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Written as an act of revenge against the 17 year-old who came between her and Jean-Paul Sartre, She Came to Stay is Simone de Beauvoir's first novel - a lacerating study of a young, naive couple in love and the usurping woman who comes between them. 'It is impossible to talk about faithfulness and unfaithfulness where we are oncerned. You and I are simply one. Neither of us can be described without the other.' It was unthinkable that Pierre and Francoise should ever tire of each other. And yet, both talented and restless, they constantly feel the need for new sensations, new people. Because of this they bring the young, beautiful and irresponsible Xavière into their life who, determined to take Pierre for herself, drives a wedge between them, with unforeseeable, disastrous consequences... Published in 1943, 'She Came to Stay' is Simone de Beauvoir's first novel. Written as an act of revenge against the woman who nearly destroyed her now legendary, unorthodox relationship with the philosopher Jean-Paul Sartre, it fictionalises the events of 1935, when Sartre became infatuated with seventeen-year old Olga Bost, a pupil and devotee of de Beauvoir's. Passionately eloquent, coolly and devastatingly ironic, 'She Came to Stay' is one of the most extraordinary and powerful pieces of fictional autobiography of the twentieth century, in which de Beauvoir's 'tears for her characters freeze as they drop.' unorthodox relationship with the philosopher Jean-Paul Sartre, it fictionalises the events of 1935, when Sartre became infatuated with seventeen-year old Olga Bost, a pupil and devotee of de Beauvoir's. Passionately eloquent, coolly and devastatingly ironic, 'She Came to Stay' is one of the most extraordinary and powerful pieces of fictional autobiography of the twentieth century, in which de Beauvoir's 'tears for her characters freeze as they drop.'… (plus d'informations)
If there's anything more irritating than the Roman à clef, with its cheap lacquering of lived experience, it's café-dwelling, pernod-sniffing French intellectuals with their unshakeable disdain for all things tangible. There's a paragraph on page 132 of this book which struck me with thunderous poetic force. Two of the characters come across a street market:
"Here were old shoes, gramophone records, silks that were falling to pieces, enamel bowls, chipped crockery, all on the bare muddy ground. Dark-skinned women clothed in brightly-coloured tatters were sitting on newspapers or old rugs, leaning up against the hoardings."
The reason this passage, which would be unremarkable in a normal novel, hit the way it did is that it deals with real, physical, empirical things; objects made of matter. It's about the only time in the book that reality — the thing that great fiction renders immediate and indelible in its infinite richness and variety — intrudes on the vaporous emotional-intellectual existence of these unbearable self-deluding characters.
It's doubly frustrating, because the author manages some acute descriptions of jealousy, the ugliest, least assuageable emotion, and the insidious way it stilettos its victims. But it's less than they deserve. The presence of Sartre and de Beauvoir in Paris in the late 30's was surely an even better reason to flee that part of the world than what was unfolding across the border to the east. ( )
This is a subtle and evocative study of character and relationships. I read it some 40 years ago as I was improving my French, which forced me to absorb it attentively at a slower rate and probably enjoy it more. ( )
Sobre el fondo del mundo teatral y artístico del París de la primera mitad del siglo XX, Simone de Beauvoir recrea con sólido talento la creación, evolución y disgregación de un triángulo amoroso formado por dos adultos y una jovencita que, a su vez, sirve a la autora para poner en cuestión el modelo burgués de pareja y de familia. En esta impactante novela aparecen ya los grandes temas que caracterizan la obra de Simone de Beauvoir (la libertad, la acción y la libertad individuales), y la profundidad de los personajes y la exploración acerca de sus sentimientos que lleva a acabo la autora convierten La invitada en una de sus mejores obras.
Références à cette œuvre sur des ressources externes.
Wikipédia en anglais
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▾Descriptions de livres
Written as an act of revenge against the 17 year-old who came between her and Jean-Paul Sartre, She Came to Stay is Simone de Beauvoir's first novel - a lacerating study of a young, naive couple in love and the usurping woman who comes between them. 'It is impossible to talk about faithfulness and unfaithfulness where we are oncerned. You and I are simply one. Neither of us can be described without the other.' It was unthinkable that Pierre and Francoise should ever tire of each other. And yet, both talented and restless, they constantly feel the need for new sensations, new people. Because of this they bring the young, beautiful and irresponsible Xavière into their life who, determined to take Pierre for herself, drives a wedge between them, with unforeseeable, disastrous consequences... Published in 1943, 'She Came to Stay' is Simone de Beauvoir's first novel. Written as an act of revenge against the woman who nearly destroyed her now legendary, unorthodox relationship with the philosopher Jean-Paul Sartre, it fictionalises the events of 1935, when Sartre became infatuated with seventeen-year old Olga Bost, a pupil and devotee of de Beauvoir's. Passionately eloquent, coolly and devastatingly ironic, 'She Came to Stay' is one of the most extraordinary and powerful pieces of fictional autobiography of the twentieth century, in which de Beauvoir's 'tears for her characters freeze as they drop.' unorthodox relationship with the philosopher Jean-Paul Sartre, it fictionalises the events of 1935, when Sartre became infatuated with seventeen-year old Olga Bost, a pupil and devotee of de Beauvoir's. Passionately eloquent, coolly and devastatingly ironic, 'She Came to Stay' is one of the most extraordinary and powerful pieces of fictional autobiography of the twentieth century, in which de Beauvoir's 'tears for her characters freeze as they drop.'
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"Here were old shoes, gramophone records, silks that were falling to pieces, enamel bowls, chipped crockery, all on the bare muddy ground. Dark-skinned women clothed in brightly-coloured tatters were sitting on newspapers or old rugs, leaning up against the hoardings."
The reason this passage, which would be unremarkable in a normal novel, hit the way it did is that it deals with real, physical, empirical things; objects made of matter. It's about the only time in the book that reality — the thing that great fiction renders immediate and indelible in its infinite richness and variety — intrudes on the vaporous emotional-intellectual existence of these unbearable self-deluding characters.
It's doubly frustrating, because the author manages some acute descriptions of jealousy, the ugliest, least assuageable emotion, and the insidious way it stilettos its victims. But it's less than they deserve. The presence of Sartre and de Beauvoir in Paris in the late 30's was surely an even better reason to flee that part of the world than what was unfolding across the border to the east. (