Read The Flanders Road by Claude Simon Richard Howard JohnFletcher Online


During the German advance through Belgium into France in 1940, which led to the fall of France, Captain de Reixach is shot dead by a sniper. Three of his dragoons, involved with him in different capacities, remember him and help the reader piece together the realities behind the man and his death.One was a distant relative, one his orderly, and the third who had been a jocDuring the German advance through Belgium into France in 1940, which led to the fall of France, Captain de Reixach is shot dead by a sniper. Three of his dragoons, involved with him in different capacities, remember him and help the reader piece together the realities behind the man and his death.One was a distant relative, one his orderly, and the third who had been a jockey in his stable before the war, had also been his wife's secret lover....

Title : The Flanders Road
Author :
Rating :
ISBN : 9780714539942
Format Type : Paperback
Number of Pages : 231 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The Flanders Road Reviews

  • MJ Nicholls
    2019-07-11 18:28

    Bailing out of this one at p82. Oneworld Classics is almost as impressive as Dalkey in bringing esoteric out-of-print novels back into the world. Have a gander at their catalogue if such a thing impresses you. I put the link up. Be grateful, punk. The Flanders Road is an important novel of the nouveau roman movement: Mr. Simon uses an atemporal third-person narrative voice, narrating war horrors in a nightmarish stream-of-thought style, popular among Beckett and late-period modernists. For the contemporary reader, the style is a dated experiment, tiresome to read and more historically curious than narratively explosive. I don’t have the patience to wade through punctuation-free avant-garde monsters these days. I think I’m growing up.

  • mohammad ebadi
    2019-06-28 18:43

    جاده فلاندر یکی از عجیب ترین رمان هاییست که تابه حال با آن روبرو شده ام.اثری که ساخت مایه ی آن به یک نقش مینیاتور پرنقش و نگار می ماند.چشمان راوی تیزبین تصاویر را دنبال می کند(گاه یک تصویر و چند تصویر در کنار هم امتداد پیدا می کند)همین همزمانی ست کهباعث شده جاده فلاندر از بسیاری از آثار گذشته و معاصر ادبیات فاصله بگیرد.خواندن این رمان برایم بسیار جذاب بود.چون سراسر زمان در حال کشف بودم،شاید عده ای به غلط می پندارند رمان نو تماما وصف اشیای بی جان است که درحالی که تمام خطوط آن سرشار از اتفاقات انسانی بود فقط باید سرنخ ماجرا پیدا شود و در کنار اتفاقات مشابه قرار گیرد.جاده فلاندر گلچینی از تکنیک های رمان مدرن است.از راوی محدود گرفته تا سیال ذهن و کاوش درون شخصیت ها. بآ آنکه رمان محدوده زمانی گسترده ای را شامل می شود اما تمام اتفاقات فقط یک لحظه است که در ذهن ژرژ فوران می کند،لحظه ای که ممکن فقط حاصل تخیل انسانی جنگ زده باشد،لحظه ای ناب به مثابه جاده فلاندر.

  • Inderjit Sanghera
    2019-07-01 02:40

    Claude Simon’s style reads like a combination of Faulkner and Proust; the never-ending shift of perspectives and time, the never-ending paragraphs and sentences, ‘The Flanders Road’ is as disorientating as it is beautiful, yet at times the disjointed nature of the prose and story, which is merely Simon’s interpretation of time via his unique narrative style, takes away from the poetic prose style and psychologically harrowing recollection of the brutality of war-Simon’s prose is almost dream-like and this jars against the brutal reality of the story, until it becomes something ethereal and unreal rather than a harrow and unflinching recollection of war;“….if it had rained spears, all huddled now in the stands with the sculptured gingerbread floating in the sky, with the whipped cream clouds, motionless, like meringues, that is swollen, puffed up on top and flattened underneath as if they had been set on an invisible sheet of glass, neatly aligned in successive rows which perspective brought closer together in the distance, to form, far away, towards the misty horizon, above the treetops and delicate factory chimneys, a suspended, motionless ceiling, until when you looked more carefully you realised the whole drifting archipelago was imperceptibly sliding….then Iglesia saw him, he told them later, separate, disassociated from the binoculars from the anonymous motley of colours, on that filly like a streak of pale bronze, and wearing the black cap and bright pink silk bordering on mauve that she had somehow imposed on both of them, like a kind of voliptous and lascivious symbol...”Colours combine and coalesce to form the unique tapestry of Simon’s literary style; pinks, blues, reds and greens symbolic of the different themes which run through the novel-from the lustful affair of Iglésia and de Reichax’s wife (which is again echoed in the suicide of de Reichax’s ancestor, which is in itself echoed in de Reichax’s suicide charge) or of man’s mortality and existential angst. Yet the themes and events of the novel are purely incidental, the quiddity of Simon’s prose, the unique rhythm and cadence of his style and words, as if the characters are in fact somnambulists whose lives constantly shift between dreaming and being awake-if indeed there is a difference;“I drank drinking all of her taking all of her into me like those oranges that despite grown-ups telling me that it was dirty, that it was impolite, noisy I like to make a hole in and squeeze, pressing, drinking her belly the globes of her breast slipping under my fingers like water a pink crystalline drop trembling on the bent blade of grass under that light rustling breeze that precedes the sunrise reflecting containing in its transparence the sky tinged pink by the dawn.”Dewdrops on a blade of grass as the soldiers retreat, sunshine on the water which contains a corpse, the imperceptible shaking of the hay as a couple make love-one of Simon’s primary concerns is that of language-“summoning up the iridescent and luminous images by means of the ephemeral and incantatory magic of language, words invented in the hope of making the palatable-the unmentionable reality”To distort and disguise and make uncertain the fine line between reality and invention and to articulate the inexpressible horrors of the situation the characters find themselves in. ‘The Flanders Road’ is a not an easy read, but is worth exploring the highly original prose style of the author.

  • Sean de la Rosa
    2019-07-03 23:14

    I got this off Wiki about the author: Extreme use of long sentences (often stretching across many pages and with parentheses sometimes interrupting a clause which is only completed pages later) is reminiscent of Proust. Simon was also majorly influenced by Faulkner in that he extensively uses a fractured timeline with frequent and disorienting moments of chronological discontinuity. There is also acute use of free indirect speech in which narrative voices (often unidentified) and streams of consciousness bleed into the words of the narrator. Simon's principle obsession is with the ways in which humans experience time.As you would expect, I found the first 50 pages of the book very disorientating, not quite sure who was speaking at times (this was my first encounter with Simons work). However, I pressed on and once I got the hang of the style, I realised the level of genius needed to accomplish a work like this. In The Flanders Road, the imagery of death, hopelessness and abandonment during and post the Second World War is extremely overpowering. I found the style of writing very unique, creative and even liberating. I expect The Flanders Road will not be for everyone. Also, I think youll struggle to lay your hands on an English translation - its out of print. But if you happen to stumble onto a second hand copy somewhere and are looking for a rewarding experience, give it a go. Its a complex work that will stretch your level of thinking. The French author, born in Madagascar, was eventually awarded the Nobel in 1985 for his efforts. He had written over 20 works before his death in 2005. Someone once said we dont live life in full stops and commas. I think thats a very apt summary of this authors most famous book.

  • Roozbeh Estifaee
    2019-07-18 02:19

    A true masterpiece, "The Flanders Road" was a big surprise to me, since it was fairly the first nouveau roman I read. Some friends of mine had already read it, and their compliments motivated me to read it too; but they had also advised me to read it when I have enough concentrated time to put on, like, for example, reading it in no more than five sittings in some consecutive days. When I found the right time for reading it after some 2 years, I found this advice very precious and rewarding."The Flanders Road" story, if there would be such a thing, happens in 2nd world war engaged France, just when Germans are capturing Paris, and has a french soldier-first person narrator, through the eyes and mind of whom we follow the storyline. In spite of this, some times the book goes back in time to tell the story of a couple living about 200 years before the story's current time. The author does not converge these two stories, but leaves them each off at a certain point."The Flanders Road" is a novel of war, but what about war? I doubt if there is an answer. You can say it's about people's behavior and their reactions to war, a descriptive picture of the world of war as a whole, the lifeless part of war, crime sense in people, past and its relationship with present, or even the beauties of war. All these and more can be found in the book."The Flanders Road" is a hard book to read with its long sentences and very long paragraphs. The detailed description of Simon's sharp vision reveals new dimensions wherever it shines upon. He just sees everything as it is, and describes it as it must be. He just polishes everything with details and the burnishes it with some more details. This is how "The Flanders Road" becomes a great example of the nouveau roman, by one of its nobelist novelists, Claude Simon.P.S: Reading Manoochehr Badiee's translation of the book just doubles the joy of it. You can read it confidently.

  • Ayeh
    2019-07-19 00:39

    کلود سیمون واقعیت را می بیند , به خاطر می سپارد , و همان گونه که به خاطر می آورد ( نه آن گونه که دیده است ) بیان می کند . یعنی درست همان گونه که همه ی ما ماجراها را نقل می کنیم جز آن که نویسنده در هنگام دیدن از دقت بیشتر , در هنگام به خاطر آوردن از حافظه بهتر و در همگام نوشتن از واژه ها و تعبیرهای رساتری برخوردار است .

  • Nati Korn
    2019-07-04 19:26

    ... לא שום דבר מסודר, עקבי, לא מילים, לא דיבורי הכנה, לא הצהרות, אף לא פרשנויות נרחבות, רק זאת: כמה תמונות אילמות בקושי נעות, נראות מרחוק ...-- עמוד 31ושוב פסקאות עמוסות, צפופות, בקושי נגמרות; ושוב מחסור מכוון, מהתל, קמצני בסימני פיסוק; ושוב מעברים חדים, פתאומיים בין סצנות, מקומות וזמנים, בתוך סוג של שטף תודעה מקוטע. ולא, אל תחפשו כאן עלילה נרחבת, דיאלוגים שנונים או דרמה קיצונית. הספר הזה חוזר ומשוטט כל הזמן באותן הדרכים, סביב לאותן תמונות, אותם עניינים, אותם רעיונות שוב ושוב. הספר הזה הכתיב קריאה איטית, מסורבלת מעט (אך כבר התמודדתי עם גרועים ממנו מהיבט זה).ויחד עם זאת הכתיבה מופלאה. מדוייקת כל כך. יותר ציור מאשר סיפור. קוראים מספר שורות ועוצרים לעכל, מרגישים מנומנמים מרוב שביעות רצון, חשים שתאוות הקריאה באה על סיפוקה באופן נהדר לגמרי. והזמזום הטורדני הזה באוזן בזמן הקריאה. מה הוא לוחש לי? אה, שאפשר וזהו כנראה הדבר החמקמק הזה שמכנים "ספרות טובה".וכן סימון קיבל פרס נובל. אבל אל תתנו לעובדה זו להרתיע אתכם. אכזבות לא צפויות כאן, הפרס היה מוצדק ביותר. נ.ב. כמעט שכחתי לציין שתרגומו של בסוק הוא ממש מלאכת מחשבת. ואכן, אינני קורא או מבין צרפתית. אבל לפעמים מספיק לקרוא את הנוסח העיברי בכדי להבין שבפננו תרגום מופת.

  • mahdi
    2019-07-03 22:13

    مانند عمارتي متروك و مخروبه، كه به دست ناساز و بي‌قيد و بي‌تميز و ويران‌گر زمان رها شده باشد

  • Nicoleta
    2019-07-03 02:42

    Greu de citit. Război, sex, călărie, moarte

  • Lemon Man
    2019-06-29 20:30

    Viešnamis „Mano Smegenys“, aptarnaujantis visų amžiaus grupių – nuo vienerių iki devyniasdešimt devynerių – vyrus ir moteris, sulaukė trijų lankytojų ant arklių, žiū, visi Flandrijos keliu beėję. „Užeikite, sveteliai, prašau, kiekvienas užkampis čia jūsų!” Ir ėmė tratinti kiekvieną pakampį, viską, kas juda, o kas nejuda – išjudino.Skaitant Claude Simon „Flandrijos kelią“, jausmas buvo toks, lyg smegenų tyrė paversta masinio naudojimo šliundra. Tekstas dulkina įprastos literatūros suvokimo receptorius ir tuo, regis, mėgaujasi. Sąmonės srautu teka pasakojimas, porinamas tai pirmu, tai antru, tai trečiu asmeniu, pasakotojas keičiasi vidury tiesioginės kalbos, peizažo aprašymo (beje, gausaus tokių pačių psichinių-lyrinių nukrypimų, verčiančių mėgautis pūvančių lavonų pakelėse tvaiku), pastraipų paskutiniuose sakiniuose, žodžiu, bet kur, ant sintaksės kiemelio atvestas piktas, keturias dienas nesituštinęs frankofonas bulius gausiai dergia, regis, labiausiai pasipiktinęs šalutinių sakinių skyryba ar, jo akimis, debilizmu, vadinamu dėkite brūkšnelį norėdami išskirti veikėjų kalbą vaikai arba kabutes jei viduryje pastraipos. Vis dėlto, Claude Simon pasakojimo stilius, na, bent man, nesukelia smegenų perkaitimo – man patinka, kai jas dulkina, o ne švelniai glosto, myluoja a la romantisme. Savitas braižas, būdingas nouveau romane srovei (tai pirmas mano skaitytas šio judėjimo romanas) patraukia ne tuo, jog pasakojama įdomi istorija (siužetas nėra verčiantis versti puslapį po puslapio, seilėjantis „kas bus toliau??“, visame romane, atsiprašau, antiromane, vystomi šeši-septyni įvykiai, išmaišyti Claude(tm) mikseriu purviname surūdijusiame skardiniame puode), o atmosfera, kuriama skaitytojo galvoje (valio bordeliams!) vaizduojant prancūzų kavaleristų šutvės keliones traukiantis nuo nacių Antro Pasaulinio karo metu. „Flandrijos kelias“ labiau primena modernistinį paveikslą nei literatūros kūrinį, čia negalioja jokie prozos, pasakojimo dėsniai. Įvykių seką, mielas dulkinamasmegeni skaitytojau, aiškinkis pats, nors, tai visiškai nesvarbu – svarbu žinoti, jog tai įvyko, sako Simon. Ilgainiui visame antiromane pasikartojantis pūvančio arklio leitmotyvas tampa dvasinio-psichinio onanizmo pakaitalu: orgazmą atstoja vis besikeičiantis pasakotojo žvilgsnis į štai ir vėl lavonarklis, aplink telkšo jo sukrešėjusio kraujo klanai, Hipsteriai, sukluskite! Jums būtina perskaityti šią knygą, idant gautume papildomų literatūrinio elitizmo taškų. Tuo tarpu paprasti mirtingieji, iš knygų norintys estetinių pojūčių bei malonumo, taipogi turėtų atkreipti dėmesį į „Flandrijos kelią“: knyga primena Golfo srovę šaltame, ledkalnių spirų pridergtame Atlanto vandenyne.P.S. Sekso scenos ištvirkėliams gali pakeisti kasdienės pornografijos racioną. Bent kartui.

  • Maurits van Rees
    2019-07-07 00:34

    Potentially an interesting intriguing intelligent subject about a death in May 1940 but the subject is lost behind a hard impossible confusing to read bundle conglomeration bunch of words that lack helpful necessary parts like interpunction commas and dots and the occasional blank line the writer wants to do interesting but fails to be interesting (literary critics do not agree as he has won the Nobel prize for literature oh yes there are parentheses too (ain't those fun)) where am I going with this sentence am I half way across the page yet no I have to continue even though I have lost everyone already and oh well I might as well finally conclusively painstakingly end this sentence with a dot even when I fear it will kill me.If you found the previous sentence confusing and you dislike this, you may want to skip this book. If you have the stomach for it, you may very well like the book though. I stopped after page 25. I think I will pick up a non-fiction history book about the Second World War soon and will thoroughly enjoy that one instead.

  • میلاد صادقی
    2019-07-13 01:33

    سخت‌خوان... سخت‌خوان... سخت‌خوان!

  • Mark Bell
    2019-07-08 01:34

    A masterpiece from the greatest of the nouveau roman novelists. You almost experience the book more than merely read it, so adept is Simon at conveying mental and sensual experience. He looks at only a few episodes from different POVs, each POV giving rise to a slightly different style, like Raymond Queneau's Exercises in Style meets the funeral procession in Joyce's Ulysses. His aim is to put you in the heads of his characters as they experience and remember the events in question, all circling around: Captain de Reixach is shot dead by a sniper during the German advance into Belgium in 1940. Three witnesses, a relative, an orderly, and his wife's lover, remember him and help the reader understand the man and what led to his death.

  • Jerry Pogan
    2019-07-16 22:17

    Not my cup of tea. I don't mind run-on sentences as long as they're coherent, in fact I love Faulkner's, but these ran on for pages and meandered so much that I lost track of what he was talking about. This was my second Simon book and will be my last.

  • Carl Denton
    2019-07-02 21:27

    cuts deep

  • Sivoj
    2019-06-20 20:29

    J'ai mis longtemps à finir La route des Flandres ; je n'ai pas aimé le lire, mais j'adore l'avoir lu ! Il est très frustrant pour moi de ne pas être arrivé à l'apprécier plus, et à m'y investir plus, alors que ce roman est un des plus remarquables que j'ai lu. Il n'y a pas vraiment d'intrigue (George revit, dans le désordre, ses souvenirs de guerre ; obsédé par la mort faussement accidentelle de son cousin éloigné, le capitaine de Reixach, il ressasse les conditions qui l'ont mené à son suicide assisté, le compare à son ancêtre qui se serait lui-aussi suicidé dans des conditions similaires ; revenant sur des détails, sur ce qui s'est passé ou aurait pu se passer, tout en traversant des paysages de guerre qu'on peut résumer à une entropie dans toutes les directions de ce qui est vivant, mort , ou inanimée, le temps lui-même se figeant ou faisant des boucles sur ces évènements) mais ce roman est instructif d'un point de vue littéraire. La ponctuation disparait puis réapparait, en général sous forme de virgules ; les points sont rares, les phrases sont longues, des parenthèses restent ouvertes suffisamment longtemps pour oublier qu'il s'agissait d'une parenthèse, avec des incises dans des incises dans des incises. Cela peut porter à confusion si l'on n'est pas attentif. Et du fait des phrases longues, du rythme monotone, et du contenu en grande partie descriptif du texte, j'ai eu du mal à garder toute mon attention dessus. C'est un tort car il y a des choses admirables, même en dehors des caractéristiques techniques de la prose et de la ponctuation ; l'auteur s'exprime avec un style élégant mais aussi comique lorsqu'il souligne le côté pathétique des personnages et de leur situation. J'ai beaucoup apprécié la manière dont le narrateur ou le protagoniste transitionne d'une époque à l'autre dans l'évocation confuse et mélangée de sa mémoire, passant d'un souvenir à l'autre fluidement et sans transition, au cours de la même phrase et en l'espace de quelques lignes ; le parallèle tracé entre le capitaine de Reixach et son lointain ancêtre, la manière dont l'auteur parle de plusieurs choses en même temps, tout est bien construit, bien écrit, et le sujet (débâcle de 1940) est digne d'intérêt. Claude Simon ne voulait pas écrire un roman mais une œuvre d'art littéraire, et de ce point de vue c'est une réussite. Attention toutefois, si vous cherchez un roman plus romanesque, la lecture s'annonce difficile – non du fait de la compréhension du texte (on s'habitue vite au style) mais du fait de l'(anti-)intrigue qui peut revêtir un caractère fastidieux (et l'ennui est peut-être le but ; certaines scènes se répètent trois ou quatre fois au cours du roman, parfois sous un angle légèrement différent, de manière à créer cette impression de ressasser encore et encore les mêmes pensées, qui tournent en boucle lorsqu'on a de la fièvre, ou qui "s'enroulent sur elles-mêmes" comme dirait Stephen Zweig, sans qu'on puisse les arrêter. L'effet est réussi, et c'est justement ce qui le rend désagréable).

  • Giorgi Baskhajauri
    2019-07-16 22:22

    უძლიერესი ნაწარმოებია. თხრობა ქაოსური, ფრაგმენტულია ისევე, როგორც ომი. ერთმანეთში გადადის ორი დრო აწმყო და წარსული, უფრო სწორად წარსულია შეჭრილი აწმყოში. არ არსებობს მომავალი, ეს ომის ბრალია, ნაწარმოების პერსონაჟები გზას მიუყვებიან საზღვრისკენ და ეს გზა წარსულისგან თვის დახსნის საშუალება არ არის, ეს გზაა სიკვდილისკენ. ისეთი შთაბეჭდილება იქმნება, რომ ყოველი პერსონჟი ეძებს საბაბს სიკვდილისთვის. ზოგი კვდება, ზოგს წარსულის კითხვები არ ასვენებს, ზოგს ქალის ალერსი მოჰნატრებია, ზოგის ერთადერთ ვნებად ცხენები ქცეულა „ხოლო მთელ უზარმაზარ უდაბურ პეიზაჟს უძრავი მზის ქვეშ, მთელ სამყაროს გაჩერებულს გაქვავებულს გამოფიტულს, რომელიც საკუთარ ტყავს იძრობს, უკვე აღარავისთვის საჭირო მიტოვებულ ნაგებობასავით ანგრევს არათანმიმდევრული,დაუდევარი, უსახური და ყოვლისმმუსვრელი დრო“

  • Daren
    2019-06-30 22:36

    I struggled through the first chapter - 78 pages.For me this is unreadable, and I gave up here.Lack of punctuation, lack of paragraphs and even formatting just make this unbearable. So much over complicating of each sentence for absolutely no good reason that I can ascertain, and the ludicrous long sentences.Maybe in 10 years I will try again, but for now, this books holds the glory of being the only book on my DNF shelf.

  • Lolo
    2019-06-25 18:27

    Je ne conteste pas l'originalité, les qualités d'écrivain, la recherche et l'inventivité de l'auteur, mais je n'ai pas adhéré au livre. Un style très pesant que j'ai ressenti parfois comme pompeux, une navigation pénible entre discussions, souvenirs, souvenirs de discussions, discussion sur des souvenirs, fantasmes et réalité. J'étais curieux de l'œuvre du prix Nobel Claude Simon (un cadeau), mais ce n'est pas pour moi, trop expérimental ?

  • Tomas Martin
    2019-07-13 02:33

    Inspired in linguistic shape and literary language by Marcel Proust, this could possibly be the most brilliant novel of the 20th century. A difficult read - first sentence takes up a page and a half without a single technical mistake such as falling into a run-on sentence - but pays off in its self-conscious meta-textual explanation of how narrative functions.

  • Richard Vandine
    2019-07-04 20:33

    I am aware of the nouvelle roman movement. I, however, found this book to be to disoriented for my taste. I am also aware that that may well be the point, that he is trying to make sense of a senseless event, but it simply wasn't to my taste.

  • Mahsa Emampour
    2019-07-07 18:38

    Did I enjoy reading it? I have to be honest and say not really. But, on the other hand, I don’t regret reading it at all.

  • Michael Farmer
    2019-06-21 00:38

    Unreadable, stream of conciousness without punctuation.

  • Joshua Potter
    2019-07-01 19:18

    Detailed review at Potter's Book Blog:

  • Akura
    2019-07-10 19:25

    In deed, I cannot understand many of the meanings in the book,but books are like people, he maybe deep and inaccessible,as well as great.

  • Andrew
    2019-07-14 18:17

    Nobel Prize winner 1985. Author influenced Cosmin Manolache in Best European Fiction 2010

  • Emma
    2019-07-17 18:41

    Ce livre aura eu le mérite de me confirmer que le Nouveau Roman, ce n'était définitivement pas pour moi. J'aime trop la ponctuation, je pense.

  • Linda
    2019-07-03 20:35

    Read this at varsity and just re-reading. Liking it a lot better this time around.