Julien Green - Works

Works

  • Pamphlet contre les catholiques de France (1924)
  • Mont Cinère (1926)
  • Suite anglaise (1927)
  • Le voyageur sur la terre (1927)
  • Adrienne Mesurat (1927)
  • Un puritain homme de lettres (1928)
  • Léviathan (The Dark Journey, 1929)
  • L'autre sommeil (1930)
  • Épaves (The Strange River, 1932)
  • Le visionnaire (The Dreamer, 1934)
  • Minuit, (Midnight, 1936)
  • Journals I, II, III (1938–46)
  • Varouna (Then Shall the Dust Return, 1940)
  • Memories of Happy Days (1942)
  • Si j'étais vous... (If I Were You, 1947)
  • Moïra (1950)
  • Sud (1953)
  • L'ennemi (1954)
  • La malfaiteur (The Transgressor, 1956)
  • L'ombre (1956)
  • Le bel aujour-d'hui (1958)
  • Chaque homme dans sa nuit (1960)
  • Partir avant le jour (To Leave Before Dawn/The Green Paradise, 1963)
  • Mille chemins ouverts (The War at Sixteen, 1964)
  • Terre lointaine (Love in America, 1966)
  • Les années faciles (1970)
  • L'autre (The Other One, 1971)
  • Qui sommes-nous (1972)
  • Ce qui reste du jour (1972)
  • Jeunesse (1974)
  • La liberté (1974)
  • Memories of Evil Days (1976)
  • La Nuit des fantômes (1976)
  • Le Mauvais lieu (1977)
  • Ce qu'il faut d'amour à l'homme (1978)
  • Dans la gueule du temps (1979)
  • Paris (1984)
  • Les Pays lointains (The Distant Lands, 1987)
  • Les Étoiles du sud (The Stars of the South, 1989)
  • Dixie (1994)

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Famous quotes containing the word works:

    “You are always looking for already-felt emotions, just as you like to get an old pair of trousers back from the cleaners, which seem new when you don’t look too closely. Artists are cleaners, don’t let yourself be taken in by them. True modern works of art are made not by artists but quite simply by men.”
    —Francis Picabia (1878–1953)

    “The works of women are symbolical.
    We sew, sew, prick our fingers, dull our sight,
    Producing what? A pair of slippers, sir,
    To put on when you’re weary or a stool
    To stumble over and vex you ... “curse that stool!”
    Or else at best, a cushion, where you lean
    And sleep, and dream of something we are not,
    But would be for your sake. Alas, alas!
    This hurts most, this ... that, after all, we are paid
    The worth of our work, perhaps.”
    —Elizabeth Barrett Browning (1806–1861)

    “Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
    —Thomas Mann (1875–1955)