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As a companion volume to Pantagruel, this new edition of Gargantua continues Rabelais’ acclaimed fantasy of a mythical family of giants.
Gargantua introduces Pantagruel’s father – another wondrous giant. As he tells Gargantua’s life story – from his birth and education to his later life – Rabelais uses the events of the giant’s life to parody medieval and classical learning, mock traditional ecclesiastical authority, and proffer his own thoughts on humanism and society. Marked with the same warm humour, obsession with food, and scatological wit of Pantagruel, Gargantua is a further striking burlesque on Rabelais’ contemporaries and a glorious outpouring of Renaissance plenitude.
--This text refers to the
Paperback
edition.
From the Author
Reading Gargantua today, it’s possible to see that Rabelais is the begetter of the picaresque novel. Like Cervantes, he is in tune with the unexpected. Nothing seems pre-ordained or designed to a plan – the storyteller (and Rabelais is a consummate storyteller and anecdotist of the most buttonholing kind) is free to go where he wishes, taking his characters with him. The method, such as it is, ensures continous surprise, and surprise is of the essence in such loose-limbed art. You feel, as you read, that Rabelais is delighting himself with his own conceits, but not indulgently so. He’s a satirist, too, and satire is the expression of contempt for the status quo. Rabelais loved, and was intrigued by, his fellow man, but there are aspects of authority that have to be ridiculed. And not just authority, since everyday meanness – financial as well as spiritual – has to be mocked. - From the Foreword by Paul Bailey
--This text refers to the
Paperback
edition.
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