Irresistibly charming or shamelessly deceitful, remarkably persuasive or uselessly verbose, everything one loves to hate — or hates to love — about “French lovers” and their self-styled reputation can be traced to eighteenth-century libertine novels. Obsessed with strategies of seduction, endlessly speculating about the motives and goals of lovers, the idle aristocrats who populate these novels are exclusively preoccupied with their erotic lives. Deprived of other battlefields in which to fulfill their thirst for glory, libertine noblemen seek to conquer the women of their class without falling into the trap of love, while their female prey attempt to enjoy the pleasures of love without sacrificing their honor. Yet, in spite of the licentious mores of the declining Old Regime, men and women are still expected to pay lip service to an austere code of morals. Asked to constantly denounce their own practices, they find that their erotic war games are thus governed by a double constraint: whatever they feel or intend, the heroes of libertine literature can neither say what they mean nor mean what they say. The Libertine Reader includes all the varieties of libertine strategies: from the successful cunning of Mme de T– in Denon’s No Tomorrow to the ill-fated genius of Mme Merteuil in Laclos’s Dangerous Liaisons; from the laborious sentimental education of Meilcour in Crébillon fils’s Wayward Head and Heart to the hazardous master plan of the French ambassador in Prévost’s The Story of a Modern Greek Woman. The discrepancies between the characters’ words and their true intentions — the libertine double entendre — are exposed through the speaking vaginas in Diderot’s Indiscreet Jewels and the wandering soul of Amanzei in Crébillon fils’s Sofa, while the contrasts between natural and civilized — or degenerate — erotics are the subjects of both Diderot’s Supplement to Bougainville’s Voyage and Laclos’s On the Education of Women. Finally, Sade’s Florville and Courval shows that destiny itself is on the side of libertinism.

A delightfully illustrated literary anthology that explores the fantasies, seductions, and intrigues of the eighteenth-century French lover This sumptuous volume presents more than eighty selections from eighteenth-century French literature, each concerning some facet of the game of love as practiced by the libertine, or the freethinking aristocratic hedonist, a type that flourished—not least in literature—in the declining years of the Ancien Régime. These pieces, which include fiction, drama, verse, essays, and letters, are the work of some sixty writers, both familiar—such as Voltaire, Rousseau, and, of course, the Marquis de Sade—and lesser-known. Each selection is illustrated by well-chosen period artworks, many rarely seen, by Watteau, Boucher, Fragonard, and numerous others. Racy, thought-provoking, and a treat for the eyes, The Libertine is the perfect gift for litterateurs, art lovers, roués, and coquettes.

This “rich . . . highly enjoyable portrait of an extraordinary moment in French history” introduces us to 7 dazzling aristocrats who rose and fell during the French Revolution (Guardian). Benedetta Craveri reveals the history of the Libertine generation “whose youth coincided with the French monarchy’s final moment of grace—a moment when . . . a style of life based on privilege and the spirit of caste might acknowledge the widespread demand for change, and . . . reconcile itself with Enlightenment ideals of justice, tolerance, and citizenship.” Here we meet 7 characters who Craveri singles out not only for their “romantic character” but also for “the keenness with which they experienced this crisis . . . of the ancien régime, of which they themselves were the emblem.” • Duc de Lauzun • Vicomte de Ségur • Duc de Brissac • Comte de Narbonne • Chevalier de Boufflers • Comte de Ségur • Comte de Vaudreuil These men were at once “irreducible individualists” and true “sons of the Enlightenment”—all of them ambitious to play their part in bringing around the great changes that were in the air. But when the French Revolution came, they found themselves condemned to poverty, exile, and in some cases execution. Telling the parallel lives of these dazzling but little-remembered historical figures, Craveri brings the past to life, powerfully dramatizing a turbulent time that was at once the last act of a now-vanished world and the first act of our own.

DIVThe novel that began as a radio hoax, Theodore Sturgeon’s I, Libertine is a hilarious erotic romp through the royal boudoirs of eighteenth-century London/divDIV Inspired by a notorious radio hoax in the mid-1950s, popular radio host and prankster Jean Shepherd exhorted his faithful listeners to approach their local booksellers the next morning and request copies of the historical novel I, Libertine by Frederick R. Ewing—a book that had never been written, by an author who had never been alive. The hoax was so successful that I, Libertine became the talk of the town, even earning the unique distinction of being banned by the Archdiocese of Boston, despite the fact that it didn’t yet exist. Now there was nothing left to do but write the thing . . . and fantasy and science fiction legend Theodore Sturgeon was called in to work his magic./divDIV /divDIVOriginally written pseudonymously, Sturgeon’s I, Libertine is a glorious tale of close shaves, daring escapes, and wildly licentious behavior. It covers the bawdy misdeeds of Captain Lance Courtenay as he carelessly romps through the royal court and the bedchambers of London’s finest ladies. Chock-full of wicked wit and Sturgeon’s trademark twists and turns, it is a hilarious, picaresque adventure that Ewing himself would certainly have been proud to call his own, if he had existed./divDIV /divDIVThis ebook features an illustrated biography of Theodore Sturgeon including rare images and never-before-seen documents from the University of Kansas’s Kenneth Spencer Research Library and the author’s estate, among other sources./div

Abandoned by his cavalier father at a young age, William de Veres grew up knowing precious little happiness. But William has put the past firmly behind him and as a military hero and noted rake, he rises fast in the ranks of the hedonistic Restoration court. Though not before he is forced to seek shelter from a charming young Puritan woman… The civil wars have cost the once-high-spirited Elizabeth Walters her best friend and her father, leaving her unprotected and alone. She flees an unwanted marriage, seeking safe haven, but what she finds is something she never expected. When her kindness and her beauty bring her to the attention of William, and then the king, she will have a choice to make. After all, can a notorious libertine really be capable of love?

''... brilliantly original ... brings cultural and post-colonial theory to bear on a wide range of authors with great skill and sensitivity.' Terry Eagleton

DIVExplores the founding discourses of race, hybridity, savagery, and degenercy in the seventeenth and eighteenth century French Caribbean, in particular the way many of these discourses were used to describe French settlers./div

What is the role of the prude in the roman libertin? James Fowler argues that in the most famous novels of the genre (by Richardson, Crebillon fils, Laclos and Sade) the prude is not the libertine's victim but an equal and opposite force working against him, and that ultimately she brings retribution for his social, erotic and philosophical presumption. In a word, she is his Nemesis. He is vulnerable to her power because of the ambivalence he feels towards her; she is his ideological enemy, but also his ideal object. Moreover, the libertine succumbs to an involuntary nostalgia for the values of the Seventeenth Century, which the prude continues to embody through the age of Enlightenment. In Crebillon fils and Richardson, the encounter between libertine and prude is played out as a skirmish or duel between two individuals. In Laclos and Sade, the presence of female libertines (the Marquise de Merteuil and Juliette) allows that encounter to be reenacted within a murderous triangle.

Considering canonical and lesser-known works by authors that include Rousseau, Sade, Bastide, Laclos, Crébillon fils, and the writers of two widely read libertine novels, Paul Young suggests that narratives of seduction function as a master plot for eighteenth-century French literature. How authors reacted to a cultural discourse that coded literature and solitary reading as dangerous, seductive practices sheds light on the history of authorship, especially the development of the novel.