Peter Brooks, Sterling Professor Emeritus of Comparative Literature at Yale, teaches at Princeton. His new book, Flaubert in the Ruins of Paris, will be published in April.
 (March 2017)

IN THE REVIEW

Flaubert: The Tragic Historian

Gustave Flaubert, circa 1860; carte-de-visite portrait by Étienne Carjat

Flaubert

by Michel Winock, translated from the French by Nicholas Elliott
“The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.” That’s Stephen Dedalus in Portrait of the Artist as a Young Man, paying homage to Gustave Flaubert as James Joyce’s literary godfather. In Flaubert’s …

On the Track of Evil in Dublin

Even the Dead

by Benjamin Black
“Death,” writes Walter Benjamin, “is the sanction of everything the storyteller has to tell.” And also: the storyteller “borrows his authority from death”; the endstop of death creates the meaning of a life recounted. The classic detective story shares this belief. It starts from a dead body. As the story …

‘The Mysteries of Paris’

Eugène Sue; portrait by François Gabriel Guillaume Lépaulle, 1837
On June 19, 1842, readers of the staid Journal des Débats discovered installment one of The Mysteries of Paris by Eugène Sue on the “ground floor” (the bottom quarter) of their daily newspaper’s front page. Over the following months, the story unfolded in 150 breathless episodes, reaching its end only …

The Strange Case of Paul de Man

Paul de Man with Renée and Theodore Weiss, Bard College, circa December 1949

The Double Life of Paul de Man

by Evelyn Barish
In The Talented Mr. Ripley, Patricia Highsmith created high drama from imposture: the almost unbearable tension of suspense that comes with living a double life. That novel seems to have inspired Evelyn Barish’s notion of how to write the biography of Paul de Man. “With every passing year,” she tells us of de Man in the 1950s, “he felt a little more safe, but the stakes were high and the anxiety never left him.” That’s a good novelistic premise. A biographer has to earn it.

Behind the Iron Mask

Alexandre Dumas, 1857; photograph by Nadar

The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo

by Tom Reiss
As a boy I wanted above all other professions to be a musketeer. After Alexandre Dumas’s The Three Musketeers, read to me by my father, I carried on myself with the sequels, Twenty Years After, The Man in the Iron Mask. They were, though I didn’t want to admit it, …

NYR DAILY

From Egypt to Paris: An Artist Prized for His Travel Sketches

Dominique-Vivant Denon, the subject of my piece in the November 19, 2009 issue of the New York Review of Books, is known above all as the first Director of the Louvre—which, under his guidance, became the first encyclopedic public museum. But he was also an artist prized for his travel sketches and engravings. Since I could only touch on this aspect of his career briefly in my piece, I offer here some further notes and selections from his work.