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Jean-Jacques Pauvert (April 8, 1926 – September 27, 2014) is an atypical and glorious figure of the French edition of the twentieth century, which re-released figures marginal, scandalous or forgotten in French literature, particularly erotic. Resistant to the age of 16 years, Jean-Jacques Pauvert decides, on the advice of André Breton published “for the first time ever with a name and address of publisher without cuts” all the work of Sade in the late 40s in 1956, charged with “indecent assault”, is held the “trial Sade” the greatest French intellectuals (George Bataille, Paulhan …) come to defend and André Breton writing this letter Ultimately the Tribunal. Sentenced then acquitted on appeal, Pauvert labored to weakening of censorship and could complete his monumental biography of Sade, the title more than ever: Sade living
The Marquis. Sade was careful to say (and this is an often quoted phrase): “I only speak to people who can hear me; those only read me safe. “This sentence, I think we can take it literally. He does not speak, it means not only that it only addresses – but he has a chance to move to the point of influencing their thinking and acting, that beings qualified in any way to immediately reach the latent content of what he says. We know, because they all wanted to testify, as is the case of poets such as Lamartine, Petrus Borel, Baudelaire, Swinburne, Lautréamont, Apollinaire; writers who have most deeply excavated the human soul, such as Stendhal, Nietzsche, Barbey d’Aurevilly. It is also significant that the interpreters of the work of Sade (which can not be abstract of his life) are mostly scientists.
Doctors, as Eugen Duehren as Maurice Heine, have placed such importance that it was they who took the initiative to publish or republish what had long been lost or had become untraceable . Work that, under their responsibility, or have been awarded as outstanding are often those whose manifest content, considered in terms of the current morality, cause the greatest disapproval.
They estimated, for higher reasons, they had to ignore, believing rightly that manifest content, for those who would stick to him, would be likely to cause repulsion, not the attraction, anyway – by its own excesses – rebuterait lovers licentious publications, which are legion. The so-called “poison” therefore has here its antidote:
The charms of horror not drunk that strong
work. Sade and stands in its true light, proceeding from that of some Gnostics, Carpocratians the second century AD, and to a lesser extent, the Cathars, but extends far ahead.
We can, I think, to stick to the opinion of Charles Henry, the director of the Laboratory of Physiology sensations at the Sorbonne on. In his pamphlet, The Truth about the Marquis de Sade, published in 1887, Charles Henry cites the motto behind which is subtracted Sade:
It is not criminal to paint
Strange inclinations inspired nature
He commented: “The followers of moral experience could not conclude otherwise. “II there has already seventy years, to a mind like this, Sade took figure, either Monster subversion that must contrive to smudge, but a moralist whose lesson should at any price, be lost.
I know – to know him personally – Jean-Jacques Pauvert, editing the works for which he is charged, has obeyed other motive than wanting to be the executor This judgment, as in the nineteenth century until the twentieth, with very differently oriented but which share the characteristic of being as enlightened qu’éclairants minds. For the centenary of Madame Bovary and Les Fleurs du Mal, I have no doubt that the Court may wish to consider him. Culture, like freedom, is to me one and indivisible, I testify, in good conscience, that, like no other, Jean-Jacques Pauvert today fulfills its role and contributes greatly to the intellectual influence of this country, Sade when he reissued as when he republished Littre.
to Jean-Jacques Pauvert, with affection.
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