Montherlant critique

Abstract

By Jean-Francois Domenget. Geneva, Droz, 2003. 427 pp. Pb €49.99. This book is the first complete analysis of Henry de Montherlant's critical writings. These are published as essays, in his Carnets and as contributions to journals and periodicals. With a scope which extends beyond an assessment of the author as journalist and critic, Jean-François Domenget's study belies its title; his meticulous research tracks down the objects of Montherlant's critical attention, constituting a broad spectrum of literary figures, both right and left-wing affiliates of the French literary scene during the period from 1920 to 1972. Some are mainstream figures (Roger Martin du Gard, Mauriac); others are minor writers (Paul Odinot, Martine Cadieu); others are no longer remembered (Henri Bordeaux). The result is a chronological survey of Montherlant's relations with his fellow writers, which demonstrates how his critical thinking evolved or, on some issues, remained static, for the fifty years of his literary career. This fascinating history of French literary life contains many surprises, the most striking, that Montherlant, renowned for his tendency to isolate himself from the literary scene had, in fact, professional and sometimes private relations with many of his contemporaries. Domenget reveals the rich tapestry of networks, linking writers, publishers, periodicals, in the context of which Montherlant, traditionally grouped with the right wing, read and commented on the work of his fellow writers; Cocteau, Delteil, Morand are named in the chapter on Modernity. Domenget exposes the extent to which Montherlant is marked by the memory of the Great War, designating him as a man of his time. Part iv of this six-part volume examines Montherlant, the arch misogynist, as the champion of marginalized groups, such as women authors or those who did not achieve the success or literary longevity they deserved. Domenget's scholarship has unearthed some riveting correspondence and little-known facts, for instance, that Montherlant knew Aragon, who invited him to Moscow. Gide is one example of a major figure, with whom Montherlant had cordial relations; their friendship deteriorated as Montherlant's collaborative stance during the occupation became clear. Camus wrote: ‘Montherlant, est un des trois ou quatre grands écrivains français qui propose un système de vie, ce qui ne paraîtra ridicule qu'aux impuissants, et qui dispose d'une échelle de valeurs personnelle.’ The methodology identifies the publication which attracts Montherlant's interest, considers his evaluation and the other author's critique of Montherlant; finally, their correspondence and personal relations are analysed. The survey includes discussion of journals and periodicals, with a chapter on the NRF. Notwithstanding the fact that this volume focuses on Montherlant's critical writings, it demonstrates familiarity with his fiction, poetry and drama. There is an insightful comparative reading, for example, of Le Chaos et la nuit and L'Espoir. Part vi speculates on Montherlant's silence about some of the major writers and movements of the century. Montherlant critique is an invaluable tool for the specialist scholar; as a literary history of the period, the appeal of which lies in the detail, it is a highly readable work for all those interested in the French twentieth-century literary scene. The book is complemented by a bibliography, including rare essays and unpublished correspondence, a list of essays on authors — curiously, not alphabetically ordered — together with an index of writers together with an index of writers and indices of Montherlant's texts and themes.