By David Bevan
The 2 central axes of inquiry are Malraux's ongoing quest for a size of transcendence inside human lifestyles and, at lest as compelling, his look for the main acceptable and potent capacity in which to precise a altering expertise of simply what that size will be. no longer strangely, in an international it seems that doomed to languish within the spectral shadow of loss of life, there are particular constants: a craving for a few fraternity to wrestle man's crucial solitude, a refusal to sink with no attempt into the vortex of the Absurd, a conviciton that existence is to be lived absolutely and extremely. The human is what it really is. The ways that Malraux's characters, and naturally Malraux himself, do something about this situation display a transparent evolution, in particular from the 1933 novel los angeles humaine onwards. The reader follows Malraux from playful youth during the dichotomy of soreness and glorification in his heart years, in the direction of the basically interrogative utterances of the mature guy. the usually frivolous, occasionally sardonic, humour of minor offers means first to a painful attractiveness of the abyss, then to the invention of a truly tentative equilibrium within the philosophy of metamorphosis espoused through an older Malraux. Andre Malraux: in the direction of the Expression of Transcendence finds the relevant steps through which Malraux accomplished that equilibrium.
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Extra info for Andre Malraux: Towards the Expression of Transcendence
6 On occasion in this novel free indirect style is modified and becomes, in the present tense, more akin to free direct style7 as Kassner7 s imagination, increasingly vivid under the strain of incarceration and torture, is so presented to the reader: Les popes sortis du tertre commencent a avancer, dalmatiques et tiares, sous les croix et les bannieres, et une irr£alite sans limites anime ce tr£sor en marche, cette folie d'orfevre lachee dans les champs boueux, avec toutes les barbes blanches et ces tremblotants reflets de perles et d'argent sous la lune.
A. 9 In these productions which fuse Bon and Buddhist traditions, the principals include Yama 44 Andre Malraux and his minions - notably, among the latter, skeletal figures evocative of the Citipati. It is worth remarking in passing on that particular moment of the ceremonial play when a holy man blesses a goblet of water by laying his hands on it and intoning a prayer. This pious act cows the shrieking ghouls who creep out of the arena leaving no sound but the sweet chant of the holy choir. However, the power of the exorcism is short-lived, for the spectres soon return.
But what is apparent in his use of the above is a basic gratuitousness, a genuine qualite ludique which will soon disappear from his published writings, as a more urgent awareness of the human condition comes to the fore. There is little doubt that "farfelu" in these formative years conveys no more than a whimsical fantasy on life and death. Before Indochina the youthful Malraux, as Clara confirms, has not yet really been touched by suffering, let alone death, had not encountered viscerally an extreme situation: "la grande faucheuse, il ne 1'avait pas encore rencontree...