The icenian

The icenian The icenian The icenian


The icenian

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    • Home
    • Menus
      • Norwich Characters
      • Blitzrat to Bookseller 1
      • Blitzrat: 2
      • Blitzrat: 3
      • Blitzrats 4
      • Blitzrats 5
      • Norwich Cinemas 1945/61
      • Norwich Cinemas (Local)
      • Norwich Cinemas (Ind)
      • Norwich Cinemas (Circuit)
      • Norwich Cinemas (Others)
      • Books 1: US classic pulp
      • Books 2: Angry Young Men
      • Books 3: Nouveau Roman
      • Books 4: Signed editions
      • Books 5: Norfolk Books

  • Home
  • Menus
    • Norwich Characters
    • Blitzrat to Bookseller 1
    • Blitzrat: 2
    • Blitzrat: 3
    • Blitzrats 4
    • Blitzrats 5
    • Norwich Cinemas 1945/61
    • Norwich Cinemas (Local)
    • Norwich Cinemas (Ind)
    • Norwich Cinemas (Circuit)
    • Norwich Cinemas (Others)
    • Books 1: US classic pulp
    • Books 2: Angry Young Men
    • Books 3: Nouveau Roman
    • Books 4: Signed editions
    • Books 5: Norfolk Books

Books 3: Noveau Roman & Nouvelle Vague

The post-war period to the mid-60s

A little pretentious perhaps, and a little misleading as some of the writers were English and American, but the French do love their labels and even the english authors were first published in France. I was never a great reader of the French 'New Writing' although Robbe-Grillet amd Marguerite Duras caught my attention at the end of the fifties, but this was mainly because of the influence they had on the cinema. Even before I became a serious collector I was again drawn to the movement because of the very specific publishing houses that made these works, and associated authors, available to British readers, and again the first publications came from France.


Although the genuine french nouveaux romans were first published in french for a french public, the exciting new english and american writers were also published in France by the legendary Obelisk and Odyssey Press. In the days before the internet, and with stultifying censorship laws, the only certain way to access the books was to take a trip to Paris and attempt to sneak them back home past the customs.I made my pilgrimage in 1963 and got a handful of titles, but by then it was largely redundant and mainly done as a rite of passage, as American and UK publishers were making them available despite the opposition of the Government.


In America it was the Grove Press that defied the censors, not always successfully, and in the UK it was the magnificent Calder publications that opened up a whole new world. The astonishing Calder catalogue gave us not only the original noveau roman titles in translation, but also the hitherto supressed or ignored British and American writers that emerged in that heady post war period. 


Although as I've indicated elsewhere on this site we had our own movement in literature, theatre and cinema, the  more esoteric french led movement in those fields was equally vibrant, and by the sixties there was even some overlap in the cinema with directors like Peter Brook and Tony Richardson becoming involved, and the great Jeanne Moreau  seemingly ever present. The classic new wave French cinema of the late fifties and sixties was not really inspired by the new writing, but ran parallel to it with some directors like Godard combining both, although he explicitly distinguished Nouvelle Vague from other movements. 

As another example of labelling shorthand, the leading new wave directors - Chabrol, Trauffaut and Godard -  were often referred to as the  'Right Bank' group, while the new- writing inspired film makers were known as the 'Left Bank'; this latter group was never in opposition, but simply reflected a slightly older generation that was based more in literature than cinema, whereas the nouvelle vague auteurs were inspired by cinema itself and were nurtured in the 'Cahiers Du Cinema' school of critical theory from the mid-fifties.


 Robbe-Grillet, Marguerite Duras and Renais played a major role in the cinematic expression of the new writing, but ironically it was in Italy that it found perfect form as the great Antonioni moved on from a flirtation with neo-realism to produce a run of five masterpieces of 'Alienation' cinema that consolidated the fifties new writing and  new cinema, and defined the first half of the sixties.






Calder Books and the french 'Noveau Roman'

First edition D/J

Calder 1966

Bleak, minimalist masterpiece, well filmed by Peter Brook

First Edition D/J

Calder 1963

Irritating heroine, even more so in the film


First edition D/J

First edition D/J

Calder 1966

Erotic stream of conciousness that was always headed to one inescapable ending

First Edition P/B

First edition D/J

Calder 1962

The transition between Robbe-Grillet's writing and film-making

First Edition D/J

Calder 1966

The first third if published seperately would be a perfect noveau roman novella, before it becomes an implausable, if enjoyable, shaggy dog story

First Edition P/B

Calder 1966

Site Content

First Edition D/J

Jupiter Books second edition P/B

Jupiter Books second edition P/B

Calder 1966

Tightly controlled, as measured as a metronome and as hypnotic

Jupiter Books second edition P/B

Jupiter Books second edition P/B

Jupiter Books second edition P/B

Calder 1965

The quintessential work, not many laughs

First Edition D/J

Jupiter Books second edition P/B

Jupiter Books First edition P/B

Calder 1964

Burroughs, like Beckett, defied genres yet could emrace them and help shape the zeitgeist

Jupiter Books First edition P/B

Jupiter Books First edition P/B

Jupiter Books First edition P/B

Calder 1963

Second Edition D/J

Jupiter Books First edition P/B

Jupiter Books First edition P/B

Calder 1966

Jupiter Books First edition P/B

Jupiter Books First edition P/B

Jupiter Books First edition P/B

Calder 1963


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