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The Novel
In the 20th cent., as in the 19th, was the chief form of literary achievement. Although the impact on fiction writing of such factors as the vast changes in political climate, the new concentration on modern culture, the great wars, the development of major publishing houses, the introduction of the paperback, and the evolution of the movies has been very great, French writing has maintained a concern for moral questions, individual liberty and character, and, above all, respect for language and form.
The novelists Paul Bourget, Maurice BarrEs, and Pierre Loti explore the psychological explanation of human behavior. Colette, in her novels, stories, and journals, expresses penetrating insight into human nature. Marcel Proust, in his great novel cycle A la recherche du temps perdu (1913–27) makes subtle use of subconscious memory. Psychological examination continues in the works of AndrE Gide. The cyclical novels of Jules Romains and Roger Martin Du Gard comment on society and morality. The surge of writing with strong Catholic inspiration include the works of FranCois Mauriac and the novels of Georges Bernanos.
Jean Giraudoux's dramas are distinguished for exquisite style and treatment, as are the varied works of Henri de Montherlant. The novels of AndrE Malraux, Edouard Peisson, Roger Vercel, and Joseph Kessel treat humanity's commitment to action, while the extraordinary and complex works of Jean-Paul Sartre and Simone de Beauvoir developed a form of existentialist philosophy to express the pain of living. Existentialism was also a primary aspect of the early writing of Albert Camus.
In the mid-20th cent. the standard novel form was abandoned by many writers of fiction, including Antoine de Saint-ExupEry, Vercors, Nathalie Sarraute, Alain Robbe-Grillet, Marguerite Duras, Michel Butor, Roger Vailland, and Romain Gary. The post–World War II writers established a type of novel not greatly related to earlier works of fiction. The nouveau roman or new novel, sometimes called the antinovel, dispensed with previous notions of plot, character, style, theme, psychology, chronology, and message. By the latter part of the century it had created a tradition of its own and was widely considered to have diminished the stature of French fiction and to have forced a self-indulgent subjectivity onto the novel form.
Among the authors who continued working in a more traditional and still popular vein are the detective-story writer Georges Simenon and the novelists FranCoise Mallet-Joris, Jean Cau, Boris Vian, Marguerite Yourcenar, Gilbert Cesbron, Jean Louis Curtis, Pierre Daninos, Henri Queffelec, and Roger Peyrefitte.
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