. Nothing escapes his notice or venom—whether it is the masturbatory output of contemporary writers, the prostitution of culture, or the perversions of government.
Still, Treatise on Style is more than a brilliant diatribe directed against what Aragon perceived as the moral, political, and intellectual failures of his time. He proposes surrealism, in art as in life, as a means to achieve a valid ethical and aesthetic "style." Surrealism, as Aragon defines it here, loses some of its mythical and mystical trappings; it becomes inspiration with rolled-up shirt-sleeves. He exercises this faculty in his own writing, which aims to shake readers out of their complacency by alternating the intensely lyrical with the borderline obscene and juxtaposing the language of the educated elite with that of the street. Whether denouncing religious fantacism or dispensing praise, Aragon remains true to his idea of the surrealist project: to reclassify certain values through the act of writing itself. Treatise on Style entertains as a portrait of a movement and of a personality who kept moving.

Treatise on Style/Traite Du Style (French Modernist Library)

Waters, Alyson

History & Criticism

University Of Nebraska Press

Conversations on the Dresden Gallery by Aragon, Louis and Jean Cocteau; tr. by Francis Scarfe. Folio. 1st US ed.

Conversations on the Dresden Gallery

COCTEAU,Jean

Arts & Photography

Holmes & Meier Pub

Flesh Unlimited is a compendium edition of three classic erotic/ surrealist novellas: Les Onze Mille Verges and Les Mémoires d'un Jeune Don Juan by Guillaume Appollinaire and Le Con d'Irène by Louis Aragon. 
Dadaist poet Guillaume Apollinaire fine-tuned his uniquely poetic and surreal vision to produce these two materpieces of the explicit erotic imagination at the turn of the century, works which compare with the best of the Marquis de Sade. In Les Onze Milles Verges, debauched aristocrat Mony Vibescu and a circle of fellow sybarites blaze a trail of uncontrollable lust, bloody cruelty and depravity across the streets of Europe. Whilst in Les Mémoires d'un Jeune Don Juan, a young man reminisces his sexual awakening at the hands of his aunt, his sister and their friends as he is utterly corrupted in a season of carnal excess. 
Louis Aragon's Le Con d'Irène is the intense story of a man's torment when he becomes fixated upon the genitalia of an imaginary woman and is reduced to voyeuristically scoping her erotic encounters in-between describing various events in brothels and other sexual adventures. 
Translated from the original, complete and unexpurgated versions by Alexis Lykiard (translator of Lautréamonts Maldoror), Flesh Unlimited has a general introduction and notes section.

Flesh Unlimited (Creation Classics)

APOLLINAIRE, GUILLAUME

Creation Books

Flesh Unlimited: 4 Classics of Surrealist Erotica

MAN, RAY

Erotica

This novel, much of it written amidst the horror of the trenches when Louis Aragon (1897–1982) was a medical orderly during the First World War, demonstrates the chasm that separates the works of the artists and writers of what would become Dadaism and those, say, of the English War poets. In a world of moral destitution beyond any rational forbearance, what can remain? How can one write at all, let alone something as absurd as a novel? Anicet or the Panorama is both a roman à clef (Aragon’s friends, including André Breton, are recognizable), and a novel of the total liquidation of a culture that had allowed this to come to pass: even literary heroes must be confronted and superseded. As fast-paced, funny and surprising as a Hollywood silent movie, its narrative of fabulous crimes and scandals sweeps through a panorama of Paris society as its protagonist Anicet becomes subordinated to the mysterious Mire, a woman who is the incarnation of “modern Beauty.” Anicet is seduced into a life of crime, which he accepts with nonchalance and an ironic integrity that he maintains to the bitter end of his journey of self-immolation. Aragon’s precisely crafted, sardonic prose reveals a world that is no more than a tragic puppet show. This furious tempest of a book launched Aragon’s career and is one the cornerstones of the Paris Dada movement.

Anicet or the Panorama: A Dadaist Novel (Atlas Anti-Classics: Dadaist)

Atlas Press

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