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The Skin of Dreams

Author Raymond Queneau
Afterword by Paul Fournel
Translated by Chris Clarke
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Paperback
$16.95 US
| $22.95 CAN
New York Review Books | NYRB Classics
On sale Jan 30, 2024 | 208 Pages | 9781681377704
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In this delightful, cinema-inspired daydream of a novel, an identity-shifting protagonist uses the everyday inspirations of his life to catapult himself into the realm of imagination, blurring the boundaries between reality and fantasy.

The Skin of Dreams is a novel of waking dreams. Even as he lives his life, Jacques L’Aumône, its hero, daydreams a hundred other possible lives. A few lines on a page, a chance encounter, a remark overheard in passing, any of these are enough to kick things into gear and send him off outside of himself to become a boxer, a general, a bishop, or a lord. He lives alongside his life with diligence and steadfastness; and the passage from real to dream is so natural for him that he no longer knows precisely which him he is. Eventually he becomes an actor in Hollywood, and the basis of countless dreams for others. This Jacques L’Aumône, like the characters who surround him, has the same sort of haunting and fluid consistency as someone that we might dream of in our beds at night. And reverie, here, is born through the tale’s humor, which is as gentle as it is cruel, as well as by way of a writing technique that is itself drawn from one of Queneau’s great loves, the cinema.
"This breezy and witty episodic novel from Queneau (1903–1976), originally published in 1944 and newly translated by Clarke, chronicles the episodic adventures of a young dreamer....Clarke generally has a nimble way with Queneau’s wordplay and neologisms. This winning satire demonstrates the rewards of cultivating one’s imagination." —Publishers Weekly

"In this fantasy of fantasies, an imaginative boy becomes, after a time, a successful movie star....The novel’s playfulness with language borrows from Joyce; its noir-isms and grand fantasies predict gangster rap. There is a refreshing lack of morality in the novel. Jacques’ fantasies are not condoned, and his selfishness in making some of them real is not condemned. Read it in one sitting and find yourself more open to your own daydreams." —Kirkus Reviews

"Queneau was one of those writers who knew pretty much everyting there was to know about literature, but he also loved word games, and the language of the streets." —Nicholas Lezard

“Rueil is the small town on the outskirts of Paris in which the novel begins and ends. Queneau has sketched out his plot to be symmetrical … the limited horizons of the suburbs are a blessing … what more could you want?” But for Jacques L’Aumône, our central character, it is the cinema — the source of his fantasies and the motos of his ambition — that makes staying in Rueil impossible.” —Dennis Duncan, London Review of Books

"In Queneau’s hands, we’re treated to a story told with reflective parallels, brilliant plays on language—across dictions and dictionaries, expressions and turns of phrase which expand our feeling for words tweaked-and-made-new."
—Christa Pietrini, Michigan Quarterly Review
Raymond Queneau (1903-1976) was born in the French town of Le Havre and educated at the Sorbonne. He performed his military service in Morocco. An early association with the Surrealists ended in 1929, and after completing a scholarly study of literary madmen of the nineteenth century for which he was unable to find a publisher, Queneau turned to fiction, writing his first novel, Le Chiendent (published as Witch Grass by NYRB Classics), in Greece in the summer of 1932. Influenced by James Joyce and Lewis Carroll, Queneau sought to reinvigorate French literature, grown feeble through formalism, with a strong dose of language as really spoken. He further encouraged innovation by founding, with the mathematician François Le Lionnais, the famous group OULIPO (Ouvroir de Littérature Potentielle), which investigated literary composition based on the application of strict formal or mathematical procedures (members of the group included Italo Calvino, Georges Perec, and Harry Mathews). Queneau’s many books, which typically blur the boundaries between fiction, poetry, and the essay, include Pierrot mon ami, The Sunday of Life, Zazie in the Metro (made into a movie by Louis Malle), and Exercises in Style; under the name of Sally Mara, he published We Always Treat Women Too Well, a brilliant comic spoof on the excesses of smutty popular novels. Queneau was the editor of the Encyclopédie de la Pléiade as well as a fine poet, whose lyric “Si tu t’imagines” was a hit for the celebrated postwar chanteuse Juliette Gréco. View titles by Raymond Queneau

About

In this delightful, cinema-inspired daydream of a novel, an identity-shifting protagonist uses the everyday inspirations of his life to catapult himself into the realm of imagination, blurring the boundaries between reality and fantasy.

The Skin of Dreams is a novel of waking dreams. Even as he lives his life, Jacques L’Aumône, its hero, daydreams a hundred other possible lives. A few lines on a page, a chance encounter, a remark overheard in passing, any of these are enough to kick things into gear and send him off outside of himself to become a boxer, a general, a bishop, or a lord. He lives alongside his life with diligence and steadfastness; and the passage from real to dream is so natural for him that he no longer knows precisely which him he is. Eventually he becomes an actor in Hollywood, and the basis of countless dreams for others. This Jacques L’Aumône, like the characters who surround him, has the same sort of haunting and fluid consistency as someone that we might dream of in our beds at night. And reverie, here, is born through the tale’s humor, which is as gentle as it is cruel, as well as by way of a writing technique that is itself drawn from one of Queneau’s great loves, the cinema.

Reviews

"This breezy and witty episodic novel from Queneau (1903–1976), originally published in 1944 and newly translated by Clarke, chronicles the episodic adventures of a young dreamer....Clarke generally has a nimble way with Queneau’s wordplay and neologisms. This winning satire demonstrates the rewards of cultivating one’s imagination." —Publishers Weekly

"In this fantasy of fantasies, an imaginative boy becomes, after a time, a successful movie star....The novel’s playfulness with language borrows from Joyce; its noir-isms and grand fantasies predict gangster rap. There is a refreshing lack of morality in the novel. Jacques’ fantasies are not condoned, and his selfishness in making some of them real is not condemned. Read it in one sitting and find yourself more open to your own daydreams." —Kirkus Reviews

"Queneau was one of those writers who knew pretty much everyting there was to know about literature, but he also loved word games, and the language of the streets." —Nicholas Lezard

“Rueil is the small town on the outskirts of Paris in which the novel begins and ends. Queneau has sketched out his plot to be symmetrical … the limited horizons of the suburbs are a blessing … what more could you want?” But for Jacques L’Aumône, our central character, it is the cinema — the source of his fantasies and the motos of his ambition — that makes staying in Rueil impossible.” —Dennis Duncan, London Review of Books

"In Queneau’s hands, we’re treated to a story told with reflective parallels, brilliant plays on language—across dictions and dictionaries, expressions and turns of phrase which expand our feeling for words tweaked-and-made-new."
—Christa Pietrini, Michigan Quarterly Review

Author

Raymond Queneau (1903-1976) was born in the French town of Le Havre and educated at the Sorbonne. He performed his military service in Morocco. An early association with the Surrealists ended in 1929, and after completing a scholarly study of literary madmen of the nineteenth century for which he was unable to find a publisher, Queneau turned to fiction, writing his first novel, Le Chiendent (published as Witch Grass by NYRB Classics), in Greece in the summer of 1932. Influenced by James Joyce and Lewis Carroll, Queneau sought to reinvigorate French literature, grown feeble through formalism, with a strong dose of language as really spoken. He further encouraged innovation by founding, with the mathematician François Le Lionnais, the famous group OULIPO (Ouvroir de Littérature Potentielle), which investigated literary composition based on the application of strict formal or mathematical procedures (members of the group included Italo Calvino, Georges Perec, and Harry Mathews). Queneau’s many books, which typically blur the boundaries between fiction, poetry, and the essay, include Pierrot mon ami, The Sunday of Life, Zazie in the Metro (made into a movie by Louis Malle), and Exercises in Style; under the name of Sally Mara, he published We Always Treat Women Too Well, a brilliant comic spoof on the excesses of smutty popular novels. Queneau was the editor of the Encyclopédie de la Pléiade as well as a fine poet, whose lyric “Si tu t’imagines” was a hit for the celebrated postwar chanteuse Juliette Gréco. View titles by Raymond Queneau

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