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Gaston De Latour is the first volume in the ten-volume Collected Works of Walter Pater. Among Victorian writers, Pater (1839-1894) challenged academic and religious orthodoxies, defended 'the love of art for its own sake', developed a new genre of prose fiction (the 'imaginary portrait'), set new standards for intermedial and cross-disciplinary criticism, and made 'style' the watchword for creativity and life.
Everywhere creating themes and resonances that span his narrative, the author's voice in Gaston de Latour is intensely personal; and the reader's experience is intimate, almost invasive. Although unfinished and first posthumously published in 1896, the novel was hailed by Richard Le Gallienne 'as sensitively beautiful as in his most perfect work, as rich in delicate colour and music, and as remarkable for exquisite detail.' This edition includes six additional suppressed chapters by Pater of varying degrees of completeness as a continuation of his interrupted originally-serialized text. This revised text (now a third longer than the posthumously published edition) appears here accompanied by a scholarly Introduction, Explanatory Annotation, and Apparatus Criticus. As it now stands, Pater's never-to-be-completed Gaston de Latour seems very much to belong to artistic modernism, like a 'conceptual' work of art-an idea not formally actualized but open to ranges of realization in the process of creation.
List of contents
- General Editors' Preface
- Acknowledgements
- List of Abbreviations
- List of Illustrations
- Chronology
- Biographical Register
- Critical Introduction
- Textual Introduction
- Text of Gaston de Latour
- Appendix
- Textual Variants
- Explanatory Notes
- Bibliography
- Index
About the author
Gerald Monsman is Professor and former Head of the English Department at the University of Arizona, where he specializes in nineteenth- and early twentieth-century British and Anglo-African literature. Previously as Professor at Duke University he had been a John Simon Guggenheim Fellow and, while part of the Duke program in creative writing, twice won the Blackwood Prize for Fiction from
Blackwood's Magazine (Edinburgh); recently he has published fiction in the
Enkare Review (Nairobi), a journal of avant-garde international voices in literature. To date he has published eight volumes of literary criticism, fifteen scholarly editions, one historical monograph, one critical biography, seven book chapters, and more than thirty critical articles, along with reference criticism, poetry and fiction, and reviews.
Summary
Gaston De Latour is the first volume in the ten-volume Collected Works of Walter Pater. Among Victorian writers, Pater (1839-1894) challenged academic and religious orthodoxies, defended 'the love of art for its own sake', developed a new genre of prose fiction (the 'imaginary portrait'), set new standards for intermedial and cross-disciplinary criticism, and made 'style' the watchword for creativity and life.
Everywhere creating themes and resonances that span his narrative, the author's voice in Gaston de Latour is intensely personal; and the reader's experience is intimate, almost invasive. Although unfinished and first posthumously published in 1896, the novel was hailed by Richard Le Gallienne 'as sensitively beautiful as in his most perfect work, as rich in delicate colour and music, and as remarkable for exquisite detail.' This edition includes six additional suppressed chapters by Pater of varying degrees of completeness as a continuation of his interrupted originally-serialized text. This revised text (now a third longer than the posthumously published edition) appears here accompanied by a scholarly Introduction, Explanatory Annotation, and Apparatus Criticus. As it now stands, Pater's never-to-be-completed Gaston de Latour seems very much to belong to artistic modernism, like a 'conceptual' work of art-an idea not formally actualized but open to ranges of realization in the process of creation.
Additional text
To open this beautiful and beautifully printed volume, reminiscent of the first edition of The Renaissance, is to be reminded of the editorial principles of The Collected Works which envisage Pater's texts and textuality both in their evolution—highly appropriate for Pater who incessantly revised his published essays if only to make minor corrections—and in their complex relationships to the literary and publishing culture of their times.
Report
To open this beautiful and beautifully printed volume, reminiscent of the first edition of The Renaissance, is to be reminded of the editorial principles of The Collected Works which envisage Pater's texts and textuality both in their evolution-highly appropriate for Pater who incessantly revised his published essays if only to make minor corrections-and in their complex relationships to the literary and publishing culture of their times. Bénédicte Coste, Université de Bourgogne, Studies in Walter Pater and Aestheticism
