By Gabriel Marcel
The e-book of this translation of Gabriel Marcel's autobiography, En chemin, vers quel eveil? is well timed as a result of renewed relevance and significance of his existence and paintings to the postmodern scenario. The relation of his autobiography to his effective initiatives is obviously tied to the unifying thread of creativity, which, because the fundamental measurement of the secret of being, supplies upward thrust to his song, drama, and philosophical mirrored image. This autobiography fosters the retrieval of the feel of the secret of being, hence reorienting philosophy as an awakening of the creativity on the center of this feeling of being. His narrative is a major and inventive interpretation of the unified experience of his lifestyles and paintings
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Additional info for Awakenings: A Translation of Marcel's Autobiography, En Chemin, Vers Quel Eveil?
Philippe Crozant is now too carnally attached to his wife to have her infidelity, however patent, make him break up with her. Besides, he is no longer thinking about Geneviève for whom he nurtures a secret resentment. And at the end of the play, mother and son find themselves in a torturous tête-à-tête that death itself could not end. I think it useful to reproduce here the greater part of the final scene: whatever the transposition I had recourse to in writing the play, it contains lines which throw light onto what, I dare say, has been my own drama.
On the contrary, I must recognize that I could in no way write this kind of true novel. On the other hand, it should be noted that those who will later want to know what I was will have to look for many indications in my dramas and apply some kind of radioscopic analysis upon my characters. This will permit them to perceive—although it has not been recorded—something of my life, something, one should perhaps add, at the juncture of my being. In such a study, of course, it is advisable to proceed with extreme caution.
Here again, I should probably express myself with some nuance. I don’t doubt for a second that, after the death of my mother, from which I think he never recovered, he suffered most truly from not being able to uphold the idea of an after-life where those who love one another would meet for eternity. The verses he had inscribed on her tomb bear irrefutable witness to his suffering. Nevertheless, with this reservation we may say that this agnosticism gave him some kind of spiritual peace, if not of the heart.