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Against the Grain By Joris-Karl Huysmans

Against the Grain

Joris-Karl Huysmans


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This book has 126 pages in the PDF version, and was originally published in 1884. This is an anonymous translation, first published in 1926.


Description

Against the Grain (French: À rebours) is a novel by French author Joris-Karl Huysmans, first published in 1884. The book tells the story of Jean des Esseintes, an eccentric, reclusive man who comes from an aristocratic family, but who rails against the bourgeois society. Instead, he prefers to hide himself away in a creative, artistic world of his own making. The book which is essentially without plot, details Des Esseintes's aesthetic tastes, his thoughts on literature, painting, and religion, and his hyperaesthesic sensory experiences. Against the Grain became a classic example of so-called 'Decadent' literature (the Decadent movement in the late 19th century was characterized by self-disgust, sickness at the world, skepticism, delight in perversion, and a belief in the superiority of human creativity over logic.)

Huysmans didn't think his book would be a hit at all. He predicted that: 'It will be the biggest fiasco of the year—but I don't care a damn! It will be something nobody has ever done before, and I shall have said what I want to say...'. However, when published, Against the Grain caused a storm of publicity and appealed greatly to the young generation of writers and aesthetes. It is believed that when Oscar Wilde writes of the 'poisonous French novel' in The Picture of Dorian Grey, he was talking about Huysmans book.

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Production notes: This edition of Against the Grain was published by Global Grey ebooks on the 12th April 2021. The artwork used for the cover is 'Model for a portrait of Bonnard' by Édouard Vuillard.

Random Piece of Information: It's mid April and it's apparently going to snow here today in London (it did so last week too). Nothing unusual about that :/

Thoughts whilst doing this book: I wish I was rich enough to even consider being decadent.

Excerpt from 'Against the Grain'

MORE than two months slipped by before the time came when Des Esseintes found it feasible to immerse himself definitely in the peace and silence of his house at Fontenay; purchases of all kinds still kept him perambulating the Paris streets, tramping the town from end to end.

And yet, what endless inquiries had he not instituted, what lengthy lucubrations had he not indulged in, before finally entrusting his new home to the hands of the upholsterers! He had long been an expert in the right and wrong combinations and contrasts of tints. In other days, when he was still in the habit of inviting women to his house, he had fitted up a boudoir where, amid dainty carved furniture of the light-yellow camphor-wood of Japan, under a sort of tent of pink Indian satin, the flesh tints borrowed a soft, warm glow from the artfully disposed lights sifting down through the rich material.

This room, where mirrors hung on every wall, reflecting backwards and forwards from one to another an infinite succession of pink boudoirs, had enjoyed a great renown among his various mistresses, who loved to bathe their nakedness in this flood of warm crimson amid the aromatic odours given off by the Oriental wood of the furniture.

But, quite apart from the miracles wrought by this artificial atmosphere in the way of transfusing, or so it seemed, a new blood into tired veins and freshening up complexions tarnished and worn by the habitual use of cosmetics and too frequent nights of love, he also tasted in his own person, in this luxurious retreat, special and peculiar satisfactions, pleasures exaggerated and rendered in a way more entrancing by the recollections of evil days overpast and vexations now outlived.

So, in a spirit of hate and scorn of his unhappy boyhood, he had suspended from the ceiling of the room we speak of, a little cage of silver wire in which a cricket was kept prisoner to chirp as they had been used to do in old days among the cinders in the great fireplaces at the Château de Lourps. Whenever he heard this sound, which he had so often listened to on many an evening of constraint and silence in his mother’s chamber, all the miseries of a wretched and neglected childhood would come crowding before the eye of memory. At such times, roused from his reveries by the movements of the woman he was fondling mechanically at the moment and whose words and laughter interrupted his thoughts of the past and recalled him to reality, there as he lay in the pink boudoir, a sudden commotion would shake his soul, a longing for revenge on dreary hours endured in former times, a mad craving to befoul with base and carnal acts his recollections of bygone family life, an overmastering temptation to assuage his lustful propensities on the soft cushion of a woman’s body, to drain the cup of sensuality to its last and bitterest dregs.

Other times again, when despondency weighed heavy on his spirit, when on rainy Autumn days he felt a sick aversion for everything, — for the streets, for his own house, for the dingy mud-coloured sky, for the stony-looking clouds, he would fly to this refuge, set the cricket’s cage swinging gently to and fro and watch its movement repeated ad infinitum in the surrounding mirrors, till at last his eyes would grow dazed and he seemed to see the cage itself at rest, but all the room tossing and turning, filling the whole apartment with a dizzy whirl of pink walls.

Then, in the days when Des Esseintes still deemed it incumbent on him to play the eccentric, he had also installed strange and elaborate dispositions of furniture and fittings, partitioning off his salon into a series of niches, each differently hung and carpeted, and each harmonizing in a subtle likeness by a more or less vague similarity of tints, gay or sombre, refined or barbaric, with the special character of the Latin and French books he loved. He would then settle himself down to read in whichever of these recesses displayed in its scheme of decoration the closest correspondence with the intimate essence of the particular book his caprice of the moment led him to peruse.

Last fancy of all, he had prepared a lofty hall in which to receive his tradesmen. These would march in, take seats side by side in a row of church stalls; then he would mount an imposing pulpit and preach them a sermon on dandyism, adjuring his bookmakers and tailors to conform with the most scrupulous fidelity to his commandments in the matter of cut and fashion, threatening them with the penalty of pecuniary excommunication if they failed to follow out to the letter the instructions embodied in his monitories and bulls.

He won a great reputation as an eccentric, — a reputation he crowned by adopting a costume of black velvet worn with a gold-fringed waistcoat and sticking by way of cravat a bunch of Parma violets in the opening of a very low-necked shirt. Then he would invite parties of literary friends to dinners that set all the world talking. In one instance in particular, modelling the entertainment on a banquet of the eighteenth century, he had organized a funeral feast in celebration of the most unmentionable of minor personal calamities. The dining-room was hung with black and looked out on a strangely metamorphosed garden, the walks being strewn with charcoal, the little basin in the middle of the lawn bordered with a rim of black basalt and filled with ink; and the ordinary shrubs superseded by cypresses and pines. The dinner itself was served on a black cloth, decorated with baskets of violets and scabiosae and illuminated by candelabra in which tall tapers flared.

While a concealed orchestra played funeral marches, the guests were waited on by naked negresses wearing shoes and stockings of cloth of silver besprinkled with tears.

The viands were served on black-bordered plates, — turtle soup, Russian black bread, ripe olives from Turkey, caviar, mule steaks, Frankfurt smoked sausages, game dished up in sauces coloured to resemble liquorice water and boot-blacking, truffles in jelly, chocolate-tinted creams, puddings, nectarines, fruit preserves, mulberries and cherries. The wines were drunk from dark-tinted glasses, — wines of the Limagne and Roussillon vintages, wines of Tenedos, the Val de Penas and Oporto. After the coffee and walnuts came other unusual beverages, kwas, porter and stout.

The invitations, which purported to be for a dinner in pious memory of the host’s (temporarily) lost virility, were couched in the regulation phraseology of letters summoning relatives to attend the obsequies of a defunct kinsman.

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