"H\u00F6sten i Peking, originaltitel L'Automne \u00E0 P\u00E9kin, \u00E4r en roman fr\u00E5n 1947 av Boris Vian, utkom p\u00E5 svenska 1969 i \u00F6vers\u00E4ttning av Lars Erik Sundberg."@sv . . . "2005"^^ . . . . . . . "317"^^ . . . . . . "Paul Knobloch"@en . . "1075751334"^^ . . "Autumn in Peking"@en . "H\u00F6sten i Peking, originaltitel L'Automne \u00E0 P\u00E9kin, \u00E4r en roman fr\u00E5n 1947 av Boris Vian, utkom p\u00E5 svenska 1969 i \u00F6vers\u00E4ttning av Lars Erik Sundberg."@sv . "France"@en . . "French"@en . . "H\u00F6sten i Peking"@sv . . . . "First edition"@en . "317"^^ . "L'Automne \u00E0 P\u00E9kin est un roman de Boris Vian, publi\u00E9 en 1947 aux \u00E9ditions du Scorpion et r\u00E9\u00E9dit\u00E9 en 1956 aux \u00E9ditions de Minuit. La couverture de la premi\u00E8re \u00E9dition \u00E9tait illustr\u00E9e d'un dessin de Vian ; celle de 1956 \u00E9tait illustr\u00E9e par Mose. Le d\u00E9but du roman s'attache \u00E0 pr\u00E9senter des protagonistes que rien ne rassemble, mais qui ont pour point commun de se rendre en Exopotamie, contr\u00E9e d\u00E9sertique imagin\u00E9e par Boris Vian. Le r\u00E9cit commence avec les p\u00E9rip\u00E9ties d'Amadis Dudu qui, ne parvenant pas \u00E0 prendre le bus pour aller travailler, se retrouve \u00E0 bord du 975 qui le m\u00E8ne dans le d\u00E9sert d'Exopotamie. Ce hasard se r\u00E9v\u00E9lera fructueux pour Amadis, qui d\u00E9cide de se lancer \u00E0 la t\u00EAte d'une entreprise de construction de chemin de fer. C'est autour de l'\u00E9laboration du chantier que se rejoindront les divers personnages du roman. Le personnage principal est Angel, qui appara\u00EEt aussi dans L'Arrache-c\u0153ur."@fr . . . . . . . . . . . . "\u00C9ditions du Scorpion"@en . . "L'Automne \u00E0 P\u00E9kin"@fr . . . . . . "\u041E\u0441\u0456\u043D\u044C \u0432 \u041F\u0435\u043A\u0456\u043D\u0456 (\u0444\u0440. L'Automne \u00E0 P\u00E9kin) \u2014 \u0444\u0430\u043D\u0442\u0430\u0441\u0442\u0438\u0447\u043D\u043E-\u0441\u044E\u0440\u0440\u0435\u0430\u043B\u0456\u0441\u0442\u0438\u0447\u043D\u0438\u0439 \u0440\u043E\u043C\u0430\u043D \u0411\u043E\u0440\u0438\u0441\u0430 \u0412\u0456\u0430\u043D\u0430, \u043E\u043F\u0443\u0431\u043B\u0456\u043A\u043E\u0432\u0430\u043D\u0438\u0439 1947 \u0440\u043E\u043A\u0443 \u0432\u0438\u0434\u0430\u0432\u043D\u0438\u0446\u0442\u0432\u043E\u043C \u00AB\u00C9ditions du Scorpion\u00BB. \u0423\u043A\u0440\u0430\u0457\u043D\u0441\u044C\u043A\u0438\u0439 \u043F\u0435\u0440\u0435\u043A\u043B\u0430\u0434 \u0440\u043E\u043C\u0430\u043D\u0443 \u0431\u0443\u0432 \u043E\u043F\u0443\u0431\u043B\u0456\u043A\u043E\u0432\u0430\u043D\u0438\u0439 \u0432\u0438\u0434\u0430\u0432\u043D\u0438\u0446\u0442\u0432\u043E\u043C \u00AB\u0412\u0430\u0432\u0438\u043B\u043E\u043D\u0441\u044C\u043A\u0430 \u0431\u0456\u0431\u043B\u0456\u043E\u0442\u0435\u043A\u0430\u00BB 2018 \u0440\u043E\u043A\u0443."@uk . "35427251"^^ . . . . . "\u041E\u0441\u0456\u043D\u044C \u0432 \u041F\u0435\u043A\u0456\u043D\u0456 (\u0444\u0440. L'Automne \u00E0 P\u00E9kin) \u2014 \u0444\u0430\u043D\u0442\u0430\u0441\u0442\u0438\u0447\u043D\u043E-\u0441\u044E\u0440\u0440\u0435\u0430\u043B\u0456\u0441\u0442\u0438\u0447\u043D\u0438\u0439 \u0440\u043E\u043C\u0430\u043D \u0411\u043E\u0440\u0438\u0441\u0430 \u0412\u0456\u0430\u043D\u0430, \u043E\u043F\u0443\u0431\u043B\u0456\u043A\u043E\u0432\u0430\u043D\u0438\u0439 1947 \u0440\u043E\u043A\u0443 \u0432\u0438\u0434\u0430\u0432\u043D\u0438\u0446\u0442\u0432\u043E\u043C \u00AB\u00C9ditions du Scorpion\u00BB. \u0423\u043A\u0440\u0430\u0457\u043D\u0441\u044C\u043A\u0438\u0439 \u043F\u0435\u0440\u0435\u043A\u043B\u0430\u0434 \u0440\u043E\u043C\u0430\u043D\u0443 \u0431\u0443\u0432 \u043E\u043F\u0443\u0431\u043B\u0456\u043A\u043E\u0432\u0430\u043D\u0438\u0439 \u0432\u0438\u0434\u0430\u0432\u043D\u0438\u0446\u0442\u0432\u043E\u043C \u00AB\u0412\u0430\u0432\u0438\u043B\u043E\u043D\u0441\u044C\u043A\u0430 \u0431\u0456\u0431\u043B\u0456\u043E\u0442\u0435\u043A\u0430\u00BB 2018 \u0440\u043E\u043A\u0443."@uk . . . . . "Autumn in Peking"@en . . . . "L'Automne \u00E0 P\u00E9kin"@en . "Autumn in Peking (French: L'Automne \u00E0 P\u00E9kin) is a 1947 novel by the French writer Boris Vian. It was published by Jean d\u2019Halluin's \u00C9ditions du Scorpion in 1947 with a second edition (revised by the author) at \u00C9ditions de Minuit in 1956 which had a drawing by Mose on the cover. It was reissued in 1963 and reprinted a number of times. The French critic Bruno Maill\u00E9 has described it as a surrealist novel, something the surrealists themselves refuted. However, Alistair Rolls in his study of intertextuality in four novels of Boris Vian argues the novel contains many surrealist elements and techniques. The Peking (or Beijing) of the title is not literal; if anywhere the location of the novel's main action is a \u201Cdream-desert\u201D allowing Vian to play with visual extremes of searing light and heat as well as intense blackness and night. It takes place in an imaginary desert called Exopotamie where a train station and a railway line are under construction. Pestereaux argued that Peking was simply slang for Paris; an allegory of Paris post WW2 reconstruction and the insanity of its bureaucracy. Autumn in Peking was written in 1946, a prolific year for Vian, in which he wrote three novels, L\u2019ecume des jours (Froth on the Daydream), J'irai cracher sur vos tombes (I Spit on Your Graves) and L'Automne \u00E0 P\u00E9kin (Autumn in Peking) J. K. L. Scott describes this novel as a narrative of disillusion set in the adult world, rooted in the absurdities of industrial society, and a story of hopeless love (much like Vian's preceding novel L\u2019ecume des jours). Scott says it is connected with L\u2019ecume des jours and indeed it shares some characters with that novel. It was the only one of Vian's serious novels to be republished in his lifetime. Its second publication by J\u00E9rome Lindon's \u00C9ditions de Minuit was on the recommendation of Alain Robbe-Grillet. \"L'Automne \u00E0 P\u00E9kin could well become one of the classics of a literature which, after having exhausted with a uniformly accelerated movement all the nuances of the sinister, from Romanticism to Naturalism and from Socialism to Mysticism, notes all of a sudden that it winds up in the desert of Exopotamie; a literature where one is finally permitted to laugh!\" - Alain Robbe-Grillet. The novel's leading characters are Anne and Angel (both men) who are best friends. Angel, the central figure of the Autumn in Beijing, is also the husband and father of Clementine's children in L'Arrache-c\u0153ur. Rochelle is in love with and sleeps with Anne, while Angel is madly in love with her, a love sadly unreciprocated. James Sallis in his review in the Boston Globe describes a novel about an \"expedition to build a railway in the desert of Exopotamie, populated with engineers, randy priests and hermits, lovelorn couples, and a physician obsessed with model airplanes, as well as by buses that feed on catfish bones, typewriters that shiver when uncovered, and bedclothes that climb affectionately back into place when thrown back, even a chair that falls ill and must be hospitalized."@en . . . . . "L'Automne \u00E0 P\u00E9kin est un roman de Boris Vian, publi\u00E9 en 1947 aux \u00E9ditions du Scorpion et r\u00E9\u00E9dit\u00E9 en 1956 aux \u00E9ditions de Minuit. La couverture de la premi\u00E8re \u00E9dition \u00E9tait illustr\u00E9e d'un dessin de Vian ; celle de 1956 \u00E9tait illustr\u00E9e par Mose."@fr . "Autumn in Peking"@en . "L'Automne \u00E0 P\u00E9kin"@en . . "\u041E\u0441\u0456\u043D\u044C \u0432 \u041F\u0435\u043A\u0456\u043D\u0456"@uk . "1947"^^ . . . "Autumn in Peking (French: L'Automne \u00E0 P\u00E9kin) is a 1947 novel by the French writer Boris Vian. It was published by Jean d\u2019Halluin's \u00C9ditions du Scorpion in 1947 with a second edition (revised by the author) at \u00C9ditions de Minuit in 1956 which had a drawing by Mose on the cover. It was reissued in 1963 and reprinted a number of times. The French critic Bruno Maill\u00E9 has described it as a surrealist novel, something the surrealists themselves refuted. However, Alistair Rolls in his study of intertextuality in four novels of Boris Vian argues the novel contains many surrealist elements and techniques. The Peking (or Beijing) of the title is not literal; if anywhere the location of the novel's main action is a \u201Cdream-desert\u201D allowing Vian to play with visual extremes of searing light and heat as"@en . "5125"^^ . "\u00C9ditions du Scorpion" .