Simone

Simone — marelibri

Some of the last remaining folios for her essay La Longue Marche – Essai sur la Chine an account of the official trip she made with Jean-Paul Sartre to China from September 6 to October 6 1955

1956ref. SDB2BEAUVOIR de Simone 1908-1986 Autograph manuscript fragments with an autograph letter signed addressed to her typist for La Longue Marche – Essai sur la Chine Paris 1956 15 p. in-4° on graph paper Two autograph envelopes stamped with postmarks Usual fold marks numerous corrections and words crossed out by Simone de Beauvoir A few of the last surviving pages from La Longue Marche – Essai sur la Chine the account of the official trip Simone de Beauvoir took to China with Jean-Paul Sartre at the end of 1955 The present corpus unfolds in three distinct movements: The first section is headed "2 to 5 September 1955" and paginated 25 to 30 including one leaf numbered "bis". It corresponds to the "Preliminaries" and opens with the travelers' observations in the waiting room at Orly Airport. Simone de Beauvoir draws a striking contrast between on the one hand those bound for Boston dressed impeccably—almost to the point of caricature—and on the other those modestly clothed preparing to depart for Moscow on an "official expedition." The philosopher takes notes on the Soviets Hungarians and Czechs at the Moscow airfield as well as on a South African also an official guest of the Chinese government with whom the couple converses. This travel account is enriched with glimpses of the landscape and reflections on the Western presence in Mongolia since the 17th century particularly that of scholars and monks. " Comme Paris est loin ! Derrière moi le temps et l'espace se sont si bien embrouillés le système de nos besoins – faim soif sommeil – et de toute ma vie a été si radicalement lissé qu'il me semble non avoir fait un voyage mais terminé un rite de passage long fatigant et qui m'a jetée insensiblement ailleurs. J'écoute l'aimable discours qu'on nous adresse en chinois et qu'un interprète traduit. Les porteurs de hautes fleurs écarlates la moiteur de l'air la forte odeur végétale qui monte de la terre me suffoque. … Jusqu'ici quand je pensais à la Chine je pensais à une histoire une civilisation un régime … mais la Chine n'est pas une entité politique ; je devine avec joie qu'elle a un ciel ses couleurs ses arbres une chair " On 16 December 1956 she sent a second fragment paginated 476 and 486 bis. It corresponds to Chapter V "Culture." " Sous les Mandchous la décadence du monde féodal se réflète dans la littérature ; elle commença à s'évader des règles formelles ; des genres nouveaux se développèrent. Le roman devint autre chose qu'un divertissement … Le Rêve de la chambre rouge entre autres est caractéristique de cette période " On December 18 1956 she sent a final fragment paginated 757 781 and 782. It corresponds to Chapter VIII "Cities of China." " Elle fut la capitale des Song dont le règne coïncida avec le plus beau moment de la civilisation chinoise et on la considère comme l'Athènes de la Chine. … Les maisons ne ressemblent pas à celles de Pékin. Au lieu de se cacher derrière des murs elles exhibent des façades de deux à trois étages garnies de fenêtres " An official guest of the Chinese government alongside numerous other European intellectuals Simone de Beauvoir traveled to China with Jean-Paul Sartre from September 6 to October 6 1955. The following year in April 1957 the philosopher published her essay praising a country that had just completed its revolution. Speaking of her work she wrote: "This book is not a reportage: a reporter explores a stable present whose more or less contingent elements serve as keys to one another. In China today nothing is contingent; everything draws its meaning from the future they all share. The present is defined by the past it surpasses and the novelties it announces: it would be a distortion to regard it as static. It is only one stage of this 'long march' that is peacefully leading China from democratic revolution to socialist revolution. It is therefore not enough to describe it: it must be explained. That is what I have tried to do." The manuscript itself has been lost; these fifteen leaves are the last surviving fragments of the work. The envelopes confirm unsurprisingly that she was working on it in 1956. Sylvie Le Bon de Beauvoir notes that the material belongs to an earlier version of the final text. Simone de Beauvoir removed almost all of the pages numbered 25 to 30 substantially reworking her "Preliminaries." Provenance: Estate of Berthe Mandinaud

Le Manuscrit Français · França€ 4.800,00

[Major Gerald Wynne-Rushton; Societe marocaine de Production cinematographique; Moroccan film industry; Simone Berriau, French aBiblio.com

Société marocaine de Production cinématographique. Four items: typed synopsis and press release for Vicky Ivernel's film 'Kenzi' 'Mon Tresor' with two ALsS from producer J. M. Brandel in Paris to English distributor Wynne-Rushton.

ref. 15213Both of Brandel's letters on his letterhead 23 Rue Raynouard Paris. One dated 19 October 1947 and the other earlier undated. Typed synopsis and press release both undated but on release of film in 1948. The collection is in fair condition on aged and worn paper. The six items are from the Wynne-Rushton papers. The first four relate to the 1948 Moroccan film 'Kenzi' for which Wynne-Rushton was working as English distributor produced by the Société marocaine de Production cinématographique produced by Brandel's company Eden Film Productions with French actress Simone Berriau 1896-1984 as art director and featuring a young Habib Reda 1932-1974. ONE: ALS from Brandel 'Joe' to 'Dear Gerald'. 2pp. 8vo. Slight staining to second page. He apologises for the 'telegram-style letter' explaining that 'We are in the middle of rehearsing at Antoine i.e. Theatre Antoine where Berriau was director'. Regarding the film he writes: 'the music in Kenzi is modern arabic suitable for all ears . Kenzi comes out <> before the P<> and numerous Arab personalities - next week before French with sub-titles. We had a small showing - but it is a 1A picture - bound to be a success - and easy to sell on showing.' Brandel continues with suggestions and instructions before concluding on the subject of 'Plays' asking Wynne-Rushton whether he is 'Still interested in other propositions' TWO: Unsigned ALS from Brandel to 'Dear Gerald'. 2pp. 8vo and 1p. landscape 12mo. After a brief discussion of Wynne-Rushton's disagreements with 'Nebbi' Brandel continues: 'You have thrown yourself with a lot of energy and enthousiasm sic on the very difficult job of theatre and film representation and I would hate to see you give it up - the more so as results in this business are long and doubtful. Unless you desire otherwise - please continue - I think the only exceptions are the Ustinov contacts and maybe <> at the Academy people - but if you can handle the latter please continue'. He next turns to 'Kenzi' which was 'shown to a very select gathering of Arab speaking personalities including Hosmi Nagub of <> who received a note from Fiad Sabib. Everyone was very enthousiastic sic - it was a terrific success.' He discusses future plans with reference to 'Uncle Harry' a film. He asks him to send money to the Dutch sports journalist Albert Milhado 1910-2001 and refers to '<> Brahms' before concluding: 'Re Plays - as I said before - I do not think French's Catalogue is the solution to my problem. We saw duet for two hands - quite good - but very macabre in these difficult days - but the rights were sold - So be on the look out for London's best plays. Thats's what we want.' THREE: Duplicated typed press release in French headed 'SALAM SOCIETE MAROCAINE DE PRODUCTION CINEMATOGRAPHIQUE QUELQUES INDICATIONS SUR LA SOCIETE'. 1p. 8vo. Creased and worn at extremities. Explains that the Society is backed by the 'Pacha' represented by his son Caid Brahim el Glaoui and that the following French individuals are involved: 'President du Conseil: General BOUSCAT Adminustrateur sic Delegue: J. M. BRANDEL. Direction Artistique: Madame Simone BERRIAU.' The Society's first film is 'Mon Tresor' or 'Kenzi' with the scenario taken from Yves Mirande's 'Un Trou dans le Mur'. 'Ce film est tourne dans les magnifiques Palais et les nombreux jardins du PACHA DE MARRAKECH ainsi qu'au pied de l'Atlas . Madame Simone Berriau Directrice du Theatre Antoine productrice et interprete de nombreux films en assure la supervision artistique .'. Details of the others involved are given including 'HABIB REDA qui a compose pour ce film plusieurs chansons qui ne manqueront pas de plaire au publique arabe ainsi qu'au public Europeen.' The release ends: 'Le dialogue comme on peut s'y attendre est de Mr Yves MIRANDE toujours spirituel et plein d'humour parisien.' FOUR: Duplicated typed 'EXTRAIT DU SCENARIO'. 2pp. 8vo. With creasing and wear to extremities. Headed in pencil: '"KEMZI" AN ARAB FILM with Arab Caste sic FILMED BY EDEN PRODUCTIONS LTD PARIS and MARAKESH MOROCCO'. Gives a full synopsis of the film beginning: 'Un jeune garcon arabe HABIB REDA vient de finir avec succes a Paris ses etudes de medecin. Il habite avec son ami MAURICE BAQUET egalement d'origine arabe. Ce dernier n'a jamais vu son pays natal et n'en parle presque pas la langue. Il est artiste de music hall et ses cachets aident les deux amis a couvrir leurs frais.' Both of Brandel's letters on his letterhead, 23 Rue Raynouard, Paris. One dated 19 October 1947 and the other (earlier) undated. unknown

Richard M. Ford Ltd · Reino Unido£ 180,00≈ € 214,21

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