Thus arose the narrative “regard nouveau”. In reality, in this summary definition, personalities of different orientation and various stylistic procedures are united, however converging in the intensity of an analytical and cold gaze that attacks the interiority with an accumulation of psychic and sensory reactions apparently of little weight, but in fact provided with a great acumen of individuation. Thus a total approach to objects and to common life is determined, weakened by every culminating circumstance, but still guarded by an extraordinarily attentive sensitivity. perhaps this is the most important literary trend that has emerged in recent years. To N. Sarraute, to A. Robbe-Grillet (see in this App.) Jean Lagrolet (b.1914) can approach with perhaps this is the most important literary trend that has emerged in recent years. To N. Sarraute, to A. Robbe-Grillet (see in this App.) Jean Lagrolet (b.1914) can approach with perhaps this is the most important literary trend that has emerged in recent years. To N. Sarraute, to A. Robbe-Grillet (see in this App.) Jean Lagrolet (b.1914) can approach with Le Pire (1953) and Les vainqueurs du jaloux (1957), the Piroué by Les limbes (1959). C. Simon (b.1913 in Tananarive), author of La corde raide (1948), Gulliver (1952), Le sacre du printemps (1954), Le vent (1957) and R. Pinget (b.1920 in Geneva) with his novels Entre Fantoine et Agapa (1950), Mahu ou le matériau (1952), Baga (1956), Graal Flibuste(1957); Cl. Mauriac (b.1914). Among the populists we can distinguish Marcel Aymé (b.1902), from the Rabelaisian inspiration, and Louis Guilloux (b.1899) who had a period of great notoriety at the end of the war: his novel Le Jeu de patience (1949) obtained the Théophraste-Renaudot award. Of the Marxists, the most interesting of the new narrators is Roger Vailland (b.1907) who in Les mauvais coups (1948), Bon pied, bon oeil (1950), Un jeune homme seul (1952), Beau Masque (1954) , 325. 000 francs (1955), La loi (1957) has shown himself capable of giving voice to realities and passions by investing them with his communist faith which repeatedly manages to escape the conventional dictates of extrinsic realism. The vogue of cyclical novels is not entirely exhausted; moreover, it responds to the need to historicize daily life, which is one of the most constant intentions of our time. The three volumes of Ph. Hériat’s Boussardel (pseud. By Raymond-Gérard Payelle, n. 1898) and the much more extensive, but less elaborate and effective cycles, by P. Vialar (n. 1898) emerge: La mort est un commencement, Chronique française du XX ^e siècle, La chasse aux hommes.

But skilled storytellers, who at least manage to establish intelligent human communication with their readers, are certainly not lacking in France today. J. Roy (b. 1907) has war among his dominant themes. The conception of things that P. Gadenne (1908-1954) expressed in his novels Siloé (1947), Le vent noir (1947), La rue profonde (1949), L’avenue (1949), La plage de Scheveningen (1952), The invitation chez les Stirl (1955), drawing inspiration from both the sadness of city life and the melancholy suggestion of Nordic landscapes; while the Dubliner Samuel Beckett (b.1906) who has been using the French language for a long time, is establishing himself both in stories and in the theater as one of the current writers richest in strength and originality for his paradoxical but very vivid torment of the inanity of any attempt at expression in art no less than in life.

According to softwareleverage, Hervé Bazin (b.1911), Jean Louis (b.1917), Romain Gary (b.1914), Serge Groussard (b.1920) can be traced back to a realistic trend, in the variety of their ways, and with infinite nuances and attenuations.), Félicien Marceau (b.1913), Michel de Grossourdi de Saint-Pierre (b.1916), André Schwarz-Bart (b.1928). By others, however, the inner exploration of consciousness is pushed to the margins of symbolism and mysticism in a suggestive prose context of evocations and allusions. Thus, in a vast range of personal peculiarities, René Daumal (b.1900), Raymond Abellio (b.1907), Pierre Gascar (b.1916), careful to grasp the resonances aroused in the human soul by certain necessary yet morally unpleasant or physically repugnant, André Pieyre de Mandiargues (b.1909), Georges Bataille (b. 1897) and Maurice Blanchot with their exploration of silence which seems to lead to a denial of the possibility of the novel. This widespread pessimism is also sharply reflected in the works of Jean-Bloch Michel (b.1912), Robert Merle (b.1908), François-Régis Bastide (b.1926), Roger Ikor (1912), José-André Lacour. However these writers, although aware of the precariousness of what exists, prefer to proceed towards a reconstruction of what, in feelings and in action, is open to a positive outcome. Considerable the contribution given to the “historical” novel by Maurice Druon (b. 1918) in the trilogy Robert Merle (b.1908), François-Régis Bastide (b.1926), Roger Ikor (1912), José-André Lacour. However these writers, although aware of the precariousness of what exists, prefer to proceed towards a reconstruction of what, in feelings and in action, is open to a positive outcome. Considerable the contribution given to the “historical” novel by Maurice Druon (b. 1918) in the trilogy Robert Merle (b.1908), François-Régis Bastide (b.1926), Roger Ikor (1912), José-André Lacour. However these writers, although aware of the precariousness of what exists, prefer to proceed towards a reconstruction of what, in feelings and in action, is open to a positive outcome. Considerable the contribution given to the “historical” novel by Maurice Druon (b. 1918) in the trilogy La fin des hommes (1948-53) where a ruling class is the protagonist in its dissolution.