Maldoror and Poems (Penguin Classics) [Mass Market Paperback]

Lautreamont (Author), Paul Knight (Translator, Introduction)

Book Description

Series: Penguin Classics | Publication Date: February 28, 2006

Insolent and defiant, the Chants de Maldoror, by the self-styled Comte de Lautreamont (1846-70), depicts a sinister and sadistic world of unrestrained savagery and brutality. One of the earliest and most astonishing examples of surrealist writing, it follows the experiences of Maldoror, a master of disguises pursued by the police as the incarnation of evil, as he makes his way through a nightmarish realm of angels and gravediggers, hermaphrodites and prostitutes, lunatics and strange children. Delirious, erotic, blasphemous and grandiose by turns, this hallucinatory novel captured the imagination of artists and writers as diverse as Modigliani, Verlaine, Andre Gide and Andre Breton; it was hailed by the twentieth-century Surrealist movement as a formative and revelatory masterpiece.

Editorial Reviews

Language Notes

Text: English, French (translation)

Product Details

• Reading level: Ages 18 and up
  
• Mass Market Paperback: 288 pages
• Publisher: Penguin Classics (February 28, 2006)
• Language: English
• ISBN-10: 0140443428
• ISBN-13: 978-0140443424
• Product Dimensions: 7.8 x 5 x 0.7 inches
• Shipping Weight: 7.8 ounces (View shipping rates and policies)
• Average Customer Review: 4.5 out of 5 stars  See all reviews (14 customer reviews)
• Amazon Best Sellers Rank: #72,623 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

22 of 23 people found the following review helpful:

4.0 out of 5 stars Perversely pleasurable for a while., July 3, 2000

By 

darragh o'donoghue - See all my reviews

This review is from: Maldoror and Poems (Penguin Classics) (Mass Market Paperback)

Although MALDOROR's most immediate pleasure is its naked nastiness - rape, murder, torture, paedophilia, bestiality, blasphemy etc. - the truly unsettling nature of the book is its textual instability, the violence of its language, the horrible, concrete, surgical beauty of its images, the haunting effect of its descriptions, its foregrounding and destabilising of slowly compelling narrative, its clashing of tones, moods, viewpoints, narrators, targets, sympathies. French literature produces a lot of books like this, wherein a madman shouts the reader out of his complacency (e.g. Rimbaud, Corbiere, the Gide of FRUITS OF THE EARTH). This is better than most because its disgust is funny and a thrill. After book three, though, it all becomes a little wearing and monotonous, as Lautreamont's assault is more tediously preoccupied with language. The same fault can be levelled at the underrated, protean, difficult POEMS, where intellectual engagement wins out over sensual overspill. Book Six of MALDOROR, though, is a masterpiece of narrative subversion, simultaneously asserting the power of stories and running riot through their conventions, looking forward to, amongst others, Borges and Nabokov. Knight's introduction is rewarding, if a little dated, but the translation is one of the best I've ever read, capturing Maldoror's rhythmic logorrhea to horrible perfection.

13 of 15 people found the following review helpful:

5.0 out of 5 stars What hit me?, October 31, 1999

By A Customer

This review is from: Maldoror and Poems (Penguin Classics) (Mass Market Paperback)

If reading a normal horror novel (a term which I really dislike) is like watching a car crash, this evil, sick, tasteless and brilliant book is like being in one. Sensitive types should be warned that it contains lashings of blasphemy, weird sex (including, in one eye-popping instance, sex with a shark), bloody murder and rape, and all manner of thoroughly awful things. At which point I suspect you've all fallen asleep. Don't. What separates this from the supposed 'shock' lit of, say, Irvine Welsh, is a delirious sense of invention. More in tune with Michael Moore or Chris Morris than Howard Stern, each revolted gasp from the reader is carefully placed and planned to provoke a deep-seated feeling of terror. What always needles me is the way that the book's Satanic protagonist Maldoror often switches places with the narrator. It's a full-frontal assault on the reader's security. And why do we read it? Because it makes every other supposedly shocking novel seem tame, unadventurous and laboured. Even American Psycho. Especially American Psycho. Rather than a plot, Lautreamont has chosen a selection of essays and incidents to show Maldoror's evil. His concern over whether or not to kill a child is one of the many freakish and distressing incidents ("...lest your body burst like an over-ripe fruit"), but it is all shot through with black humour and a surprisingly moral indignation. In fact, Lautreamont offered to 'tone it down' for its first publication. Thank God he didn't. "You have no idea how hard it is", as Maldoror would say.

3 of 3 people found the following review helpful:

5.0 out of 5 stars Forever beautiful, December 11, 2006

By 

Henry Martin "Author" (USA) - See all my reviews
(REAL NAME)   

This review is from: Maldoror and Poems (Penguin Classics) (Mass Market Paperback)

What to say about Maldoror that hasn't been said yet? What to say about the mysterious son of a diplomat who appeared in France, wrote this book and died, vanishing from the world, yet leaving his mark for decades and centuries yet to come?
The first time I had the pleasure of reading this exceptional work, I was taken aback. Barely seventeen, I hungrily swallowed the disturbing images leaping at me from the pages, not to fully comprehend them until years later. This work, over a century old, is believed to be the first work, the foundation stone of the surrealist movement, a movement that penetrated into every aspect of art, life, being; whether we are willing to admit it or not, this work is as important today as it was when originally published in 1868 (well, at least a part of it was). The world was not ready to receive the complete self-awarness of evil Maldoror so fully comprehends, and the world is still not ready. This work is certainly not to be read by a "closed" mind. It is said that to be creative, one must borderline insanity, yet, Lautreamont was playing with genius; a genius of a caliber capable of scaring away even the most immodest of us. But get deeper into his work, walk past the disturbed images, surpass your fears and you shall see the light. This work cannot be ignored, cannot be left to collect dust. I have owned several copies over the past 14 years, and I am still finding new meanings, new passages and new understanding in this wonderful work. This trully is the one book that will never get old, that will always keep on giving, as long as one is ready to listen.