Friday, December 13, 2024

Third reading: D.W. Buffa on Flaubert’s "Madame Bovary"

D.W. Buffa's newest novel to be released is Evangeline, a courtroom drama about the murder trial of captain who is one of the few to survive the sinking of his ship.

Buffa is also the author of ten legal thrillers involving the defense attorney Joseph Antonelli. He has also published a series that attempts to trace the movement of western thought from ancient Athens, in Helen; the end of the Roman Empire, in Julian's Laughter; the Renaissance, in The Autobiography of Niccolo Machiavelli; and America in the twentieth century, in Neumann's Last Concert.

Buffa's latest take in his "Third Reading" series is on Flaubert’s Madame Bovary. It begins:
In 1986, Gore Vidal, as only he could, made a lethal distinction between what Flaubert tried to do in what he wrote and what, more than a century later, American writers of fiction considered adequate: “To the end of a long life, he kept on making the only thing he thought worth making: sense, a quality almost entirely lacking in American literature where stupidity - if sufficiently sincere and authentic - is deeply revered and easily achieved.” Vidal then added: “In our post-literary time, it is hard to believe that once upon a time a life could be devoted to the perfection of an art form, and of all the art forms the novel was the most - exigent, to use a modest word. Today the novel is either a commodity that anyone can put together, or it is an artifact, which means nothing or anything or everything, depending on one’s literary theory.”

If this seems to prove the accuracy of Nietzsche’s prediction that when everyone learned to read, no one would know how to write, and the prescience of Schopenhauer’s remark that with the advent of mass publications, “everyone can now read themselves stupid,” a hundred years before Gore Vidal made his complaint about the state of American literature, Henry James made his own complaint, not about American fiction, but about Gustave Flaubert.

“M. Flaubert and his contemporaries have pushed so far the education of the senses and the cultivation of the grotesque in literature and the arts that it has left them morally stranded and hopeless.” James describes Flaubert as “Sedentary, cloistered, passionate, cynical, tormented in his life of magnificent expression…..” But, as James understood, it was only this “sedentary, cloistered, passionate” life that allowed Flaubert to write Madame Bovary, the novel about which James is unstinting in his praise. “The perfection of Madame Bovary is one of the commonplaces of criticism.” And it is only because of Flaubert’s obsession with perfection that James can call Flaubert the “novelists’ novelist.”

Which is not to say that Henry James liked it. The story is “too small an affair,” and the characters “abject human beings,” and Emma Bovary “not the least little bit complicated.’’ And...[read on]
Visit D.W. Buffa's website.

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--Marshal Zeringue