/lit/ - Literature

https://en.wikipedia.org/wiki/L%C3%A9on_Bloy

"Bloy is quoted in the epigraph at the beginning of Graham Greene's novel The End of the Affair and in the essay "The Mirror of Enigmas" by the Argentine writer Jorge Luis Borges, who acknowledged his debt to him by naming him in the foreword to his short story collection "Artifices" as one of seven authors who were in "the heterogeneous list of the writers I am continually re-reading". In his novel The Harp and the Shadow, Alejo Carpentier excoriates Bloy as a raving, Columbus-defending lunatic during Vatican deliberations over the explorer's canonization. Bloy is also quoted at the beginning of John Irving's A Prayer for Owen Meany, and there are several quotations from his Letters to my Fiancée in Charles Williams's anthology The New Christian Year.[9] Le Désespéré was republished in 2005 by Editions Underbahn with a preface by Maurice G. Dantec.[citation needed] In Chile historian Jaime Eyzaguirre came to be influenced by Bloy's writings.[10]
According to the historian John Connelly, Bloy's Le Salut par les Juifs, with its apocalyptically radical interpretation of chapters 9-11 of Paul's Letter to the Romans, had a major influence on the Catholic theologians of Vatican Council II responsible for section 4 of the Council's declaration Nostra aetate, the doctrinal basis for a revolutionary change in the Catholic Church's attitude to Judaism.[11]
In 2013, Pope Francis surprised many by quoting Bloy during his first homily as pope.[3]
Bloy and his effect on 21st century French scholars make a significant appearance in Michel Houellebecq's 2015 novel Submission.!

>>8147367
Nice to see that some people there read great stuff.

https://archive.org/details/lervlateurduglo00bloygoog

>>8120335
superior version

>>8120367
yes

>Je regarde l’état de comédien comme la honte des hontes. J’ai là-dessus les idées les plus centenaires et les plus absolues. La vocation du théâtre est, à mes yeux, la plus basse des misères de ce monde abject et la sodomie passive est, je crois, un peu moins infâme. Le bardache, même vénal, est, du moins, forcé de restreindre, chaque fois, son stupre, à la cohabitation d’un seul et peut garder encore, — au fond de son ignominie effroyable, — la liberté d’un certain choix. Le comédien s’abandonne, sans choix, à la multitude, et son industrie n’est pas moins ignoble, puisque c’est son corps qui est l’instrument du plaisir donné par son art. L’opprobre de la scène est, pour la femme, infiniment moindre, puisqu’il est, pour elle, en harmonie avec le mystère de la Prostitution, qui ne courbe la misérable que dans le sens de sa nature et l’avilit sans pouvoir la défigurer.