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I FÁBIO ROBERTO MARIANO FAULKNER NA FRANÇA

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I FÁBIO ROBERTO MARIANO FAULKNER NA FRANÇA FÁBIO ROBERTO MARIANO FAULKNER NA FRANÇA: UMA ANÁLISE DOS PREFÁCIOS ÀS TRADUÇÕES DOS LIVROS DE WILLIAM FAULKNER PUBLICADOS NA FRANÇA NOS ANOS 30. CAMPINAS 2015 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM FÁBIO ROBERTO MARIANO FAULKNER NA FRANÇA: UMA ANÁLISE DOS PREFÁCIOS ESCRITOS ÀS TRADUÇÕES DOS LIVROS DE WILLIAM FAULKNER PUBLICADAS NA FRANÇA NOS ANOS 30. Dissertação apresentada para o Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Mestre em Teoria e História Literária, na área de História e Historiografia Literária. Orientador: Prof. Dr. Eric Mitchell Sabinson CAMPINAS 2015 iii iv v vi RESUMO: O objetivo deste trabalho é compreender a recepção de Faulkner na França a partir de uma contextualização da literatura francesa nos anos 1930 e da leitura detalhada dos referidos prefácios. O que está em primeiro plano não é uma leitura crítica do autor, e sim uma organização de leituras críticas anteriores. Ao fim do texto, é esboçada uma proposição acerca do apelo específico que Faulkner teve na França. Dos seis livros de Faulkner publicados durante os anos 30, cinco trazem prefácios. Esses textos são de autoria de figuras de grande influência no ambiente literário francês: os tradutores Maurice-Edgar Coindreau e René-Noël Raimbault, o crítico e escritor Valery Larbaud e o escritor, político e jornalista André Malraux. A partir das leituras propostas nesses prefácios, é possível tentar estabelecer uma relação entre o ambiente cultural da França e a obra de William Faulkner. Para estabelecer tal relação, este trabalho se divide em três partes, cada qual correspondendo a um de seus capítulos. Em primeiro lugar, faz-se uma análise do ambiente histórico e literário da França. Em segundo, uma leitura atenta dos prefácios é feita, levando-se em consideração também quem são seus autores. Por fim, o terceiro capítulo é um movimento de interpretação dos prefácios à luz da análise feita no primeiro capítulo. Palavras-chave: William Faulkner; Romance Americano; Modernismo Americano; Década de 1930; Literatura Americana na França. vii viii ABSTRACT: The present dissertation aims at an understanding of the reader response to Faulkner in France. It is based both on a study of the mentioned prefaces and on an attempt to describe the literary and critical standards of the time. The main point here is not exactly a critical reading of the author's work in itself, but an effort of organizing earlier readings. This study is closed by a hypothesis about Faulkner's specific appeal to French readers. Five out of the six of Faulkner's books published during that time are prefaced, all of them by Frenchmen: translators Maurice-Edgar Coindreau and René-Noël Raimbault, literary critic and writer Valery Larbaud and politician, journalist and novelist André Malraux. A detailed analysis of these prefaces may be an effective strategy to establish a connection between Faulkner's work and the French cultural environment in which he is read. In order to effectively make such a connection, this dissertation has been divided in three parts, each of which corresponds to one of its chapters. In the first one, the literary and historical context of France is analyzed. In the second, a close reading of each of the prefaces is made, taking into account not only their words and references, but also their authors. In the third and last chapter, the prefaces are interpreted according to what had been exposed in the first chapter. Keywords: William Faulkner; American Novel; American Modernism; The Thirties; American Literature in France. ix x SUMÁRIO: Introdução......................................................................................................................01 Capítulo 1.......................................................................................................................03 1.1: Os prefaciadores e sua relação com a língua inglesa...........................................03 1.2: O romance francês e a experimentação formal....................................................05 1.3: Assuntos, temas e situações.................................................................................15 1.4: A realidade histórica............................................................................................23 1.5: As condições da recepção....................................................................................29 Capítulo 2.......................................................................................................................31 2.1: O prefácio de Andre Malraux a Santuário (Sanctuaire - 1933) .........................30 2.2: O prefácio de Valery Larbaud a Enquanto Agonizo (Tandis que j’agonise - 1934)...........................................................................................................................37 2.3: O primeiro prefácio de Maurice-Edgar Coindreau: Luz em Agosto (Lumière d’août - 1935).............................................................................................................51 2.4: O segundo prefácio de Maurice-Edgar Coindreau: O Som e a Fúria (Le Bruit et la Fureur - 1937) .......................................................................................................68 2.5: O prefácio de René-Noël Raimbault: Treze Contos (Treize Histoires - 1939)..85 Capítulo 3.......................................................................................................................97 3.1: Posições...............................................................................................................96 3.2: Moral e política..................................................................................................108 3.3: Técnica e experimentação formal......................................................................112 3.4: Tempo e Linguagem .........................................................................................115 xi 3.5: Um Faulkner Francês.........................................................................................118 Conclusão.....................................................................................................................121 Referências Bibligráficas............................................................................................125 xii Para Saran e Cohen, Por atravessarem comigo ou por mim, irmãos, as distâncias desta dissertação. xiii xiv AGRADECIMENTOS: Há pessoas sem as quais esta dissertação não poderia ter sido escrita, outras sem as quais ela sequer teria nascido. Agradeço, primeiramente, ao professor Eric, por sua orientação e por todas as valiosas lições. Muito obrigado à professora Eunice Ribeiro Henriques, pela dedicação e pelos preciosos conselhos no exame de qualificação. À professora Cristina Henrique da Costa, presente no exame de qualificação e na defesa da dissertação, meus agradecimentos mais sinceros. Ao professor Caetano Waldrigues Galindo, pela atenção que dedicou ao meu texto e pela discussão que me proporcionou durante a defesa, muitíssimo obrigado. Sou muito grato ao Gustavo, por todo o trabalho que teve na França para que eu pudesse ter acesso aos artigos da Nouvelle Revue Française dos anos 30. Ao Igor Porto, meu muito obrigado por me acompanhar a Oxford, MS, à Faulkner & Yoknapatawpha Conference, e por dividir comigo a experiência de desbravar os Estados Unidos. To Claude Pruitt and Jennie Jo Joiner, who encouraged me with their attention and their immense kindness. Thank you very much. Ao Guilherme, por todas as leituras e releituras, por ser meu interlocutor acadêmico e por todos as tardes em que dividiu comigo as aflições da composição desse texto. Ao Gabriel, pela fé inabalável. Aos meus pais, por conhecerem e compreenderem; por apoiarem e persistirem. xv xvi "One bright spot in June, however, was a visit from the French academic, Maurice Coindreau, who had translated As I Lay Dying quite successfully. Now he was finishing work on The Sound and the Fury, and he came to spend a week with the author, asking specific questions. The importance of these translations may not have been obvious to Faulkner, but he was pleased. It would have been impossible for him to know at the time that these translations would form the basis for his huge presence in France and, later, South America." _Jay Parini, One Matchless Time: A Life of William Faulkner xvii xviii Introdução Durante a década de 1930, William Faulkner foi traduzido para o francês juntamente a outros escritores dos Estados Unidos. 1 Desde então, sua fama se tornou perene na França; duas matérias relativamente recentes do jornal inglês The Guardian mostram o sucesso de Faulkner tanto entre o público quanto entre escritores franceses. 2 O país também se tornou desde então uma referência nos estudos sobre o autor. Até 1952, 14 livros de Faulkner estavam publicados em francês, e mais de 80 publicações sobre o escritor existiam. 3 A revista francesa Europe dedicará, na década de 90, um número inteiro a William Faulkner (1992), e outro à literatura do sul dos Estados Unidos cujo título é Depois de Faulkner (Aprés Faulkner) (1997). The Ink of Melancholy, publicado pelo crítico francês André Bleikasten em 1990, é ainda considerado incontornável para estudiosos do autor, contendo referências a outros estudos franceses. 4 Com picos de interesse, Faulkner é presença permanente do cenário cultural francês. É durante os anos 30 que se iniciará sua fama. Buscou-se nesta trabalho compreender as razões de uma possível ligação entre Faulkner
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