Ebook The Counterfeiters: A Novel, by Andre Gide
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The Counterfeiters: A Novel, by Andre Gide
Ebook The Counterfeiters: A Novel, by Andre Gide
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A young artist pursues a search for knowledge through the treatment of homosexuality and the collapse of morality in middle class France.
- Sales Rank: #270761 in Books
- Brand: Gide, Andre
- Published on: 1973-06-12
- Released on: 1973-06-12
- Original language: English
- Number of items: 1
- Dimensions: 7.27" h x .98" w x 4.33" l, .74 pounds
- Binding: Paperback
- 480 pages
Review
Novel by Andre Gide, published in French in 1926 as Les Faux-Monnayeurs. Constructed with a greater range and scope than his previous short fiction, The Counterfeiters is Gide's most complex and intricately plotted work. It is a novel within a novel, concerning the relatives and teachers of a group of schoolboys who are subjected to corrupting influences both in and out of the classroom. In a progression of unconnected scenes and events, the novel approximates the texture of daily life. Schoolboys of diverse ages and dispositions attend the Pension Azais. Some are suspected of having attempted to circulate counterfeit coins. Edouard, an author writing a novel entitled The Counterfeiters, observes that if a counterfeit coin is thought to be authentic, it is accepted as valuable; if it is found to be counterfeit, it is perceived as worthless. Therefore, he concludes, value is wholly a matter of perception and has nothing to do with reality. The counterfeiters are thus representative of those who disguise themselves with false personalities, either in unconscious self-deception or through conscious, hypocritical conformity to convention. -- The Merriam-Webster Encylopedia of Literature
Language Notes
Text: English, French (translation)
From the Inside Flap
A young artist pursues a search for knowledge through the treatment of homosexuality and the collapse of morality in middle class France.
Most helpful customer reviews
65 of 66 people found the following review helpful.
A brilliant, lyrical masterpiece.
By John Hovig
"The Counterfeiters" (1926), by Andre Gide (1869-1951) is a fascinating chronicle of life in Paris before World War I. It begins as two high school friends, Bernard Profitendieu and Olivier Molinier, prepare for the bacchalaureat, their final exam. Bernard finds some letters hidden at home which show he is illegitimate, and runs away from home, thus setting in motion a rich set of adventures among a cast of mind-boggling proportions. From Bernard, Olivier and their parents, the story quickly grows to include Olivier's younger brother George, his uncle Edouard, Edouard's friend Laura, Olivier's older brother Vincent, Vincent's friend Robert Count Passavant, Passavant's lover Lady Griffith, Edouard's old schoolmate Victor Strouvilhou, Victor's nephew Gheri, Laura's father Vedel, Edouard's old piano teacher Perouse, and Perouse's grandson Boris, among many others. As this prodigious cast assembles itself, the fireworks really begin!
The reader will be amazed by all the ways these characters interconnect with each other. For example, at the beginning of the book, Edouard is traveling from London to Paris to visit and advise Laura, who is trying to extricate herself from an extra-marital affair, but only upon arriving will he learn Laura's paramour is actually his nephew Vincent. Many similar connections between most of the characters will be revealed during the course of this motivating story. "The Counterfeiters" is less a plotted novel than a finely-woven tapestry. Every character interacts with almost every other. The chapters are brief, only a dozen pages or so, but most focus on one of these interactions in particular, making for a compelling narrative. It was notably experimental for its time, but extremely readable, and still fresh today.
The title describes a counterfeiting ring which uses children, like something from Dickens's "Oliver Twist", to pass off gold-plated glass disks for coins. Gide's broader theme, however, is that of falsehood in general, like that popular theme of 19th-century French literature, namely hypocrisy. Beside the counterfeiting ring itself, Gide describes fathers with illegitimate children, adults with hidden affairs, and people generally searching for truth among the artifice of life.
Gide's characters are brilliantly conceived, executed on a par with his predecessor Balzac, whom Gide himself called "possibly our greatest novelist" (as published in the invaluable reference in the appendix of this book, the illuminating journal Gide himself kept while writing "The Counterfeiters"). There is something of Balzac's Goriot in Gide's Perouse, something of Rastignac in Bernard, and perhaps even a little Vautrin in Passavant. But Gide's literary style is markedly different. Where Balzac told self-contained stories, usually ones with social morals attached (as did most 19th-century French authors), Gide tells us he is "fond of sudden endings," and "it is an insult to explain what the attentive reader has understood" (both also paraphrased from this book's appendix).
Gide weaves dozens of strands of the story, intersecting every character with every other character, drawing lines to question the moral behavior of each interaction, an experimental gambit for its time. But I'm pleased to say Gide's experiment worked. The complete book is a brilliant success. His "novelist's novel" is perhaps one of the most important literary results of the early twentieth century, crafting a compelling story of interesting characters, maintaining great intellectual interest throughout. This novel is recommendable to anyone who enjoys fine literature.
Note: Other reviews invariably paint this book in shocking shades of homosexual or hedonistic material, but this is misleading at best. It's true, a homosexual and hedonistic tone appears at places, Count Passavant being the worst offender, but Gide is not a pornographer, he is a moralist. Homosexual himself, Gide was also Protestant (Huguenot), and like his brilliant work "The Immoralist", he believes in showing a moral lesson through human action.
Finally, two small quibbles: An emotional incident at the end of the book, based on a newspaper article Gide clipped, seems incongruous with the rest. It doesn't detract from the book, but it seems tacked on for special effect. Also, while excellent for the most part, the translation insists on leaving some expressions in the French original, such as "chef d'oeuvre" instead of "masterpiece", or "entr'acte" instead of "intermission".
1 of 3 people found the following review helpful.
Unique, Unforgettable
By Josef Bush
By now I think I've read THE COUNTERFITTERS about five times in perhaps twenty or twenty-five or more years. It is impossible to describe, adequately, in 1,000 words. One can say about it only that it is one of the truly 20th Century novels -- what Gide thought of as a psychological novel -- and has many of the characteristics peculiar to modern 20th Century art. It is daringly erotic; it is asymetrical and does not depend on 'plot;' it is both intensely emotional and very detatched; it is a survey of both personality and character, without benefit of religious or moral cant.
I've picked up this book and begun reading at random any number of times. I've read this book through from cover to cover almost as often, and every time I've picked it up, it has shown me a new side of itself; it has twisted in my mind like a living thing refusing to be trapped. It is a new book every time; an astonishment. A living masterpiece of fiction.
12 of 12 people found the following review helpful.
Pretense and Compassion
By Gary Severance
Andre Gide's "The Counterfeiters" is a novel about individual development in a society structured by deceit. The French writer began the novel after World War I and continued working on it for years until it was published in 1927. Set in Paris, the story describes upper middle class adolescent boys and the men who exploit them. The plot progresses in a somewhat disjointed fashion as Gide inserts psychoanalytic insights popular at the time. Some of Gide's journal entries, included as an appendix to the novel, indicate a dissatisfaction with his ability to produce seamless connections between realistic structure and unconscious processes.
In the first half of the novel, the young characters are introduced, and their intellectual, social, and artistic developments are described in an engaging manner reminiscent of Balzac. The reader is involved in the plot and cares about the behavior of each of the boys. The children are becoming adults without the realization that a single immature act can determine a life path.
In the second half of the book, the pace of the plot slows as Gide inserts an increasing number of psychological interpretations into the story. The device he uses is a journal written by a novelist character, Edouard, who is using his experience with the boys and their families to write his own novel. With this voice, Gide is able to discuss events from the point of view of a witness who is intimately involved in the action and assumes a role of psychoanalyst.
The final chapters of the novel demonstrate Gide's success in the integration of form and free expression as the plot accelerates to chaos and resolution. The reader understands that all of the boys are counterfeiters in their interactions with family, friends, and others. This is expected from adolescents who are impulsive and largely ignorant of life's consequences. But we do not expect the adult characters to be counterfeiters, to try to deceive by pretense and dissembling in order to exploit the boys socially, intellectually, and sexually. Though this counterfeit life is entrenched in the adults, Gide provides hope that the younger generation is capable of insight and judgment and can avoid dissolute lives.
Complete redemption by the boys is possible if they recognize the immorality of their external counterfeit roles. They must learn to stop the narcissistic internal voice that speaks to them incessantly reflecting the counterfeit influence of parents and friends. Finally, they can enter the silence of genuine communication with people, without guile or envy, and experience a compassionate and selfless immersion in the lives of others.
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