Introduction I. The Writing of SalammbO, 1857-1862 II. The Battle of SalammbO, 1862-1863 III. Interlude: Society, 1863-1866 IV. The Beginning of l'Education Sentimentale, 1863-1866 V. Enter George Sand. The Completion and Reception of l'Education Sentimentale, 1866-1869 VI. Interlude: Early 1870 VII. The War and the Commune, 1870-1871 VIII. The Temptation of Saint Anthony. The Beginning of Bouvard and Pecuchet. Le Candidat. Three Tales, 1872-1877 IX. The Last Years. Bouvard and Pecuchet, 1877-1880 Appendix I: Flaubert's Niece Caroline Appendix II: "Reply to a Friend" by George Sand Appendix III: The Broken Friendship: Flaubert and Laporte Appendix IV: The Pavilion at Croisset Works of Related Interest Index
Francis Steegmuller is the author of more than twenty books and a recipient of numerous awards and honors. His translation of Madame Bovary is an acknowledged classic. In 1982 the American Academy and Institute of Arts and Letters awarded him its Gold Medal for Biography.
Steegmuller…is again a deft, witty and indefatigable commentator,
stitching Flaubert’s correspondence together with all the
background information we need in order to appreciate it. Among his
many fine asides, Mr. Steegmuller tells us that Proust disliked the
style of Flaubert’s letters even more than that of his novels; that
Gide kept his volumes of them beside his bed like a bible.
*New York Times*
These letters have the same fascination and compelling narrative
drive as those in the first volume… We have, in the guise of
letters, what comes close to being a full-fledged biography.
*Washington Post Book World*
Steegmuller’s connecting narrative and his annotations make this
second volume as rich and attaching as the first. And, for once,
Flaubert is seen alive and enacting himself.
*The Atlantic*
[Steegmuller’s] ear is so keenly attuned to the modulations of this
correspondence and his craft is so accomplished that the English
text is, as it were, transparent and trans-vocal. It is the voice
of Flaubert we hear or, more precisely, the oral qualities of his
epistolary style. Steegmuller plays Flaubert for us the way a
musician plays the music of a master.
*American Scholar*
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