Felix Feneon (1861-1944) was born in Turin (his father was a traveling salesman), raised in Burgundy, and came to Paris after placing first in a competitive exam for jobs in the War Office. He was employed as a clerk there for thirteen years, rising to chief clerk, and was considered a model employee. During this time he also edited the work of Rimbaud and Lautreamont, reviewed books and art (he helped to discover Georges Seurat), and was a regular at Mallarme's Tuesday evening salon. Feneon was active too in anarchist circles, and in 1894, after the bombing of a restaurant popular among politicians and financiers and the assassination by an Italian anarchist of the French president, he and twenty-nine others were arrested on suspicion of conspiracy-though in the subsequent so-called Trial of the Thirty Feneon and most of his co-defendants were easily acquitted. Soon after, Feneon became the editor of the Revue Blanche, where he featured Debussy as his music critic and Andre Gide as his book critic and published Proust, Apollinaire, and Jarry, as well as his own translation of Jane Austen's Northanger Abbey. After the Revue Blanche folded, Feneon went to work as a journalist, first for the conservative Le Figaro, then, starting in 1906, for the liberal broadsheet Le Matin, for which he composed the pieces collected in Novels in Three Lines. In later life Feneon sold paintings at the Bernheim-Jeune gallery and for a while ran his own publishing house. In response to a proposal to publish a collection of his own work, he remarked, "I aspire only to silence." Luc Sante is the author of Low Life, Evidence, The Factory of Facts, and, most recently, Kill All Your Darlings: Pieces 1990-2005. He is a frequent contributor to The New York Review of Books and teaches writing and the history of photography at Bard College.
"In these artfully concise summaries of news events, Feneon, an
enigmatic French journalist and publisher, provides a glimpse of a
belle epoque that belongs not to artists or intellectuals but to
locksmiths, plumbers, seamstresses and the occasional sex
offender." --Los Angeles Times
"In 1906, suspected terrorist, anarchist, and literary
instigator Félix Fénéon wrote more than a thousand small
bits for the Paris newspaper Le Matin. Each was a bizarre yet
enigmatic, fragmentary, often scandalous, report." —Steven
Heller, imPrint "A Parisian anarchist, dandy and
literary editor born in 1861, Feneon was at his most eloquent when
saying as little as possible. Novels in Three Lines is a collection
of what newspaper editors used to call squibs - very short news
items, similar to the sentence fragments that populate modern cable
news crawls. The book collects more than 1,000 news items (what the
French call faits divers) printed in Le Matin in 1906, all
anonymously written by Feneon. Century-old one-liners from French
fishwrap might sound like a shaky premise for a book, but these
true-life tales of murder, revenge, suicide, deceit and religious
strife feature the fine carpentry of a literary stylist." --Toronto
Star “Veering from horrific to hilarious and offering an acute
overview of life at the time, these ultra-condensed tales of
politics and mayhem hover between poetry and prose and redefine
nonfiction... it is a seminal modernist masterpiece of form and
sensibility, and still provocative. Sante did a brilliant job of
translating it into English.” –CHOICE "[D]eliciously tart and
brilliantly compacted micro-vignettes of daily life in all its
ironies, passions and dark mysteries." --Sukhdev Sandhu "These
fillers, or fait divers,...recount all manner of assault, graft,
accident, labor strife, and murder in spare, factually tidy
detail...These epigrammatic plots invite being read aloud, as well
as other diversions." --Bookforum "Layered, ironic, amused,
Feneon's voice is unmistakable..a little yo-yo of a narrative that
gives pleasure no matter how many times it's flung. The
construction, the comic timing, the sly understatement that demands
instant rereading." --The New York Times "Today's lurid
tabloid journalism has nothing on Novel in Three Lines, originally
published anonymously in the French daily Le Matin in 1906. The man
behind them was one Felix Feneon, part-time anarchist, and they
reveal a delight in the fateful cruelties of life: Random
shootings, premeditated suicides, and awful robberies were his main
fixations. It's no insult to our own taste for the sensational when
we admit to finding Paris the city more fascinating than Paris the
woman." --New York Magazine "The Feneon , like a book of
haikus entirely devoted to suicide, murder, fatal accidents, and
incestuous sex, is a creepy introduction to the shadowed brain
cavity of a Neo-Impressionist who certainly believed in 'propaganda
by the deed' and may have plotted one or more anarchist
assassinations." --Harper's Magazine "Prolific writer and
cultural critic Sante (Low Life) has translated half a year's worth
of concise news blurbs written in 1906 for a Paris newspaper by
Fénéon, writer, anarchist and promoter of artists like Seurat and
Bonnard." —Publishers Weekly “[T]he “Nouvelles en trois
lignes”…were simply news items concerning accidents, quarrels,
mayhem, fires and murders, reduced to minimal length and rendered
tragic-comic or ludicrous by artful diction, euphemism,
understatement and other devices. They have stylistic interest,
contain political and social overtones, and convey a concept of the
absurdity of life.” —French Review “Fénéon is best known today
for his early championing of such men as Arthur Rimbaud, Francis
Poictevin, and Jules Laforgue; for the art criticism that helped
establish Neo-Impressionism…; for his Nouvelles in trois lignes,
the pithy and often startlingly phrased newspapers accounts of
current events that have been cited as predecessors of ‘minimal’
story writing; and for the exhibitions and sales of contemporary
paintings he organized at the Bernheim-Jeune gallery after 1906.”
—American Historical Review “As a regular journalist, Fénéon
is best remembered for his devastatingly spare News stories in
Three Lines for Le Matin–cruelly deadpan summaries of the minor
dramas of the day.” —Burlington Magazine “In his time, Félix
Fénéon was one of the most influential critics of art and
literature in fin-de-siecle Paris… He was, clearly, a man to whom
history–cultural history–owes some recognition.” —The New York
Times Book Review (James R. Mellow) “Félix Fénéon, editor,
critic and stylist extraordinaire...the most brilliant critic of
the day.” —The New York Times (John Russell) “[T]he era's most
influential art critic” —The New Statesman “The fastidious
editor Félix Fénéon, who placed an incisive style in the service of
avant-garde interests on every front, married rhetoric and action,
art and politics. Closely associated with Symbolism, and with the
Neo-Impressionism whose theoretical and formal basis he defined in
1886, Fénéon was probably the most important art critic of the late
nineteenth century. While conscientiously clerking at the War
Office, he used his discerning eye to appreciate literary and
visual subversion…” —The New Republic "[T]he greatest critic
of his age" —William Everdell author of The First Moderns
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