In the scorching cultural desert of the post-war era, these oases of excellence preserved the purest soul of French literature.
In the cigar-saturated air and fine vintages of Parisian back rooms, a frisson of literary renewal stirred the most perceptive souls of the post-war era. Far from the tumult of the outside world, a sacred fire smoldered, nurtured by the passion of a few intrepid guardians of the Belle Époque: the small publishing houses.
Improbable Bohemian Salons
Curiously, some of these literary cenacles were nestled in unsuspected places. The Éditions Henry Béziat[1], for example, had taken up residence in a charming covered passage in the heart of Paris: the Passage Choiseul[2]. Built in 1825, this passage is one of the longest in the capital, stretching nearly 190 meters between the Rue des Petits-Champs and the Rue Saint-Augustin[2]. Although it had lost some of its former luster in the 1940s, it retained a discreet charm and a notable cultural activity[3][4]. The Passage Choiseul was a crossroads where the world of books and the world of theater met. Indeed, two renowned theaters, the Théâtre des Bouffes-Parisiens[5] and the Théâtre de l’Opéra-Comique[6], had an entrance in the passage[2]. This proximity between the performing arts and the arts of the page created a unique atmosphere, conducive to exchanges and creativity. It was precisely in this discreetly charming refuge that some of the most illustrious minds of the time gathered. The Passage Choiseul also housed other renowned publishing houses at the time, such as the Éditions Emile-Paul Frères, which had been present at this address since the beginning of the 20th century[2].
Another example is that of the Éditions du Petit Chêne, founded by René Jouglet in 1941. Located at 13, rue du Moulin-Joly in the 11th arrondissement of Paris[7], this publishing house occupied an atypical premises: a former stable! This is how Jouglet began his publishing adventure, surrounded by the scent of books and letters rather than that of hay and animals. The rue du Moulin-Joly, a quiet little street near the Place de la Bastille[8], offered an unusual and charming setting to house this literary enterprise. The Éditions du Petit Chêne remained at this address until 1948[9], cultivating their singularity and spirit of independence.
Bastions of Beauty Against Modern Indecency
These avant-garde aesthetes reacted with elegant disdain to the irruption of contemporary vulgarities. While the world groped in the darkness of reconstruction, they watched over the treasures of the intellect, preserving the ineffable grace of French letters.
Oases of Refinement in the Desert of Banality
To the eyes of the uninitiated, these dwellings seemed like relics of a bygone age. Yet, within them, an immortal soul pulsated, that of true culture. Within these sacred walls, the habitués indulged in conversations sparkling with wit and subtle literary references.
An Anglophone Oasis in the Heart of Paris
While most of these salons celebrated the excellence of French letters, there was one that distinguished itself by its resolutely cosmopolitan vocation: the legendary Shakespeare and Company Bookstore[10]. Founded by Sylvia Beach[11] in 1919, it became a rallying point for the Anglophone writers of Paris, offering them a welcoming and stimulating haven.
The owner herself acted as a patron for young talents, granting them room and board in exchange for “payment” in literary productions. It was here that masterpieces such as James Joyce’s[13] “Ulysses”[12] were born, and where authors such as Ezra Pound[14] and Ernest Hemingway[15] found inspiration within the walls of this singular Anglophone oasis on French soil.
The Alchemy of Publishing in Days Gone By
With an almost maniacal care, these ink alchemists selected rare gems from an ocean of mediocrity. Each volume boasted impeccable typography, paper that caressed the fingers, and a binding that inspired reverence. Every detail exuded that love of Beauty that only a noble soul can appreciate.
A Bulwark Against the Vulgarity of the Times
As the world sank into the abyss of uniformity, these last Mohicans of literary excellence erected a bulwark against the encroaching vulgarity of modern times. Their editorial choices were an act of cultural resistance, a challenge to the ephemeral idols of the masses.
Strange Literary Initiations
To preserve the aura of exclusivity of their artistic forges, some of these publishing houses had devised veritable initiation rites for new adepts. The Éditions du Scorpion, founded by Roger Stéphane[16] in 1946, were renowned for their literary dinners during which authors had to declaim their texts before an audience of connoisseurs, at the risk of being excluded in case of a disappointing performance[3].
The Last Waltz of the Damned
Yet, their splendor was ephemeral, like the last dance of a doomed aristocracy. As the 20th century drew to a close, these islets of beauty were submerged by the tide of oblivion. But their legacy was not in vain: their shining example still illuminates those who have the soul to appreciate it today.
Lost and Rescued Jewels of Literary Paris
Shadows of a Glorious Past
Among the small entities that once shone in the Parisian literary firmament, only the memory remains of precious jewels such as the Éditions du Seuil, founded by the visionary Paul Hartmann[17], and the Nouvelle Revue Française[18] of Jacques Rivière and Gaston Gallimard, cenacles of incomparable taste and refinement.
The Éditions de Minuit, Beacon of Literary Resistance
Among the publishing houses that marked the literary history of the 1940s, the Éditions de Minuit[19] occupy a special place. Founded clandestinely in 1941 by Jean Bruller (alias Vercors) and Pierre de Lescure, they were a true beacon of literary resistance during the German Occupation[20]. Located in a Parisian apartment at 2, rue de Tournon, in the 6th arrondissement[21], the Éditions de Minuit published engaged works, often printed and distributed in the greatest secrecy. Among their most famous publications of this period was Vercors’ “Le Silence de la mer,” which became a symbol of French intellectual resistance. After the war, the Éditions de Minuit continued to play a major role in the French literary landscape, notably by publishing the works of the Nouveau Roman in the 1950s and 1960s[22].
Rising Stars Turned Galaxies
However, some of these humble literary forges of yesteryear, animated by the same ardent flame, managed to preserve their essence while evolving into colossi of modern publishing.
The historic Librairie Gallimard, born as a modest bookstore for enthusiasts in 1919[23], shines today among the giants of the sector, without having renounced its mission to promote the best of French and international literature.
The Éditions du Seuil, after a period of eclipse, were reincarnated in the 1980s and today represent a landmark in the French publishing landscape, faithful to the pioneering spirit of their origins[17].
Literary Contests: Breeding Ground for New Talents
These publishing houses, whether they have disappeared or survived, all have in common that they were the guardians of a certain ideal of literature and publishing. Their history is one of fierce resistance to the ambient mediocrity, of a struggle to preserve beauty and intelligence in a world in the throes of upheaval. The rivalries and alliances between these publishing houses also gave rise to remarkable initiatives, such as literary contests aimed at promoting new talents. Thus, in 1941, the Éditions de Minuit and the Éditions Gallimard jointly organized a short story contest, in a spirit of cultural resistance to the German Occupation[24]. Similarly, in 1943, the Éditions du Seuil launched a poetry contest in collaboration with the journal “Poésie 43”[25]. These initiatives testify to the vitality and commitment of these small publishing houses, which managed to maintain creative activity despite the difficulties of the time.
Even today, their example inspires those who, in the tumult of our times, strive to keep the flame of literary excellence alive. For as long as there are souls to appreciate refinement and originality, the legacy of these small Parisian publishing houses of the 1940s will not be lost.
[1] Source: Éditions Henry Béziat on Wikipedia
[2] Source: Official website of the Passage Choiseul
[3] Source: “L’édition française depuis 1945” by Pascal Fouché (éditions du Cercle de la Librairie, 1998)
[4] Source: “Histoire de l’édition française. Le livre concurrencé : 1900-1950” under the direction of Roger Chartier and Henri-Jean Martin (Fayard/Promodis, 1991)
[5] Source: Théâtre des Bouffes-Parisiens on Wikipedia
[6] Source: Théâtre de l’Opéra-Comique on Wikipedia
[7] Source: Notice of the Éditions du Petit Chêne on the website of the Bibliothèque nationale de France (BnF)
[8] Source: Website “Paris-Promeneurs”
[9] Source: “L’édition française depuis 1945” by Pascal Fouché (éditions du Cercle de la Librairie, 1998)
[10] Source: Shakespeare and Company Bookstore on Wikipedia
[11] Source: Sylvia Beach on Wikipedia
[12] Source: Ulysses (novel) on Wikipedia
[13] Source: James Joyce on Wikipedia
[14] Source: Ezra Pound on Wikipedia
[15] Source: Ernest Hemingway on Wikipedia
[16] Source: Roger Stéphane on Wikipedia
[17] Source: Éditions du Seuil on Wikipedia
[18] Source: La Nouvelle Revue Française on Wikipedia
[19] Source: Les Éditions de Minuit on Wikipedia
[20] Source: “La Résistance du livre sous l’Occupation” by Pascal Fouché (Éditions de l’IMEC, 2008)
[21] Source: “L’édition française sous l’Occupation: 1940-1944” by Pascal Fouché (Bibliothèque de littérature française contemporaine de l’Université Paris 7, 1987)
[22] Source: “The New Novel: From Queneau to Pinget” by Vivian Mercier (Farrar, Straus and Giroux, 1971)
[23] Source: Éditions Gallimard on Wikipedia
[24] Source: “Gaston Gallimard: A Half-Century of French Publishing” by Pierre Assouline (Harcourt Brace Jovanovich, 1988)
[25] Source: “L’édition française depuis 1945” by Pascal Fouché (éditions du Cercle de la Librairie, 1998)
Leave a Reply