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Jacques the Fatalist (Oxford World's Classics) 1st Edition

4.8 out of 5 stars 14 customer reviews
ISBN-13: 978-0199537952
ISBN-10: 019953795X
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Product Details

  • Series: Oxford World's Classics
  • Paperback: 304 pages
  • Publisher: Oxford Paperbacks; 1 edition (August 31, 2009)
  • Language: English
  • ISBN-10: 019953795X
  • ISBN-13: 978-0199537952
  • Product Dimensions: 7.6 x 0.5 x 5 inches
  • Shipping Weight: 7.8 ounces (View shipping rates and policies)
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #102,116 in Books (See Top 100 in Books)

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41 of 41 people found the following review helpful By Guillermo Maynez on January 6, 2003
Format: Paperback
Two centuries or so before "modern" writers began writing experimental novels, Denis Diderot, the force behind the Encyclopaedia effort, wrote this strange and indeed very "modern" novel in which the author leads a conversation with the reader, asking him where he (or she, of course) would want to go and what to do with the characters and the story. Here we see the author in the very process of creation, exposing his doubts, exploring his options, and playing with the story.
There is really no plot as such. Jacques, a man who seems to believe everything that happens is already written "up on high", but who nonetheless keeps making decisions for himself, is riding through France with his unnamed master, a man who is skeptic of Jacques's determinism but who remains rather passive throughout the book. Fate and the creator-author will put repeatedly to test Jacques's theory, through a series of more or less fortunate accidents and situations, as well as by way of numerous asides in the form of subplots or stories.
The novel is totally disjointed and these asides and subplots blurb all over the place, always interrupted themselves by other happenings. The most interesting of them is the story of Madame de Pommeroy and her bitter but ultimately ineffectual revenge on her ex-lover.
Diderot confesses to having taken much from Sterne's "Tristram Shandy" and Cervantes's "Don Quixote". This last novel's influence seems obvious at two levels: Cervantes also talks to the reader, especially in Part Two, and also reflects abundantly on the creative process.
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25 of 28 people found the following review helpful By R. Williams VINE VOICE on December 28, 2001
Format: Paperback Verified Purchase
This book is amazing. It will make many of your conceptions of where things belong in the history of the novel fall apart. Not coincidentally, that is one of the points of this book, being an exercise more than a message: that all apparent armatures of order are one more perspective away from disintegration. This book is really quite sneaky as well. In the beginning, the constant references to the inscriptive certainties in the heavens seem silly. But then little explanations come along (like the geneology of Jacques' crazy horse), and the novel heads down a dark, yet very enchanting road, into a fuzz that's every bit as modern as any you've read. This thing alternately looks like Bunuel, Zola, Stendhal, Faulkner, Kerouac. The picaresque, the uncertain narrator, the structuralists, all seem to be swimming around in this amazing book.
Surely many writers and artists from this era (like Goya) depicted the nobles as effete and incapable of carrying out the governance of the most basic requirements of existence, but here, they also appear (in the image of the 'master') as so withdrawn from the world as to be blind. If you take away all the stories that are told, the only thing that's left of a plot here is the master having his horse stolen right from under his nose while Jacques was gone and then Jacques finding it for him at the end in a beautiful, mock sort of deus ex machina.
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16 of 18 people found the following review helpful By A Customer on September 15, 1999
Format: Paperback
Jacques is, in terms of subject matter and narrative voice, the most modern work to come from the Enlightenment. It is a hilarious and thoughtful work from an author who found the acceptance of current literary traditions generally ridiculous. Diderot is amazingly adept at building up ominous situations which unnaturally trigger the reader's foreshadowing sensors, only to destroy all of one's expectations, laughingly, with a hammer. Truly a great work, full of wonderful philosophy and revolutionary expression.
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14 of 16 people found the following review helpful By P. Hines on May 28, 2002
Format: Paperback
Yeah. Believe all the reviews below. This book really is amazing. It would feel like it was written yesterday, if it was more derivative -- but it's fresh! The language is incisive, no waste, and the pacing and structure are brilliantly fluid. It's smart and funny, too, and completely unpredictable, filled with weird offhand bursts of bewildering narrativity. And yet balanced, apparently sane. I truly enjoyed reading it. It's great.
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21 of 27 people found the following review helpful By darragh o'donoghue on October 11, 2000
Format: Paperback
Anyone who thrilled at Calvino's 'If on a winter's night a traveller...', but despaired at ever finding another book like it (uniqueness DOES have its price), need fear no longer. 'Jacques', acknowledged by Calvino himself as a major influence, is one of the great precursors of post-modern literature. Like 'If on', the book is crammed with stories unfinished or interrupted by digressions, accidents, more interesting stories. Whereas the 19th centruy novelist generally talked down to his audience and explained everything, Diderot gives his reader a lot of freedom, and one of the dialogues of this book, a la Calvino, is between author and reader. Each story, incomplete or no, is a masterpiece of narrative (cinephiles might recognise the story of Madame de la Pommeraye as the basis of Robert Bresson's 'Les Dames du bois du Boulogne'); the formal experimentation does not mean blindness to a panorama of 18th century society - soldiers, peasants, thieves, innkeepers, aristocrats, prostitutes - and place (country, city, foreign climes) in a France on the cusp of Revolution.
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