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Potential bibliography for an indepth reading of Mme Putiphar (1839):

Jules Claretie’s Introduction to the 1865 edition of Madame Putiphar (x)

Jules Janin, “Madame Putiphar”, Journal des Débats, 03/06/39 (original french) (@lafcadiosadventures’ english translation)

Potential sources used by Borel:

Étienne-Léon de Lamothe-Langon, Mémoires et souvenirs d’un pair de France (1829) (vol.1, vol.2)

Étienne-Léon de Lamothe-Langon, Mémoires de Madame la comtesse du Barry (1829-1830) (vol.1, vol.2, vol.3, vol.4, vol.5, vol.6) (english translation available on archive.org)

Nicole du Hausset, Mémoires de Mme du Hausset, femme de chambre de Mme de Pompadour (1824) (x): cited as a possible reference in the edition of Putiphar I own. English translation (thank you @lafcadiosadventures for digging it out)

Simon Nicolas Henri Linguet, Mémoires sur la Bastille (1783) (x): Brombert says it is almost certain that Borel read this book and used it as inspiration. It was an extremely popular book.

Thierry (lawyer), Le Despotisme dévoilé, ou Mémoires de Henri Masers de Latude, détenu pendant trente-cinq ans dans diverses prisons d’États, 1790 (x) (there exists a 1787 text which is apparently inaccurate and written by the marquis de Beaupoil, where he associates Latude’s escape from the Bastille with that of the abbé de Bucquoy, Latude disavowed it himself--couldn’t find a digitalised copy of it though). The same book also exists under the title Mémoires de Henri Masers de Latude, prisonnier pendant trente-cinq ans à la Bastille, à Vincennes, à Charenton et à Bicêtre (1835), also falsely attributed to Masers de Latude. (here’s the BnF catalogue with all the existing editions of the text, i don’t know exactly which one Borel would have read). a melodrama was also based on his life and premiered in 1834, and a movie with the same title was made in 1911.

Mémoires de Henri Masers de Latude, ancien ingénieur, 1793 (x): Latude’s causes of imprisonment inspired Fitz-Harris’s character: both were imprisoned on orders of Mme de Pompadour for having offended her in letters.

La Bastille dévoilée (1789) 3rd delivery (x): likely inspired Borel for the character of Phadruig Fitz-Whyte. The book discusses the abuses of justice and prison by analysing the cases of the prisoners interned at the bastille, one by one. (english translation of the excerpt regarding Whyte and the marquis de Sade).

Silvio Pellico, Le mie prigioni (1832) (x): the author narrates his 10 year imprisonment in various state prisons (1820-1830). Clearly a popular read at the time, exploited by multiple romantics and cited by Janin in his review of Putiphar in the Journal des Débats. (english translation). Three different french translations were published in between 1835 and 1838.

Pierre Jean Baptiste Nougaret, Histoire du donjon et du château de Vincennes, t. III (1814): attested source.

Arthur Young, Voyage en Irlande (1799) (french text) (original english A Tour in Ireland first published in 1780): cited as a reference in my edition of Putiphar

Antoine de Rambouillet de La Sablière, Madrigaux de Monsieur de La Sablière (1825), prefaced by Charles Nodier. The madrigal Putiphar sings is taken from this book. (french text)

William Hamilton, Letters Concerning the Northern Coast of the County of Antrim, 1790, pp. 120-126 (x). This excerpt contains the original text that served for Patrick’s so-called “song” he sings to Putiphar. It was then inserted in Arthur Young’s Tour In Ireland, before being translated into French by Charles Millon (Arthur Young, Voyage en Irlande, trad. Charles Millon, Cérioux & Moutardier, vol. 2, 1799, pp. 270-273) (x)

Edward Young, The Complaint And The Consolation, Or Night Thoughts (thank you @lafcadiosadventures for digging it out! here illustrated by Blake)

Jean-Baptiste Tavernier, Six voyages en Turquie, en Perse, et aux Indes, vol. IV (1676): Borel used it for the orientalist references in the Parc-aux-Cerfs.

Aubin-Louis Millin, Voyage dans les départements du midi de la France (1807): Borel probably got some of the info concerning the St. Marguerite island from here (x).

Joseph de Maistre, Soirées de Saint-Pétersbourg (1830), 2nd ed.: presented by Steinmetz as a very likely source on the question of God, and good and evil.

Bible, Genesis chapter 39; 1-23 (Joseph and Potiphar + Joseph in prison).

Dante Alighieri, La Divina Commedia, canti I and XXXIII. There are strong parallels with canto I in chapter 28, and canto 33 was a reference in 18th and 19th century prison literature).

J. P. Brissot, Théorie des lois criminelles, 1781, vol. 1

Adjacent readings:

Voltaire, Zadig (1747): questioning on the matter of providence and fate, and god’s role in all of it. Very orientalist too.

Voltaire, Candide (1759)

Sade, Philosophie dans le boudoir (1795) (x): a woman sexually initiates another woman.

Sade, Justine ou les malheurs de la vertu (1791)

Denis Diderot, Jacques le Fataliste (1785)

Denis Diderot, La Religieuse (1796) (thanks to @lafcadiosadventures for recommending it)

Jean-Jacques Rousseau, La Nouvelle Héloïse (1761)

Alessandro Manzoni, I Promessi sposi (1823, 1827, 1840)

Academic readings:

Jean C. Noël, Image de l’Irlande et des Irlandais dans la France de la Restauration (1989) (x)

Max Milner, L'Irlande du Lycanthrope. L'Irlande et les Irlandais dans Madame Putiphar (1994) (x)

Béatrice Didier, “Madame Putiphar”, roman sadien ? (1972) (x)

Jean-Luc Steinmetz, Les malheurs du récit (1972) (x) (credit to @lafcadiosadventures for digging these two out)

Jean-Luc Steinmetz, Pétrus Borel, un auteur provisoire (1986) (x)

Fernanda Almeida Lima, Libertinagem e homossexualidade em “Madame Putiphar” (1839), de Pétrus Borel, in Terra roxa e outras terras – Revista de Estudos Literários (vol. 18, 2010) (x)

Victor Brombert, The Romantic Prison (1976)

#madame putiphar #romanticism #for future references #to read

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funkyfeefee

The thing about American "leftist" comedians is that they aren't actually leftist, they are the Imperial Court Jesters. They stand on a stage, point directly at the blood-soaked gears of the war machine, make a little tee-hee noise, and the crowd erupts. Not because they are critiquing the machine, but because the laughter is a pressure release valve for the people inside it. Take the video of that stand-up asking the defense contractor if she helped Trump bomb those 160 Iranian school girls, and everyone laughing, including the contractor herself. That laughter is ritual absolution. The contractor laughs because she knows she will never face a tribunal. The audience laughs because they get to feel "self-aware" without having to actually stop anything. The joke doesn't condemn the contractor; it humanizes her, turns her into a lovable scamp who just happens to have a job graphing the velocity of shrapnel through children's bodies. By making it a punchline, the comedian sanitizes the atrocity. The blood is scrubbed off the stage. The audience gets to say "wow, we are so edgy for talking about it" while the person who builds the bombs gets to chuckle and order another drink. It is not satire, it is a team-building exercise for the empire.

Then there is the YouTuber talking about Transformers, casually dropping the "Iraq war aesthetic" like it's a color palette. Desert punk. Military core. A vibe. This is what happens when your country hasn't had a war on its own soil in living memory; the violence becomes media, a backdrop for childhood toys. The explosions are no longer the sound of mothers screaming; they are cool action sequences. They are digesting the visual debris of massacre as a nostalgic fashion choice, scraping the trauma off and compressing it into a genre for their retro-futurist fantasies. The apocalypse becomes a mood board.

And finally, the girl recounting celebrity love triangles from her childhood, flippantly mentioning how the U.S. was "busy with the Iraq war or whatever." Or whatever. That single phrase is the thesis statement of American innocence. Over a million dead, a region destabilized for a century, an endless river of grief; and for her, it was the commercial break between pop culture segments. It didn't raise her rent. It didn't stop her Wi-Fi. The violence is geo-locked to brown skin and distant deserts, just background noise like a refrigerator humming. She has the luxury of forgetting because the machine doesn't eat her children, it eats yours.

Americans don't hate the machine; they love the output. They hate the mess of it. So they turn it into jokes, into aesthetic, into "whatever." Because if they stopped laughing, if they stopped scrolling, if they actually looked at the 4K drone footage of the aftermath instead of the cool explosion CGI in their movies, they would have to realize that the lithium in their phones, the gas in their tanks, and the comfort of their suburban cul-de-sacs are all greased with the fat of foreign children. And they can't handle that. So they laugh. They turn it into a vibe. They call it "the Iraq war or whatever." You can't deconstruct the master's house with the master's jokes, especially when the punchline is the corpses holding up the floorboards.

hallelujah-blackout

theehorsepusssy

oughh i just finished writing the historical recap of prison reforms in france in the first half of the 19th century. i thought it would kill me.

#i think this was the most complicated part. now i can just let my brain slip into media analysis

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cryptotheism

God willing the altitude of Mexico City will starve Perfidious Albion of his precious blood oxygen.

notkatniss

they look like they run a ceramics studio like the navy

notkatniss

diana-andraste

No tengo nada que hacer ni pensar hacer, Carmen Calvo, 2004

Mixed media / collage, photo

#art

sainteverge

not enough les mis fics capture the "19th century romantic student" vibe where the character has to be edgy and sexist because he's culturally bourgeois, has a mistress whom he is paying to be with him all while also having this slightly/very homoerotic relation with his fellow insurrectionist friends, but in a special no-homo way at the same time. not long ago i read a book where the anarchist male character kept on telling his girlfriend he would always put his male friends before women for the sake of the Revolution. it's the virile bond of brotherhood and comradeship. also if they're not kissing each other a little then something's wrong.

sainteverge

Queen Margot, Alexandre Dumas

sainteverge

this is something you see in soooo many works. i really like neel doff's semi-biographical novel keetje (1919), set in the late 19th century. we follow keetje, a young girl who relies on sex work to survive. she meets artists and starts modelling for them, and one of them mentors her in literary and artistic matters. via the artists she meets anarchists and takes one as a lover, and as he gradually introduces her to political theory, she starts disagreeing with him. despite her love for him, he clearly states that he will always love his comrades more than women. because he's a misogynist. keetje starts following classes at the conservatory to become an actress and she gradually becomes independent thanks to her instruction. by the end of the novel she no longer needs to rely on (rich) men to survive.

i like having this point of view because obviously most of the 19th century literature discussing "bohemian" circles are written by men and don't question their perspective on women at all. they're pigs. but it's normalised. and never really questioned. i started writing a fic in 2024 (which i am planning on finishing eventually....) that is about this. about how working class/poor women are treated by artist men in the 19th century despite all their revolutionary ideas. another book i like with a similar theme is champavert (1833) by pétrus borel which is a collection of short stories about horrific and unjust violence done to minorities under french rule. most of the stories have women be the victims. the men act like they have every right. they don't think of women as humans. the passereau story especially is about a young student who kills his mistress (again, whom he pays to be with him) because he suspects her of having an affair with another man. he then meets that other man to duel and they develop a weird fraternal/homoerotic bond. the story is VERY satirical and dark. but it falls exactly in that same trope of men basically looking at each other all while using women as a sexual tool.

#thinking about all this again because my friend recommended me the book 'between men' by eve kosofsky sedgwick

nyantara

full climate doomerism but i expect that richer states will start geoengineering more recklessly when heatwaves get more difficult to bear. you've seen cloud seeding operations careen between ineffective and dangerous, i expect earnest attempts to recreate the plot of snowpiercer soon. there's already an israeli startup lobbying the us govt and getting good press to disrupt conventions around solar reflection materials research. lets disrupt sensitive global weather patterns like monsoons to cool the planet <3

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ceruleanheaven

parasocialism is bad Unless its with me. i love you. yes You. Specifically

random-brushstrokes

Octave Tassaert - Studio Interior (1845)

#art

gothdianxia

#i think about this daily

sainteverge

from the introduction of dumas’s dictionary of cuisine:

[…] je ne puis m'empêcher de dire que la salade n'est point une nourriture naturelle à l'homme, tout omnivore qu'il soit; il n'y a que les ruminants qui soient nés pour brouter l'herbe crue; or, la salade, réduite à sa plus simple expression, n'est que de l'herbe crue. La preuve? c'est que notre estomac ne digère point la salade, attendu que l'estomac ne sécrète que des acides, et que l'herbe crue n'est dissoute que par les alcalins,[…] L'homme, à qui Dieu, dit Ovide, a donné un visage sublime, os sublime, l'homme n'est pas fait pour brouter l'herbe, mais pour regarder le ciel, toujours au dire du même Ovide. […] C’est tout simplement une hérésie culinaire.

which translates more or less to:

I cannot refrain myself from saying that salad is not a food natural to man, no matter how much of an omnivore he may be; only ruminants were born to graze raw grass; however, salad, reduced to its simplest expression, is only raw grass. The evidence is that our stomach does not digest salad, since the stomach secretes only acids, and that raw grass is dissolved only by alkali, […]. Man, to whom God, said Ovid, gave a sublime face, a sublime bone, man is not made to graze grass, but to gaze at the sky, still according to this same Ovid. […] It is simply a culinary heresy.

sainteverge

The Three Musketeers, chapter XXVI: Aramis and his thesis

#pour être en forme mangez au moins cinq fruits et légumes par jour etc.#romanticism

transmutationisms

the letterboxd review, a hybrid literary genre equally born of the recipe blog personal essay and the desire to receive reddit gold,

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letterful

anti-parent

this book is out now!!! it's a short read, less than 200 pages, and it's SO good. i literally had to pause halfway through just to send the author a message about how much i liked it. definitely leans more utopian than scientific, but that makes sense given the format, and i think it has a lot of good things to say.

once you really start thinking about how restrictive the world is for children and how many bullshit justifications we retroactively come up for it all the time, you can't stop seeing it everywhere. this book makes a good case for including children in our political efforts not as rhetorical devices but as an actual class of oppressed people.

#to read

asmrgaret

it’s weird that professional letters are supposed to start with “dear.” i don’t even call my mom that

asmrgaret

my darling hiring manager. my springtime rose. if hired i will bring a strong work ethic to this position

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