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EndNote 21.1.17328 downloading3/29/2024 This is a relatively recent cut-off, but it is made for compelling reasons. Faced with the vast scale of critical and creative responses to Proust it seems judicious to focus principally on work produced since 2013. At the same time, we find recurring reference to Proust in Terence Cave’s Thinking with Literature - an indication of what another critic has called Proust’s plasticity: his ability to be many things to many readers.6 In preparing an état présent on Proust, Proustian questions soon arise about how far back one should reach into the past about the extent to which things one might assume to be constant and unchanging do in fact continue to evolve and take on new shapes or resonances. A diplomatic edition of Proust’s Cahiers is underway and work is progressing towards an accessible digital edition of the correspondence the publication of a new scholarly edition of À la recherche du temps perdu has begun.3 Whilst well-worn paths are still trodden, original, adventurous, and rigorous research continues to illuminate the field.4 Christopher Prendergast’s scintillating Mirages and Mad Beliefs, for example, dismantles critical commonplaces, drawing attention to an intermittent voice, ‘a sotto voce emanation from the margins and often audible only in the tones of ironic indirection’.5 In attuning our ear to this sceptical voice, Prendergast challenges the primacy of redemptive aesthetics that has long been taken for granted in Proust criticism. ‘ous ne cessons d’ajouter à la Recherche (comme Proust le faisait sur ses manuscrits)’, writes Roland Barthes in 1979, ‘nous ne cessons de l’écrire.’1 In the very nearly forty years since these remarks were made, critics, scholars, filmmakers, creative writers, and others, have indeed continued the process of addition and continuation that Barthes identifies.2 It may be, in fact, that we live in a golden age of Proust scholarship.
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