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  • Published: 31 October 2023
  • ISBN: 9781681377162
  • Imprint: NY Review Books
  • Format: Paperback
  • Pages: 720
  • RRP: $59.99

The Letters of Gustave Flaubert



Appearing in a single volume for the very first time, an illuminating and enrichingly annotated selection of correspondence from one of Western literature’s most revered writers.

Appearing in a single volume for the very first time, an illuminating and enrichingly annotated selection of correspondence from one of Western literature’s most revered writers.

“If there is one article of faith that dominates the Credo of Gustave Flaubert’s correspondence,” Francis Steegmuller writes in the introduction to this selection of Flaubert’s letters, “it is that the function of great art is not to provide ‘answers.’” The Letters of Gustave Flaubert is above all a record of the intransigent questions—personal, political, artistic—with which Flaubert struggled throughout his life.

Here we have Flaubert’s youthful, sensual outpourings to his mistress, the poet Louise Colet, and, as he advances, still unknown, into his thirties, the wrestle to write Madame Bovary. We hear, too, of his life-changing trip to Egypt, as described to family and friends, and then there are lively exchanges with Baudelaire, with the influential critic Sainte-Beuve, and with Guy de Maupassant, his young protégé. Flaubert’s letters to George Sand reveal her as the great confidante of his later years.

Steegmuller’s book, a classic in its own right, is both a splendid life of Flaubert in his own words and the ars poetica of the master who laid the foundations for modern writers from James Joyce to Lydia Davis. Originally issued in two volumes, the book appears here for the first time under a single cover.

  • Published: 31 October 2023
  • ISBN: 9781681377162
  • Imprint: NY Review Books
  • Format: Paperback
  • Pages: 720
  • RRP: $59.99

About the author

Gustave Flaubert

Gustave Flaubert was born in Rouen in 1821, the son of a distinguished surgeon and a doctor's daughter. After three unhappy years of studying law in Paris, an epileptic attack ushered him into a life of writing. Madame Bovary won instant acclaim upon book publication in 1857, but Flaubert's frank display of adultery in bourgeois France saw him go on trial for immorality, only narrowly escaping conviction. Both Salammbo (1862) and The Sentimental Education (1869) were poorly received, and Flaubert's genius was not publicly recognized until Three Tales (1877). His reputation among his fellow writers, however, was more constant and those who admired him included Turgenev, George Sand, Victor Hugo and Zola. Flaubert's obsession with his art is legendary: he would work for days on a single page, obsessively attuning sentences, seeking always le mot juste in a quest for both beauty and precise observation. His style moved Edmund Wilson to say,'Flaubert, by a single phrase - a notation of some commonplace object - can convey all the poignance of human desire, the pathos of human defeat; his description of some homely scene will close with a dying fall that reminds one of great verse or music.' Flaubert died suddenly in May 1880, leaving his last work, Bouvard and Pécuchet, unfinished.

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Praise for The Letters of Gustave Flaubert

“[W]hen I came to read the Letters—brilliantly linked and edited by Steegmuller so that they still make Flaubert’s best biography—I found them untouched by time, written as if from the next postal district only yesterday. Sartre did call Flaubert’s correspondence a prime example of ‘free association from a pre-Freudian couch’. . . . how can the letters not be read?” —Julian Barnes, London Review of Books

“Behind the magnificent and melancholy novels, as every lover of Flaubert knows, stands one of the richest and most entertaining of all correspondences: witty, iconoclastic, bracingly profane, unbuttoned and often explosive—so different from the carefully controlled novels. The correspondence seems to invite the creation of a supplementary novel with Flaubert, no longer shackled to his doctrine of ‘impersonality’ in art, as its hero.” —Peter Brooks, The New York Times