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Sarah Bakewell: How to Live : A Life of Montaigne in One Question and Twenty Attempts at an Answer

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Sarah Bakewell How to Live : A Life of Montaigne in One Question and Twenty Attempts at an Answer

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From Starred Review Review In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. -Bryce Christensen “This charming biography shuffles incidents from Montaigne’s life and essays into twenty thematic chapters… Bakewell clearly relishes the anthropological anecdotes that enliven Montaigne’s work, but she handles equally well both his philosophical influences and the readers and interpreters who have guided the reception of the essays.” — “Serious, engaging, and so infectiously in love with its subject that I found myself racing to finish so I could start rereading the Essays themselves… It is hard to imagine a better introduction — or reintroduction — to Montaigne than Bakewell’s book.” —Lorin Stein, “Ms. Bakewell’s new book, , is a biography, but in the form of a delightful conversation across the centuries.” — “So artful is Bakewell’s account of [Montaigne] that even skeptical readers may well come to share her admiration.” — “Extraordinary… a miracle of complex, revelatory organization, for as Bakewell moves along she provides a brilliant demonstration of the alchemy of historical viewpoint.” — “Well, is a superb book, original, engaging, thorough, ambitious, and wise.” —Nick Hornby, in the November/December 2010 issue of “In , an affectionate introduction to the author, Bakewell argues that, far from being a dusty old philosopher, Montaigne has never been more relevant — a 16th-century blogger, as she would have it — and so must be read, quite simply, ‘in order to live’… Bakewell is a wry and intelligent guide.” — “Witty, unorthodox… is a history of ideas told entirely on the ground, never divorced from the people thinking them. It hews close to Montaigne’s own preoccupations, especially his playful uncertainty — Bakewell is a stickler for what we can’t know… is a delight…” — “This book will have new readers excited to be acquainted to Montaigne’s life and ideas, and may even stir their curiosity to read more about the ancient Greek philosophers who influenced his writing. is a great companion to Montaigne’s essays, and even a great stand-alone.” — “A bright, genial, and generous introduction to the master’s methods.” — “[Bakewell reveals] one of literature's enduring figures as an idiosyncratic, humane, and surprisingly modern force.” — (starred) “As described by Sarah Bakewell in her suavely enlightening Montaigne is, with Walt Whitman, among the most congenial of literary giants, inclined to shrug over the inevitability of human failings and the last man to accuse anyone of self-absorption. His great subject, after all, was himself.” —Laura Miller, “Lively and fascinating… takes its place as the most enjoyable introduction to Montaigne in the English language.” — “Splendidly conceived and exquisitely written… enormously absorbing.” — “ will delight and illuminate.” — “It is ultimately [Montaigne’s] life-loving vivacity that Bakewell succeeds in communicating to her readers.” —The Observer “This subtle and surprising book manages the trick of conversing in a frank and friendly manner with its centuries-old literary giant, as with a contemporary, while helpfully placing Montaigne in a historical context. The affection of the author for her subject is palpable and infectious.” —Phillip Lopate, author of “An intellectually lively treatment of a Renaissance giant and his world.” — “Like recent books on Proust, Joyce, and Austen, skillfully plucks a life-guide from the incessant flux of Montaigne’s prose… A superb, spirited introduction to the master.” — In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. -Bryce Christensen Named one of Library Journal’s Top Ten Best Books of 2010 In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. —Bryce Christensen

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Woolf, L., The Journey Not the Arrival Matters (London: Hogarth, 1969).

Woolf, V., The Diary of Virginia Woolf , ed. A. Oliver Bell (London: Penguin, 1980–85).

—“Montaigne,” in Essays , ed. A. McNeillie (London: Hogarth, 1986–), IV: 71–81.

Yates, F.A., John Florio: The Life of an Italian in Shakespeare’s England (Cambridge: Cambridge University Press, 1934).

Zweig, S., The World of Yesterday (Lincoln, NE: University of Nebraska Press, 1943).

—“Montaigne,” in Europöisches Erbe , ed. R. Friedenthal (Frankfurt am Main: S. Fischer, 1960), 7–81.

LIST OF ILLUSTRATIONS

prf.1 F. Quesnel, Montaigne , ca. 1588. Photographic copy of pencil drawing in private collection. Bibliothèque des Arts Décoratifs, Paris, France/Archives Charmet/The Bridgeman Art Library. This is the most authentic known likeness of Montaigne.

prf.2 Salvador Dalí, illustration to “Of Thumbs” in his edition of Montaigne, Essais (New York: Doubleday, 1947), p. 161. © Salvador Dalí, Gala-Salvador Dalí Foundation, DACS, London 2009.

prf.3 Montaigne, Essais (Bordeaux: S. Millanges, 1580).

prf.4 Anonymous, Montaigne , ca. 1590. Oil on copper. Private collection.

1.1 Dance of death, from H. Schedel, Nuremberg Chronicle , f. CCLXIIIIv. Morse Library, Beloit College.

1.2 The Dordogne and Périgord regions of France. Map by Sandra Oakins.

1.3 A. Alciato, Emblemata (Padua: P. P. Tozzi, 1621). Emblem LXXXIII: In facile à virtute desciscentes (“easily deflected from the right course”), showing a remora holding back a ship. Wellcome Library, London.

2.1 Château de Montaigne. From F. Strowski, Montaigne (Paris: Nouvelle Revue Critique, 1938). Montaigne’s tower is at the bottom left.

2.2 Panoramic view of Montaigne’s library. Photograph by John Stafford.

2.3 Roof beams from Montaigne’s library. Photograph by Sarah Bakewell.

2.4 A. Dürer, Le branle , 1514. Musée de la Ville de Paris, Musée du Petit-Palais, France/ Giraudon/The Bridgeman Art Library.

3.1 Wine label of the Château Michel de Montaigne. Photograph by John Stafford.

3.2 Sixteenth-century gymnasts, from A. Tuccaro, Trois dialogues de l’exercice de sauter et voltiger en l’air (Paris: C. de Monstr’oeil, 1599).

3.3 Andrew, Adolphe Best, Isidore Leloir, Le Réveil de Montaigne enfant , from Musée des Familles, Lectures du soir , VI (Jan. 1840), p. 100.

3.4 F. de Belle-Forest, Le Vif pourtrait de la Cité de Bordeaux , 1575. Bibliothèque nationale de France.

4.1 Hermaphroditus, and Rhodope and Hemo, from Ovid, tr. L. Dolce, Le Trasformationi (Venice: G. Giolito de Ferrari, 1561)

4.2 The reading fool, by A. Dürer, from S. Brant, Narrenschiff (Basel: J. Bergmann von Olpe, 1494).

4.3 Blaise de Monluc. Frontispiece to his The Commentaries (London: H. Brome, 1674).

5.1 The “Bordeaux Copy” of Montaigne’s Essais (Paris: A. L’Angelier, 1588), v. I, fol. 71v., showing Montaigne’s marginal addition: “qu’en respondant: parce que cestoit luy parce que c’estoit moy” (“except by answering: Because it was he, because it was I”). Reproduction en quadrichromie de l’Exemplaire de Bordeaux des Essais de Montaigne , ed. Philippe Desan (Fasano-Chicago: Schena Editore, Montaigne Studies 2002).

6.1 Seneca. Marble bust. Museo Archeologico Nazionale, Naples, Italy/The Bridgeman Art Library.

6.2 Epicurus. Stone bust. Greek Museo Capitolano, Rome, Italy/Giraudon/The Bridgeman Art Library.

7.1 Montaigne’s medal or jeton . The only copy is in a private collection; drawing by Sarah Bakewell based on a photograph in M.-L. Demonet, A Plaisir (Orléans: Editions Paradigme, 2002).

7.2 Octopus, from G. Rondelet, Libri de piscibus marinis (Leyden, Bonhomme, 1555). Wellcome Library, London.

7.3 A. Ditchfield, Montaigne et sa chatte , ca. 1867. Aquatint. Bibliothèque nationale de France.

7.4 F. Delpech, Blaise Pascal , 19th century. Bibliothèque nationale, Paris/The Bridgeman Art Library.

8.1 Entry recording death of Montaigne’s child Thoinette, from M. Beuther, Ephemeris historica (Paris: Fezandat, 1551), Montaigne’s copy, page for June 28. Bibliothèque municipale de Bordeaux.

10.1 Tupinambá Indians in 1552, by T. de Bry, from J. L. Gottfried, Newe Welt und Americanische Historien (Frankfurt: M. Merian, 1631). Private Collection/The Stapleton Collection/The Bridgeman Art Library.

10.2 A defiant prisoner among the Tupinambá, from M. Léry, Histoire d’une voyage (Paris: A. Chuppin, 1580).

11.1 L. Le Coeur, Montaigne , 1789. Aquatint, from Galerie universelle des hommes qui se sont illustrés dans l’Empire des lettres, depuis le siècle de Léon X jusqu’à nos jours (Paris: Bailly, 1787–1789). Montaigne as windswept Romantic.

11.2 Montaigne’s visit to Tasso in Ferrara. Lithograph by P. J. Challamel after Louis Gallait’s painting Le Tasse visité dans sa prison par Montaigne (1836), in Revue des peintres (1837), no. 208.

12.1 F. Dubois, St. Bartholomew’s Day massacre, August 24, 1572. Oil on panel. Musée d’Archéologie et d’Histoire, Lausanne, Switzerland/Giraudon/The Bridgeman Art Library.

12.2 Charles IX’s medal depicting the St. Bartholomew’s massacres as a defeat of the Hydra. N. Favyer, Figure et exposition des pourtraictz et dictons contenuz es medailles de la conspiration des rebelles en France (Paris: J. Dallier, 1572).

12.3 Heaven and Hell , engraving by H. Cock after J. de Mantua, 1565. Private collection/The Bridgeman Art Library.

12.4 Henri III. Frontispiece to A. Thevet, Les vrais pourtraits et vies des hommes illustres (Paris: La veuve I. Kervert & G. Chaudière, 1584). Mary Evans Picture Library.

12.5 A band of flagellants, from The Chronicles of Chivalry , 1583. Engraving. Bibliothèque nationale, Paris/The Bridgeman Art Library.

12.6 Stefan Zweig, c. 1925. Photograph by Trude Fleischmann. International Institute of Social History, Amsterdam.

13.1 A harpy, or monstrous figure. 18th century engraving. Private Collection/Archives Charmet/The Bridgeman Art Library.

14.1 Kidney stone fragments. Photograph by Herringlab.

14.2 Baths at Leuk, Switzerland, from S. Münster & F. Belle-forest, Cosmographie universelle (Paris: N. Chesneau, 1575). Wellcome Library, London.

14.3 Baths at Plombières, France, 19th century copy of woodcut from J. J. Huggelin, Von heilsamen Bädern des Teütschelands (Strasbourg, 1559). Wellcome Library, London.

14.4 Map of Montaigne’s travels in 1580–1581. Map by Sandra Oakins.

14.5 Colosseum and unidentified ruin, from H. Cock, Praecipua aliquot Romanae antiquitatis ruinarum monimenta, vivis prospectibus, ad veri imitationem affabre designata (Antwerp: H. Cock, 1551). University of Chicago Library, Special Collections Research Center.

15.1 Henri of Navarre (Henri IV), by T. de Bry, 1589. Private collection/The Stapleton Collection/The Bridgeman Art Library.

15.2 Diane d’Andouins, Countess of Gramont, known as “Corisande.” 19th century. Engraving after Melchior Péronard. Bibliothèque nationale, Paris/Giraudon/The Bridgeman Art Library.

15.3 Assassination of the Duc de Guise, from J. Boucher, La vie et faits notables de Henri de Valois (Paris: Didier Millot, 1589).

16.1 John Florio. Frontispiece to his Queen Anna’s New World of Words (London: E. Blount & W. Barrett, 1611).

16.2 Charles Cotton, lithograph after painting by Sir P. Lely, in I. Walton, The Compleat Angler . Private Collection/Ken Walsh/The Bridgeman Art Library.

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