Celine:

But was he wrong?

yes

well, yes. He was such a strange person, on one hand he was an idealist helping poor people, on the other a fucking madman seeing jews conspiring against everything. Completely don't know how to analyze Celine as a person.

What's the difference? It is warranted by his frustration, n'est-ce pas?

>things even nazis were horrified to hear/do
Like what? The nazis weren't particularly squeamish in such matters.

But there he just talks about how Sartre came out of his ass, nothing about his post-war opinion on jews.

That's only in the pamphlets. He might also have been right, in his time and place (how would anyone ever know?)

He thought they weren't doing good enough in exterminating Jews. Ernst Junger met Celine few times and mention him in his diaries, my rough translation:
>[Celine] was surprised by the fact that we, the soldiers, aren't executing, aren't hanging, aren't exterminating the Jews. He was surprised that someone who's equipped with a bayonet is not making an unreserved use of it. -If I had a bayonet I'd have known how to make a use of it.
Etc. Just find a translation of his essays, they are all in English on the internet, plenty of examples there. Celine had forbidden to publish them after his death, but I'm not sure if he decided that because of the shame or just hoped that people will forget.

Anyone read Death on Credit? What did you think of it compared to Journey?

I'm about 4/5 of the way through it now. It seems a lot more comedic and less vicious than Journey, even though the humor is black as ever and it's hardly an uplifting work. The events in Ferdinand's life appear to be more out of his control and he doesn't offer as many scathing diatribes against the people he meets even when he's not exactly enthusiastic about them. We're kind of left to make up our own minds on the various screwballs, whores, and family members Ferdinand encounters.

Did Celine forbid it or did his family? I was under the impression that some relative or spouse didn't want them out there.

Do you know if the antisemitism makes it into any of his fiction work? It's kind of interesting because I don't recall any reference to Jews in Journey, and the only mention in Death on Credit is the few times Ferdinand's father goes on a rant and mentions them.

I think it was him, his widow was just doing according to his will.

I've read Mort a credit and Journey and no, I don't recall any antisemitic references either, but I think his pamphlets are playing a vital role in analyzing his character as he presented it in his books anyway as they were mostly autobiographical, just to fully understand his bizarre dichotomy.

His widow, I mean his wife.

Btw what's funny, Celine had many Jewish friends, had sexual relationships with jewish women, not to mention that his books were praised by many Semites. There is a dispute about the genesis of his hatred towards the Jews and one of the hypothesis is once he was fucked over by a publisher of his book who was Jewish or something like that.

Well, in 7 Types of Ambiguity, Empson, describing Journey, says the author is 'a man ripe for fascism.'

Is the Alma Classics translation of Journey good?

ernst jünger writes in his diarys that celine told him to gather his troops and slaughter the jews on the streets in paris.

Have you read Junger's diaries? Which volumes are most interesting?

depends on the translator. Most people are in agreement that the Ralph Manheim version is the definitive English translation. There's one previous translation, I think, but it translates in a way that the sentences flow together without the ellipses that Celine used so much, which isn't very true to the original.

Would you say, then, that he was /our guy/ all along?

Yes, you can say that I guess.

>fucking madman
>seeing jews conspiring against everything
>being this bluepilled on the JQ
Disgraceful

We studied Céline at school (i'm a French speaking Swiss), especially Journey and one of the explications our teacher gave us about his antisemitism was that Céline was completely traumatized and horrified by the First World War, which he had to fight in. He held the Jews responsible for WWII and all teh horrifying things that happened.
It's a little wobbly, but somewhat interesting.

here are two subtitled Celine interviews for those not aware of them:
youtu.be/AtsL4Ll2o_0
youtu.be/ZR9tsWhRYJo

So it's confirmed Houellebecq gets his entire image from this man?

>instead what is served to us are stories of cuckolds

kek

Fuck, he even looks like him lmao

watch interview with andre malraux and realize that it's a deeper french thing

The way Houellebecq likes to mumble is 100% Celine. There's no way it's not intentional on the part of Houellebecq.

"It’s Stalingrad. How’s that for catharsis! The fall of Stalingrad is the finish of Europe. There was a cataclysm. The core of it all was Stalingrad. There you can say it was finished and well finished, the white civilization."

-Celine

The quote that first lead me to right wing thought.

>You know about innards? The trick they play on tramps in the country? They stuff an old wallet with putrid chicken innards. Well, take it from me, a man is just like that, except that he's fatter and hungrier and can move around, and inside there's a dream.

kek. junger was the turbochad and celine was the autist

How are you projecting this hard? He literally said "let's discuss."

I love how Celine is too disturbing and transgressive for the right, and too anti-semitic and hateful for the left. My kind of writer.

too transgressive for the right?

He's not exactly a literary poster-child of the conservative thought. You know, with all the rapes, anti-war sentiments, nihilism, degeneracy.

I know a few conservatives who find him perversely interesting but I see your point.

Pretentious garbage.

My favourite writer for that reason too. Reminds me of myself: Intelligent, nihilistic and with a wicked sense of humour.

in what way do you find him pretentious?

Yeah I agree, although I think calling it 'less vicious' is misleading. The Journey has Bardamu's diatribes of course, but I think in Death on Credit the various characters are presented in an even more damning way. The difference lies in the fact that instead of having Bardamu 'exposing' mediocrity, it's the characters who do so themselves, via their own incoherent rantings. And they appear as mediocre even more so because all the characters end up in crippling debt, basically they're all failures slowly sinking into financial abyss (most obvious case being Courtial).

Over all I love both the Journey and Death on Credit, the former being more 'perfect' in a way, with less flaws; but Death on Credit for me is a brillantly daring work, the Celine guides you through a cacophony of incoherent voices, at all times letting you empathise (or access Bardamu's created images?) with the characters, is just genius.

How are his later works, like Nord or Rigodon?