Hi Romance Studiers,
After reading Marcel Proust’s “Swann’s Way”, part 1 “Combray”, I found myself lost and dissatisfied. Conceptually, the idea of building a world through the lens of a child, and as they grow up and realize the beauty of the world they live in, so does the reader, was very interesting. The execution of said idea did not create the effect on me that I wish it did. I found myself disinterested in the story due to its lack of conflict or driving force for the main character. The entire segment created this word full of characters and personality but nothing of substance actually happening within it. I believe the way I interpreted this novel was heavily affected by three main elements of the way this story was written.
The key element of my disinterest was the way the sentences were structured. Run-on sentences are sentences that lack a period, often feeling as if they have no end to them and contain too much detail for a singular point. Marcel Proust did not just write run-on sentences, they were entire marathon sentences. At times, I felt that an entire page was contained within two never ending sentences that had no direction. These sentences would contain so much detail about the character’s surroundings or how a singular character was dressed that I would lose interest half way down the page. I simply did not care to know that much detail about a character that it caused me to lose interest in the entire story. The story also would have benefitted by splitting segments off using chapters. Without chapters, it felt like the ramblings of a mind with no endpoint, making the act of reading this story exhausting. The other main element of the novel that led to my disinterest was the lack of narrative.
This story follows the inner thoughts of a child as they grow up in this city and how they characterize their different aunts, uncles, and grandparents. I quickly came to the realization that nothing actually happens. I did not care too know about these characters because the story gave me no reason to care. It was so much exposition yet it lacked any substance. Reading this story felt like a chore to me, and I wished it could have held my attention better by giving me things to care about.
There was one part of the story that did intrigue me and helped me relate with the protagonist, that was around page 95 to 100 when he narrated his thoughts of Bergotte. Specifically around page 98 when he talked about being insecure with his writing, but then finding something Bergotte wrote that was very similar, and only after reading Bergotte’s work would he feel that his writing was solid. This idea of feeling validated about one’s work only after their idol has done something similar is something I personally experience all the time when I write music. I often feel scared that what I am producing is not worth being called art, but when I listen to other artists that I look up to and hear them produce similar flows or ideas, I too feel validated with my own work afterwards.
My question to the class regarding Proust’s “Combray” is, were there any segments of the book that you personally related to?
Excited to see you all in class and hear your thoughts as well 🙂
Hello Ellie, regarding your question, I’d like to talk about the part where the author mentions “Madeleine de Proust.” Although this saying is famous, to be honest, I had never heard of it before. However, I can deeply relate to it personally. When I smell a familiar scent or taste a familiar flavor, it instantly takes me back to that moment. Some memory fragments flood into my mind. For instance, when I had a fever before, my family wouldn’t let me have these fried foods, but my brother secretly bought me french fries. He took me outside to eat them in secret before returning home, so every time I buy french fries, I can relate to the author and suddenly flashback to that moment
Jialu (Lucy) Xu
Heh. Tell us how you really think! 🙂
OK, first one slight correction:
“Run-on sentences are sentences that lack a period, often feeling as if they have no end to them and contain too much detail for a singular point.”
In fact, a run-on sentence is usually a sentence that has two main verbs, that are not suitably connected. They are therefore ungrammatical. (See for instance an explanation here: https://academicguides.waldenu.edu/writingcenter/grammar/runonsentences.)
In fact, none of Proust’s sentences are run-on sentences. They are all perfectly grammatical.
Moreover, run-on (or even long) sentences really have no bearing on how much detail is provided. You can have a lot of detail in lots of short sentences just as easily.
I should also say that, if you want to discuss such things in your blog (and you are very welcome to do so!), it always helps immensely if you could give concrete examples. Indeed, I encourage quotation in your blog posts.
Moreover, the book does have chapters. It just has long chapters. But the question would be more: why does he slip between subjects, places, and topics *within* a chapter? This is indeed something that happens: he slips from past to present, and from one locale to another. In fact, he describes this process as well as enacts it even in the first couple of pages.
What is he trying to get at here?
Finally, you say that “nothing actually happens.” But that’s not quite true. For instance, in the first chapter alone, there’s a long discussion of his waiting and wanting to get a kiss from his mother… and he does get that kiss, and he sees it as the beginning of a “new era.” You may think that what happens (the kiss, and everything leading up to it… a visit, his sitting by the window, and so on) are not important. But they are events, and it would be worth considering why exactly Proust, or his narrator, considers them so important.
Hi Ellie! My name is Shan. I totally understand what you meant with the continuous sentences that felt like they lasted to kingdom come. I do also agree that it made it very difficult to read and actually digest what it is Proust was trying to say. Although it certainly is not my favourite, this stylistic approach is actually used in a lot of other literature I have read. An example is Anna Burn’s novel Milkman. I believe this tactic is meant to show the reader that they are set within the mind of the narrator, and like many other people, people often think in long, continuous streams of consciousnesses that jump from place to place. I totally understand that it may not be for everyone because I too find that a book is a “good read” when I understand it without having to bend over backwards. So just know you’re totally valid. ◡̈ To answer your question, I actually related a lot to Marcel in the first section. What I personally got from his memory of his mother is that he felt bad asking his mother for attention. It could just be me, but since one of my love languages is quality time, while also being a people pleaser, asking people to hang out or spend time with can harm my psyche sometimes. Thank you so much for your post!
Hi Ellie! I want to start off by commending you for letting us know how you really feel! It’s refreshing to hear someone say they flat-out disliked the reading of a class instead of sugar-coating it or grasping at straws. I agree with you on some talking points. I think much of the book feels drawn out and excessively detailed, and if you’re like me and like your books with thrilling and captivating plots, this book would be a bore. After some pages, however, I began to appreciate the long descriptions and longer sentences. I do hope that your next book is more satisfying!