#les zweig

[prosedumonde]

La souffrance devient joie, le bonheur souffrance Pour celui qui dans la mort a connu la vie. Et déjà descend vers la terre Un ange de feu Qui lui enfonce dans le coeur Le rayon de l’amour sacré né de la douleur.

Stefan Zweig, Les très riches heures de l’humanité • Instant historique 

[littlechameleonguy]

Mini book haul:

My husband told me that I wasn't allowed to buy more than three books. So of course I bought three books :)

[bondebarras]

One book a day...

“ Et de fait, rien peut-être ne rend plus sensible le formidable recul qu’a subi le monde depuis la Première Guerre mondiale que les restrictions apportées à la liberté de mouvement des hommes et, de façon générale, à leurs droits. Avant 1914, la terre avait appartenu à tous les hommes. Chacun allait où il voulait et y demeurait aussi longtemps qu’il lui plaisait (...) Il n’y avait pas de permis, pas de visas, pas de mesures tracassières, ces mêmes frontières qui, avec leurs douaniers, leur police, leurs postes de gendarmerie, sont transformées en un système d’obstacles ne représentaient rien que des lignes symboliques qu’on traversait avec autant d’insouciance que le méridien de Greenwich.    C’est seulement après la guerre que le national-socialisme se mit à bouleverser le monde, et le premier phénomène visible par lequel se manifesta cette épidémie morale de notre siècle fut la xénophobie : la haine ou, tout au moins, la crainte de l’autre. Partout on se défendait contre l’étranger, partout on l’écartait. Toutes les humiliations qu’autrefois on n’avait inventées que pour les criminels on les infligeait maintenant à tous les voyageurs, avant et pendant leur voyage.”

[latristessedelange]

[elgallinero]

Parla Italiano

youtube.com/watch

[tastelikezweig]

FOR YOU, I WAS A FLAME

paring(s): patrick zweig x reader

if anything doesn’t seem logical, please ignore it. i did not edit this lol.

patrick and your relationship was a tale of two worlds. behind closed doors, patrick treated you with a reverence that bordered on adoration. in the sanctuary of your dorm, he held you delicately, kissed away your worries, and whispered promises that melted your heart. your nights were filled with intimate conversations and tender embraces, where the outside world faded into insignificance.

however, outside this private cocoon, patrick struggled. in public, his demeanor toward you shifted noticeably. during a casual lunch with art and tashi in the dining hall, you noticed patrick's distant behavior immediately. instead of the usual affectionate glances and hand-holding, patrick seemed aloof and detached. you tried to reach out, he recoiled, snatching his hand away with a sharpness that stung.

concerned and hurt, you couldn't ignore the stark contrast between patrick's public and private personas any longer. "patrick, is everything okay?" your voice wavered, eyes searching his face for a glimpse of the warmth you knew so well.

patrick's response was defensive, his discomfort palpable. "can we not do this here?" his words came out sharper than intended, drawing puzzled looks from your shared friends.

tashi's sharp intuition didn't miss the tension. "seriously, why are you being such an ass?" she muttered under her breath, shooting a sympathetic glance at you.

the tension at the table thickened as you excused yourself, your heart heavy with disappointment and confusion. patrick hesitated, torn between chasing after you and retreating into his own thoughts. his mind raced with apologies and explanations he couldn't voice, trapped by a fear he couldn't name.

patrick finally stood up to go after you. fortunately for him, you hadn’t gotten very far. jogging up behind you, he gripped at your fingers.

you gently pulled your hand from patrick's grasp, the hurt in your eyes barely concealed.

you locked eyes for a fleeting moment before words found their way between them.

“you have to choose: either you're fully with me, or we're done.” you said, your voice steady but tinged with vulnerability. wasting no time.

patrick swallowed hard, his gaze shifting from your face to the ground. he had recoiled from your touch moments ago in front of their friends, but now, alone with you, he felt the weight of your words pressing on him.

"don't do this to me," he pleaded softly, his voice betraying the turmoil inside him.

you remained silent, your eyes locked onto his, searching for the truth you needed to hear. time stretched between them, each second feeling like an eternity as you both stood on the precipice of a decision neither wanted to make.

"you have five seconds," you finally said, your voice tight with emotion.

patrick's heart pounded in his chest. he knew he had pushed you to this point with his indecision, his fear of commitment. now, faced with losing you, he had to decide.

a tear escaped your eye, a silent testament to the pain you were trying so hard to contain. you scoffed softly, nodding your head almost imperceptibly as you fought to keep your composure.

"okay," you said quietly, your voice breaking slightly as you turned away and walked back to your dorm room.

patrick watched you leave, a wave of regret crashing over him. he wanted to chase after you, to pull you into his arms and beg for forgiveness. but he remained rooted to the spot, grappling with his own fears and insecurities that had driven them to this moment.

days turned into weeks, and the silence between them deepened. patrick immersed himself in tennis and other distractions, trying to bury the ache in his chest. meanwhile, you leaned on tashi for support, trying to make sense of patrick's abrupt change.

months passed, and patrick heard occasional updates about you through art. regret gnawing at him, a constant reminder of what he had let slip away. he couldn't shake the memory of your trusting gaze, the weight of your ultimatum hanging in between.

your love story remained unfinished—a testament to the complexities of love and the wounds left by unspoken fears. patrick carried the lesson with him, hoping one day he would find the courage to confront his fears and love without reservations or regrets.

[youvebeenlivingfictional]

Can I just say that no one I've ever read writes the relationship between exes as well as you do (I'm still aflutter over Procedure).

So I was wondering what the exes relationships are like for other characters you write for? Are they semi-perminent in each others lives despite the split or are they 'and they never spoke again' people?

Were you looking for an answer that includes the dozens of men on my Wildly Inappropriate Chart? No, probably not.

Are you getting one? Absolutely. (Full list and breakout below the cut)

Will put you in a simulation to make you love him again

Frank (Don’t Worry Darling)

Will ignore you

Stewy Hosseini

Kendall Roy

Don Draper

Percival Graves

Sherlock Holmes (Enola Holmes verse)

Abel Morales

Orlando Oxford

Daniel Le Domas

Will secretly keep tabs on you

Javier Peña

James Bond

Tommy Shelby

Diego Jimenez

Gurney Halleck

Horacio Carrillo

Chris Argent

Marc Specter

Duncan Idaho

Eddie Brock

Frank Castle

Boba Fett

Will reappear to fuck up the vibe just after you've managed to move on

Raymond Smith

Don Eppes

Carmy Berzatto

Indiana Jones

Nathan Bateman

Duke Leto Atreides

Ray Merrimen

Santiago Garcia

Dean Winchester

Bruce Wayne

Angel Reyes

Oberyn Martell

Benny ‘Borracho’ Magalon

Patrick Zweig

Will be friendly to the best of his abilities but will struggle with the fact that he's still in love with you

Steve Rogers

Andy Barber

Jonathan Levy

George Russell

Harvey Specter

Jake Seresin

Eddie Munson

Josh Lyman

Rhett Abbott

Anthony Bridgerton

Will make you fall back in love with him with one smile, sweeping shoulder touch, and a soft but meaningful, “Long time, no see...How are you?”

Benny Miller

Bradley Rooster Bradshaw

Will Miller

Bucky Barnes

Rafael Barba

Christopher Pike

Frankie Morales

Marcus Pike

Matt Murdock

Poe Dameron

Art Donaldson

[abr]

“A poco a poco divenne impossibile scambiare parole ragionevoli con chiunque; i più pacifici, i più eleganti, erano intossicati dai fiumi del sangue; amici che avevo sempre conosciuto come determinati individualisti si trasformavano in fanatici patrioti. Tutte le conversazioni finivano in crude accuse, e da quel momento in poi c’era una cosa sola da fare: ritirarsi e tacere finché durava la febbre”.

 Stefan Zweig, 1939. Occhio alle date.

Non sono affatto sorpreso né spiaciuto dalla fine del popolarismo centrista, mediatore a quasi tutti i costi, certo migliore del popolazzarismo populista che l'ha rimpiazzato come sentiment e oggi in enorme spolvero. Semplicemente, sono convinto ci siano momenti storici in cui non è agibile né sano esser staccati ed equidistanti.

Certo, c'è modo e modo di schierarsi e prender posizione. E' l'antica deduzione sui metodo, che dipende da ma anche delinea il merito.

[lisaalmeida]

« Il ne sert à rien d'éprouver de beaux sentiments si l'on ne parvient pas à les communiquer. »

- Stefan Zweig

[prosedumonde]

Mais dans l’Histoire comme dans la vie des hommes le regret ne répare pas la perte d’un instant, et mille années ne rachètent pas une heure de négligence.

Stefan Zweig, Les très riches heures de l’humanité • La prise de Byzance 

[tayrussfangirl]

this song is so patrick zweig like tell me i’m wrong.

[inthewitchesstew]

My book recs

☆Mostly classics but a few more modern ones in there too!! Make sure to check warnings for any books you read ☆

1. The Virgin Suicides - Jeffrey Eugenides

2. 1984 - George Orwell

3. If We Were Villains - M.L Rio

4. Animal farm - George Orwell

5. Dracula - Bram Stoker

6. Frankenstein - Mary Shelley

7. Crime and Punishment - Fyodor Dostoevsky

8. Notes From the Underground - Fyodor Dostoevsky

9. Dante's Divine Comedy - Dante Alighieri

10. The Bell Jar - Sylvia Plath

11. Ariel - Sylvia Plath

12. The Collected Poems of Sylvia Plath - Sylvia Plath

13. The Unabridged Journals of Sylvia Plath - Sylvia Plath

14. Moby Dick - Herman Melville

15. To Kill a Mockingbird - Harper lee

16. Hamlet - William Shakespeare

17. Macbeth - William Shakespeare

18. The Brothers Karamazov - Fyodor Dostoevsky

19. The Devils - Fyodor Dostoevsky

20. The Idiot - Fyodor Dostoevsky

21. A Nervous Breakdown - Anton Chekhov

22. Nausea - Jean-Paul Sartre

23. The Wind in The Willows - Kenneth Grahame

24. Jane Eyre - Charlotte Brontë

25. Anna Karenina - Leo Tolstoy

26. The Handmaid's Tale - Margaret Atwood

27. Metamorphosis - Franz Kafka

28. Pride and Prejudice - Jane Austin

29. Great Expectations - Charles Dickens

30. Emma - Jane Austen

31. The Great Gatsby - F Scott Fitzgerald

32. One Hundred Years of Solitude - Gabriel Garcia Marquez

33. The Odyssey - Homer

34. To The Lighthouse - Virginia Woolf

35. The Count of Monte Cristo - Alexandre Dumas

36. Sense and Sensibility - Jane Austen

37. A Little Life - Hanya Yanagihara

38. The Trial - Franz kafka

39. My Year of Rest and Relaxation - Ottessa Moshfegh

40. Madame Bovary - Gustave Flaubert

41. The Goldfinch - Donna Tartt

42. Romeo and Juliet - William Shakespeare

43. Fahrenheit 451 - Ray Bradbury

44. Selected Stories - Alice Munro

45. American Psycho - Bret Easton Ellis

46. Normal People - Sally Rooney

47. Existentialism is a Humanism - Jean-Paul Sartre

48. Brave New World - Aldous Huxley

49. Persuasion - Jane Austen

50. Les Miserables - Victor Hugo

51. The Death of The Heart - Elizabeth Bowen

52. The Iliad - Homer

53. One Flew Over the Cuckoo’s Nest - Ken Kesey

54. The Catcher in the Rye - J.D Salinger

55. The Outsiders - S.E Hinton

56. The Chrysalids - John Wyndham

57. Catch 22 - Joseph Heller

58. Middlemarch - George Eliot

59. Tess of the D'Urbervilles - Thomas Hardy

60. Meditations - Marcus Aurelius

61. Beyond Good and Evil - Friedrich Nietzsche

62. The Stranger - Albert Camus

63. The Republic - Plato

64. Letters From a Stoic - Seneca

65. Man’s Search For Meaning - Viktor E. Frankl

66. The Myth of Sisyphus - Albert Camus

67. Bunny - Mona Awad

68. Belladonna - Anbara Salam

69. The Yellow Wallpaper - Charlotte Perkins Gilman

70. My Life Had Stood a Loaded Gun - Emily Dickinson

71. How We Weep and Laugh at the Same Thing - Michel de Montaigne

72. The Telltale Heart - Edgar Allen Poe

73. The Death of Ivan Ilych - Leo Tolstoy

74. Come Close - Sappho

75. The Fall of Icarus - Ovid

76. Tender Is the Flesh - Agustina Bazterrica

77. Cassandra - Christa Wolf

78. Forbidden Notebook - Alba de Céspedes

79. Girl, Interrupted - Susanna Kaysen

80. Carrie - Stephen King

81. Mrs. S - K Patrick

82. Sunburn - Chloe Michelle Howarth

83. Perfume - Patrick Suskind

84. After Dark - Haruki Murakami

85. Kafka on the Shore - Haruki Murakami

86. No Longer Human - Osamu Dazai

87. Wednesday's Child - Yiyun Li

88. My Husband - Maud Ventura

89. All Down Darkness Wide - Sean Hewitt

90. Norwegian Wood - Haruki Murakami

91. The Waves - Virginia Woolf

92. The Talented Mr Ripley - Patricia Highsmith

93. We Have Always Lived in the Castle - Shirley Jackson

94. For Whom the Bell Tolls - Ernest Hemingway

95. Journey Into the Past - Stefan Zweig

96. Outline - Rachel Cusk

97. Chess Story - Stephen Zweig

98. Diary of a Madman - Nikolai Gogol

99. A Very Easy Death - Simone De Beauvoir

100. A Writer's Diary - Virginia Woolf

Enjoy!!

[iranondeaira]

« Et de fait, rien ne rend peut-être plus palpable l’énorme régression dans laquelle est entrée l’humanité depuis la première guerre mondiale que les restrictions apportées à la liberté de mouvement des hommes et à leurs libertés. Avant 1914, la terre appartenait à tous ses habitants. Chacun allait où il voulait et y restait aussi longtemps qu’il voulait. Il n’y avait pas de permissions, pas d’autorisations, et cela m’amuse toujours de voir l’étonnement des jeunes lorsque je leur raconte qu’avant 1914, je voyageais en Inde et en Amérique sans avoir de passeport et même n’en avais jamais vu aucun. On montait dans le train et on en descendait sans rien demander, sans qu’on vous demandât rien, on n’avait pas à remplir un seul de ces centaines de papiers qu’on réclame aujourd’hui. Il n’y avait ni permis, ni visas, ni tracasseries ; ces mêmes frontières qui, avec leurs douaniers, leur police, leurs postes de gendarmerie, sont aujourd’hui transformées en réseau de barbelés en raison de la méfiance pathologique de tous envers tous, n’étaient rien d’autre que des lignes symboliques qu’on traversait avec autant d’insouciance que le méridien de Greenwich. C’est seulement après la guerre que le monde se vit bouleversé par le national-socialisme, et le premier phénomène qu’engendra cette épidémie spirituelle de notre siècle fut la xénophobie : la haine ou du moins la peur de l’autre. On se défendait partout contre l’étranger, partout on l’excluait. Toutes les humiliations qu’autrefois on avait inventées exclusivement contre les criminels, on les infligeait maintenant à tous les voyageurs avant et pendant le voyage. Il fallait se faire photographier de droite et de gauche, de profil et de face, les cheveux coupés assez court pour que l’oreille fût visible, il fallait donner ses empreintes digitales, d’abord le pouce seul, puis les dix doigts, il fallait en plus présenter des certificats : de santé, de vaccination, de police, de bonne vie et mœurs, des recommandations, il fallait pouvoir présenter des invitations et des adresses de parents, il fallait fournir des garanties morales et financières, remplir des formulaires et les signer en trois, quatre exemplaires, et s’il manquait ne fût-ce qu’une feuille de ce tas de paperasses, on était perdu. »

- Stefan Zweig, Le monde d'hier, souvenir d'un européen

[yuikomorii]

Ayato really looks the most like a vampire. Merch with such aesthetic fit him so so so well!!!

// At first, I used to think Ayato was the most vampire looking too, but after finding out what Zweig confirmed in LE, he definitely looks more like a Vibora, haha.

[blackswaneuroparedux]

Les personnes qui sont à ce point à la merci de leurs humeurs ne devraient jamais se voir confier de responsabilités sérieuses.

- Stefan Zweig

[alicedrawslesmis]

Today's chapter really is like... Excuse me she's literally dying over there can you two please have some decency and figure your shit out outside.

But jokes aside, we have here two motifs that keep repeating themselves, an echo of the Conventionist, of words and reactions spoken between life and death, and this theme of Divine authority versus mundane authority. Fantine is the conventionist and Valjean is the bishop come to bless her but being the one who is blessed

And since Javert instinctively obeys the highest authority in the room because he's literally a dog (and at this point they thought this was how dogs worked) he obeys Valjean's divine mandate. Tho also he had an iron bar with him, you get my point.

It's very interesting how Javert's loyalties change because he doesn't think for himself and only reacts to outside forces. This character is fascinating as like an idea. I've seen this idea play out in Stefan Zweig's The Royal Game but it isn't the only time I've seen it, it's also a repeated theme is the Star Trek original series, to name a couple examples.

It's also something that ties into orientalism (I've been reading Edward Said shh) and like this contrast of the learned enlightened Western man versus the base, thoughtless, purely instinctual and reactive Oriental. And the oriental of course is not a set thing but a vague definition that can change meanings depending on context. For Stefan Zweig this man is represented by an eastern european peasant contrasted to an intellectual austrian royalist. The entire novella is about the futile battle between the two extremes, the internal journey and the purely external. In Star Trek the contrast is between a being of pure unfeeling logic, a computer, and its inherent inferiority to a man according to Roddenberry's point of view. The computer always loses to the greatness of man's empathy and instinct. It's also like, wish fulfillment. To try to make yourself believe you can't be replaced by a computer.

Anyway this was a bit of a tangent because I have some thoughts about Star Trek's orientalism re: Spock. But also because Hugo looooooves an illuminism VS barbarism contrast and he loooooves orientalism. And I argue that Les Mis is actually a turning point for him. Because if you read Toilers of the Sea what you get is actually a kind of reversal or culmination of his ideas on the grotesque and the barbarian. Maybe because he left France and actually saw that there are other people in the world with different worldviews and he was able to grasp them because they were still European

edit: Edward Said talks a lot about Victor Hugo, Flaubert and Nerval in Orientalism btw and an attentive reader can very clearly see the aspects of orientalism that stil permeate Les Mis even when he isn't even talking about the orient itself. The orient presents itself as a dramatic trope or a creation of the ""West"" for their dramas... Good book btw