Swann's Way tells two related stories, the first of which revolves around Marcel, a younger version of the narrator, and his experiences in, and memories of, the French town Combray. Inspired by the "gusts of memory" that rise up within him as he dips a Madeleine into hot tea, the narrator discusses his fear of going to bed at night. He is a creature of habit and dislikes waking up in the middle of the night not knowing where he is. He claims that people are defined by the objects that surround them and must piece together their identities bit by bit each time they wake up. The young Marcel is so nervous about sleeping alone that he looks forward to his mother's goodnight kisses, but also dreads them as a sign of an impending sleepless night. One night, when Charles Swann, a friend of his grandparents, is visiting, his mother cannot come kiss him goodnight. He stays up until Swann leaves and looks so sad and pitiful that even his disciplinarian father encourages "Mamma" to spend the night in Marcel's room.

A guide to "Combray," the opening section of Proust's "A La Recherche Du Temps Perdu." This text helps students to encounter in context the highlights of the book that have so often been anthologized: the madeleine dipped in the narrator's tear - the quintessential Proustian experience of affective memory - the scene of the goodnight kiss, the appearance of Swann, the evocation of the little town, the old servant, Francoise, and the charming landscapes. Suitable for both undergraduates and the general reader, an introduction clarifies the historical background to this masterpiece of French literature. It examines the ways in which the complexities of biography, literary transformation and the structural importance of its many themes may be approached and appreciated. The text is supported by full explanatory notes and frequent translations.

The newest translation of the classic of French literature From the text: But at the age Swann was approaching, where one is already a little disillusioned and where he knows to be content at being in love simply for the pleasure of it, without demanding too much in return, this coming together of two hearts, if it is no longer, as it was in one's youth, the goal that love, by necessity, tends towards, it has nevertheless stayed tied to one's love by such a strong association of ideas that if it presents itself first it can itself become the cause. At an earlier age, one dreamt of possessing the heart of the woman he loves; later in life, feeling he has already come to possess one's heart could be enough to inspire his love. So at an age where it would seem – for in love we search above all for a subjective pleasure – that the part played by our tastes in assessing another's beauty would have become the determining factor in our love, a love can be born, a love of the most physical kind even, without there having been any initial foundation of desire. At this stage in our life we have been touched by love more than once; it no longer evolves on its own, following its unknown, fatal laws before our passive and astonished hearts. We come to its aid; calling on our memories, yielding to suggestion, we act it out. In recognizing one of its symptoms, we recall, we recreate the others. As we possess its song, engraved on our heart in its entirety, we need only for a woman to provide the opening strands, filled with the admiration we feel at recognizing another's beauty, and we know what comes next. And if she starts in the middle, at the part where our two hearts come together, where we talk of existing each only for the other, we know this tune well enough that we can at once join our partner in the passage where she awaits us.

In the Shadow of Young Girls in Flower is Proust’s spectacular dissection of male and female adolescence, charged with the narrator’s memories of Paris and the Normandy seaside. At the heart of the story lies his relationships with his grandmother and with the Swann family. As a meditation on different forms of love, In the Shadow of Young Girls in Flower has no equal. Here, Proust introduces some of his greatest comic inventions, from the magnificently dull M. de Norpois to the enchanting Robert de Saint-Loup. It is memorable as well for the first appearance of the two figures who for better or worse are to dominate the narrator’s life—the Baron de Charlus and the mysterious Albertine. First time in Penguin Classics A Penguin Classics Deluxe Edition The first completely new translation of Proust's novel since the 1920s, following Lydia Davis' brilliant translation of Swann's Way

After the relative intimacy of the first two volumes of In Search of Lost Time, The Guermantes Way opens up a vast, dazzling landscape of fashionable Parisian life in the late nineteenth century, as the narrator enters the brilliant, shallow world of the literary and aristocratic salons. Both a salute to, and a devastating satire of a time, place, and culture, The Guermantes Way defines the great tradition of novels that follow the initiation of a young man into the ways of the world. This elegantly packaged new translation will introduce a new generation of American readers to the literary richness of Marcel Proust. First time in Penguin Classics A Penguin Classics Deluxe Edition with french flaps and luxurious design Penguin Classics' superb new edition of In Search of Lost Time is the first completely new translation of Proust's masterwork since the 1920s

Sodom and Gomorrah – now in a superb translation by John Sturrock – takes up the theme of homosexual love, male and female, and dwells on how destructive sexual jealousy can be for those who suffer it. Proust's novel is also an unforgiving analysis of both the decadent high society of Paris, and the rise of a philistine bourgeoisie that is on the way to supplanting it. Characters who had lesser roles in earlier volumes now reappear in a different light and take center stage, notably Albertine, with whom the narrator believes he is in love, and also the insanely haughty Baron de Charlus.

The long-awaited fifth volume—representing "the very summit of Proust's art" (Slate) — in the acclaimed Penguin translation of "the greatest literary work of the twentieth century" (The New York Times) Carol Clark's acclaimed translation of The Prisoner introduces a new generation of American readers to the literary riches of Marcel Proust. The fifth volume in Penguin Classics' superb new edition of In Search of Lost Timethe first completely new translation of Proust's masterpiece since the 1920s—brings us a more comic and lucid prose than readers of English have previously been able to enjoy. The titular "prisoner" is Albertine, the tall, dark orphan with whom Marcel had fallen in love at the end of Sodom and Gomorrah (volume 4). Albertine has moved in with Marcel in his family's apartment in Paris, where the pair have a seemingly limitless supply of money and are chaperoned only by Marcel's judgmental family servant, Françoise. Marcel, who worries obsessively about Albertine's relationships with other women, grows more and more irrational in his attempts to control her, keeping her prisoner in his apartment and buying her couture gowns, furs, and jewelry in an attempt to protect her from herself and from the outside world and. And yet in addition to being a tragedy of possessive love, The Prisoner is also a comedy of human folly and misunderstanding, linked to the other volumes of the larger novel through its themes of class differences, art, irrationality, social snobbery, and, of course, time and memory.

“Mademoiselle Albertine has gone!” These are the words that open Proust´s masterpiece "In Search of Lost Time"'s sixth book, "The Fugitive". "The Fugitive" picks up seamlessly where "The Captive" left off, with Marcel stunned to find that his hostage lover has finally decided to spread her wings and fly away. Reading her goodbye letter, the young man struggles to come to terms with his loss, despite the fact that in recent times he was the one hoping for a bloodless end to their relationship. Left alone with his pain (and his housekeeper…), he struggles to come to terms with Albertine’s decision, wondering how best he can persuade her to return.

The final volume of In Search of Lost Time chronicles the years of World War I, when, as M. de Charlus reflects on a moonlit walk, Paris threatens to become another Pompeii. Years later, after the war's end, Proust's narrator returns to Paris, where Mme. Verdurin has become the Princesse de Guermantes. He reflects on time, reality, jealousy, artistic creation, and the raw material for literature-his past life. This volume also includes the indispensable Guide to Proust, an index to all six volumes of the novel.