Against the Grain by Joris-Karl Huysmans. The Ultimate Example of "Decadent" Literature Translated by John Howard. Against Nature or Against the Grain (1884) is a novel by the French writer Joris-Karl Huysmans. Its narrative concentrates almost entirely on its principal character and is mostly a catalogue of the tastes and inner life of Jean des Esseintes, an eccentric, reclusive aesthete and antihero who loathes 19th-century bourgeois society and tries to retreat into an ideal artistic world of his own creation. A rebours contains many themes that became associated with the Symbolist aesthetic. In doing so, it broke from Naturalism and became the ultimate example of "decadent" literature. Jean des Esseintes is the last member of a powerful and once proud noble family. He has lived an extremely decadent life in Paris, which has left him disgusted with human society. Without telling anyone, he retreats to a house in the countryside. He fills the house with his eclectic art collection (which notably consists of reprints of paintings of Gustave Moreau). Drawing from the theme of Gustave Flaubert's Bouvard et Pecuchet, Des Esseintes decides to spend the rest of his life in intellectual and aesthetic contemplation. Throughout his intellectual experiments, he recalls various debauched events and love affairs of his past in Paris. He conducts a survey of French and Latin literature, rejecting the works approved by the mainstream critics of his day. Amongst French authors, he shows nothing but contempt for the Romantics but adores the poetry of Baudelaire and that of the nascent Symbolist movement of Paul Verlaine, Tristan Corbiere and Stephane Mallarme, as well as the decadent fiction of the unorthodox Catholic writers Auguste Villiers de l'Isle-Adam and Barbey d'Aurevilly. He rejects the academically respectable Latin authors of the "Golden Age" such as Virgil and Cicero, preferring later "Silver Age" writers such as Petronius and Apuleius as well as works of early Christian literature, whose style was usually dismissed as the "barbarous" product of the Dark Ages. Schopenhauer, he exclaims, has seen the truth, and he clearly expressed it in his philosophy. He studies Moreau's paintings, he tries his hand at inventing perfumes, and he creates a garden of poisonous flowers. In one of the book's most surrealistic episodes, he has gemstones set in the shell of a tortoise. The extra weight on the creature's back causes its death. In another episode, he decides to visit London after reading the novels of Dickens. He dines at an English restaurant in Paris while waiting for his train and is delighted by the resemblance of the people to his notions derived from literature. He then cancels his trip and returns home, convinced that only disillusion would await him if he were to follow through with his plans. Eventually, his late nights and idiosyncratic diet take their toll on his health, requiring him to return to Paris or to forfeit his life. In the last lines of the book, he compares his return to human society to that of a non-believer trying to embrace religion.
About the Author: Charles-Marie-Georges Huysmans (February 5, 1848 - May 12, 1907) was a French novelist who published his works as Joris-Karl Huysmans. He is most famous for the novel A rebours (published in English as Against the Grain or Against Nature). He supported himself by a 30-year career in the French civil service. Huysmans' work is considered remarkable for its idiosyncratic use of the French language, large vocabulary, descriptions, satirical wit and far-ranging erudition. First considered part of Naturalism in literature, he became associated with the decadent movement with his publication of A rebours. His work expressed his deep pessimism, which had led him to the philosophy of Arthur Schopenhauer. In later years, his novels reflected his study of Catholicism, religious conversion, and becoming an oblate. He discussed the iconography of Christian architecture at length in La cathedrale (1898), set at Chartres and with its catherdral as the focus of the book. La-bas (1891), En route (1895) and La cathedrale (1898) are a trilogy that feature Durtal, an autobiographical character whose spiritual progress is tracked and who converts to Catholicism. In the novel that follows, L'Oblat (1903), Durtal becomes an Oblate in a monastery, as Huysmans himself was in the Benedictine Abbey at Liguge, near Poitiers, in 1901. La cathedrale was his most commercially successful work. Its profits enabled Huysmans to retire from his civil service job and live on his royalties.