By Gabriel Marcel
The e-book of this translation of Gabriel Marcel's autobiography, En chemin, vers quel eveil? is well timed a result of renewed relevance and significance of his existence and paintings to the postmodern state of affairs. The relation of his autobiography to his efficient tasks is obviously tied to the unifying thread of creativity, which, because the fundamental size of the secret of being, provides upward thrust to his track, 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 middle of this feeling of being. His narrative is a major and artistic interpretation of the unified experience of his existence and paintings
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In my lectures I have frequently suggested the prestige that the expression “to dialogue” had for me very early on. No doubt this is due, in great part, to my unique childhood situation, which made me suffer so much, during boring walks taken with a German maid along the avenues that lead to the Étoile: I would invent imaginary brothers and sisters, my first characters. The fact of being both myself and my imaginary interlocutor, or even of being him while not being him, gave me a pleasure I never tired of.
GENEVIÈVE: We shall be fine together, the two of us. You’ll see. I have forgiven everything. ANDRÉ: Each time you forgive me it seems as though I am smothering. GENEVIÈVE: I have understood, don’t you see, that I had asked for too much and not given enough. ANDRÉ: Yes, Maman, you have given me too much, much too much. GENEVIÈVE: No, no, I realize it now. ANDRÉ: I can’t bear your giving me any more. GENEVIÈVE: You don’t understand. I won’t ask you for anything more. You will live your own life, André, your own life.
What is even more absurd is the conception of me as a Christian opponent of Sartre who would emerge, after him, during the years that immediately followed World War II. I will certainly have the opportunity to explain clearly my motivation for refusing to be called an existentialist, but I must still emphasize right now the central importance of the theatrical given in my life. I must say this despite a kind of continuous frustration I suffered from as a dramatist while the philosopher, on the contrary, profited in the very beginning from a fullness of sympathetic comprehension which I was far from expecting when in 1927 I published the Journal métaphysique (Metaphysical Journal).
Awakenings: A Translation of Marcel's Autobiography, En Chemin, Vers Quel Eveil? by Gabriel Marcel