L'Incessant by Charles Juliet
By Charles Juliet
Secrète, à peine audible, une voix parle en chacun de nous. Une voix qui nous accompagne tout au lengthy de notre life. Quand on lui prête awareness, on entend son interminable soliloque. Mais parfois, elle se divise, et le soliloque devient discussion. Tout se passe comme si deux voix s’opposaient, entraient en conflit, se livraient un véritable strive against. L’Incessant met en présence un homme et une femme qui s’affrontent avec âpreté. Égocentrique, l’homme ne veut écouter que ses désirs, ses avidités. los angeles femme lui fait valoir qu’il peut dépasser cette perspective et accéder à une vie plus ouverte, plus haute, plus riche. Chacun a son element de vue, ses arguments, s’acharne à l’emporter sur l’autre. Cet homme et cette femme sont en chacun de nous. À certains moments de crise, ils se déchirent, nous harcèlent. Mais l. a. décision qui clôt le débat n’est jamais définitive. À tout speedy elle peut être remise en reason. Alors l’affrontement recommence. Maintes et maintes fois. À moins qu’un jour l’homme cède et qu’une seconde naissance l’introduise à une nouvelle vie.
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Extra resources for L'Incessant
The growth of advertising was a major factor in the flourishing of magazines in which Runyon’s work appeared. 10 With the increasing dominance of New York in literary culture, it is not surprising that a great many of the major American magazines were published in New York. ”11 Although these magazines were national and international in coverage, they often stressed the glamour of New York, where celebrities, particularly those in the theater, resided. ”12 Many factors, of course, went into the making of the world Runyon describes.
The pugnacious Winchell varied his content from day to day to satisfy his diverse audience—Mondays were for gossip, Tuesdays and Thursdays he focused on anecdotes and jokes, and Saturdays he wrote about obscure facts. While in his columns Winchell did take on somewhat different personae, he did not do so in the wildly inventive way that Runyon did. The growth of advertising was a major factor in the flourishing of magazines in which Runyon’s work appeared. 10 With the increasing dominance of New York in literary culture, it is not surprising that a great many of the major American magazines were published in New York.
Runyon’s view was not too different; he at once celebrated and condemned promiscuity. Evergood and Marsh were patronized by highbrow critics for similar reasons as Runyon. On first encounter, all three seemed more interested in subject matter than technique and used popular forms and seemingly unsophisticated techniques to communicate viscerally with a larger audience. Moreover, they relied on exaggerations and even grotesque and distorted perspectives. Another painter who helps us understand Runyon is John Marin (1870–1953), especially his 1936 series of watercolors, including “City Movement, Downtown Manhattan #2” (1936), which had much in common with Runyon’s rendering of the city’s vitality and energy.