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"Begun as a short story in October 1921, two months before Conrad's sixty-fourth birthday, The Rover (1923) turned out to be the writer's last completed novel. After a slow beginning plagued by bouts of ill-health, Conrad discovered, as had happened several times throughout his career, that his subject invited more expansive treatment. The short story about an ageing French seaman returning 'home' after a lifetime of adventure and vicissitude slowly evolved into a short novel, and then into a full-length one. Once Conrad got into his stride, he completed it rapidly, by dictation, between January and mid-July 1922. For it, he laid aside his work in hand, Suspense (1925), with which he was already encountering difficulties and which would remain unfinished upon his death. Escaping a troubled work that had been on his desk for some time in favour of a much smaller canvas must have had immediate appeal. It also promised a consolidation of effort: the new story draws upon roughly the same historical epoch as Suspense--the French Revolution and Napoleonic periods--eras that Conrad had read about widely and had already mined for his short stories 'The Duel' (1908) and 'The Warrior's Soul' (1917)"-- "Set in the South of France during the waning days of the French Revolution and the early years of Napoleonic rule, The Rover (1923) is the last novel that Conrad completed in his lifetime. A popular success on its publication, it explores, against the backdrop of dramatic political change and the Anglo-French hostilities leading up to the Battle of Trafalgar, the themes of personal and national identity, loyalty and love. The 'Introduction' situates the novel in Conrad's career and traces its sources and contemporary reception. Explanatory notes illuminate literary and historical references and indicate Conrad's sources. The essay on the text and the apparatus lay out the history of the work's composition and publication, detail the interventions in the text by Conrad's typists, compositors and editors and explain editorial policy. This edition of The Rover, established through modern textual scholarship, presents the novel in a form more authoritative than any so far printed."--

Napoleonic Wars, 1800-1815

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"Notre division était anéantie ; ne pouvant avancer par la route, je passais par les champs où s'entassaient derrière moi des horreurs et des chevaux blessés et mutilés, clans un état des plus horribles. Décrire ces horreurs est au-dessus de mes forces." Sous la plume du lieutenant Andreev, qui en 1812 combattait, tout jeune homme, dans les rangs de l'armée russe, l'atroce bataille de la Moskova se dérobe. Comment saisir ce que fut la campagne de Russie pour ceux qui la vécurent ? Proposer pour la première fois une histoire humaine de la guerre qui opposa l'Empire français à l'Empire russe, en s'appuyant sur des sources jusque-là négligées et des matériaux d'archives inexplorés : tel est l'objet de ce livre. Les sans-grade, civils ou simples soldats, y tiennent le même rang que les héros de guerre ; la voix du peuple russe s'y mêle à celle des grognards de la Grande Armée, pour éclairer d'un jour nouveau l'affrontement des deux géants qui déchira l'Europe.

Napoleonic Wars, 1800-1815

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Napoleonic Wars, 1800-1815.

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Napoleonic Wars, 1800-1815.

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Paul Auguste Marie Adam1, né le 6 décembre 1862 à Paris où il est mort le 2 janvier 1920, est un écrivain français et critique d'art. Partisan du général Boulanger, il milite dans les mouvements nationalistes et traditionalistes et, pendant la Première Guerre mondiale, il se rend auprès des troupes pour soutenir leur moral et fonde la Ligue intellectuelle de fraternité latine. Parallèlement, il publie de très nombreux ouvrages : essais, romans, nouvelles, récits de voyage, parmi lesquels on peut citer les romans de son cycle napoléonien : La Force (1899), L'Enfant d'Austerlitz (1901), Au soleil de juillet (1903), ainsi que La Ruse (1903) et Stéphanie (1913).

Napoleonic Wars, 1800-1815