Louis-ferdinand Céline Quotes

Louis-Ferdinand Céline was the pen name of Louis Ferdinand Auguste Destouches , a French novelist, pamphleteer and physician. He developed a new style of writing that modernized French literature. His most famous work is the 1932 novel, Journey to the End of the Night.

Céline used a working-class, spoken style of language in his writings, and attacked what he considered to be the overly polished, "bourgeois" language of the "academy". His works influenced a broad array of literary figures, not only in France but also in the English-speaking world and elsewhere in the Western World; this includes authors associated with modernism, existentialism, black comedy and the Beat Generation.

However, Céline's vocal support for the Axis powers during the Second World War and his authorship of some offensively antisemitic pamphlets, has meant that his legacy as a cultural icon is a tangled one.

✵ 27. May 1894 – 1. July 1961
Louis-ferdinand Céline photo

Works

Journey to the End of the Night
Journey to the End of the Night
Louis-ferdinand Céline
North
Louis-ferdinand Céline
Death on Credit
Death on Credit
Louis-ferdinand Céline
L'École des cadavres
L'École des cadavres
Louis-ferdinand Céline
Louis-ferdinand Céline: 88   quotes 12   likes

Famous Louis-ferdinand Céline Quotes

“The best thing to do when you're in this world, don't you agree, is to get out of it. Crazy or not, scared or not.”

Source: Journey to the End of the Night (1932), Chapter 5
Context: Then I fell sick, I was delirious, driven mad by fear, they said at the hospital. Maybe so. The best thing to do when you're in this world, don't you agree, is to get out of it. Crazy or not, scared or not.

“If you aren't rich you should always look useful.”

Source: Journey to the End of the Night (1932)

Louis-ferdinand Céline Quotes about people

Louis-ferdinand Céline Quotes about life

Louis-ferdinand Céline: Trending quotes

“There's no tyrant like a brain.”

Source: Journey to the End of the Night

Louis-ferdinand Céline Quotes

“The beginning of genius is being scared shitless.”

Source: The Church: A Comedy in Five Acts

“And the music came back with the carnival, the music you've heard as far back as you can remember, ever since you were little, that's always playing somewhere, in some corner of the city, in little country towns, wherever poor people go and sit at the end of the week to figure out what's become of them, sometimes here, sometimes there, from season to season, it tinkles and grinds out the tunes that rich people danced to the year before. It's the mechanical music that floats down from the wooden horses, from the cars that aren't cars anymore, from the railways that aren't at all scenic, from the platform under the wrestler who hasn't any muscles and doesn't come from Marseille, from the beardless lady, the magician who's a butter-fingered jerk, the organ that's not made of gold, the shooting gallery with the empty eggs. It's the carnival made to delude the weekend crowd. We go in and drink the beer with no head on it. But under the cardboard trees the stink of the waiter's breath is real. And the change he gives you has several peculiar coins in it, so peculiar that you go on examining them for weeks and weeks and finally, with considerable difficulty, palm them off on some beggar. What do you expect at the carnival? Gotta have what fun you can between hunger and jail, and take things as they come. No sense complaining, we're sitting down aren't we? Which ain't to be sneezed at. I saw the same old Gallery of the Nations, the one Lola caught sight of years and years ago on that avenue in the park of Saint-Cloud. You always see things again at carnivals, they revive the joy of past carnivals. Over the years the crowds must have come back time and again to stroll on the main avenue of the park of Saint-Cloud…taking it easy. The war had been over long ago. And say I wonder if that shooting gallery still belonged to the same owner? Had he come back alive from the war? I take an interest in everything. Those are the same targets, but in addition, they're shooting at airplanes now. Novelty. Progress. Fashion. The wedding was still there, the soldier too, and the town hall with its flag. Plus a few more things to shoot at than before.”

27
Journey to the End of the Night (1932)

“Hate gave birth to the slang; Slang (‘argot’) exists not anymore.”

( « L'argot est né de la haine, il n'existe plus» Arts, 6. February 1957. in À l’agité du bocal et autres textes, (op. cit.) p. 55.

“I should be able to get the alligators to dance to the tune of the pan pipe.”

March 30, 1947
Source: Letters to Milton Hindus (1947-1949), Les Cahiers de la NRF, Gallimard ISBN 2070134296

“You can be a virgin in horror the same as in sex.”

Source: Journey to the End of the Night (1932), Chapter 2

“I clearly see you a tapeworm, but not a cobra, not a cobra at all…no good at the flute! (…) I’ll go applaud you when you finally become a true monster, when you’ll have paid them, the witches, what you have to, their price, so they transmute you, blossom you, into a true phenomenon. Into a tapeworm that plays the flute.”

To the Fidgeting Lunatic
in Albert Paraz, Le Gala des Vaches, Éditions de l’Élan, Paris, 1948 ; À l'agité du bocal, et autres textes de L.-F. Céline, l'Herne / Carnets de l'Herne ISBN 9782851976567 2006, 85 p. ; To the Fidgeting Lunatic (Céline on Sartre), translation by Constantin Rigas.

“Love is infinity - come down to poodles'level.”

1
Journey to the End of the Night (1932)

“Experience is a dim lamp, which only lights the one who bears it.”

Des pays où personne ne va jamais. Interview of February 1960 with Jean Guenot und Jacques d'Arribehaude.
Reported in Céline à Meudon : transcriptions des entretiens avec Jacques d'Arribehaude et Jean Guenot. Éditions Jean Guenot, 1995 ISBN 2-85405-058-4

“Anybody who talks about the future is a bastard, it's the present that counts.”

Source: Journey to the End of the Night (1932), Chapter 4

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