he writer has a grudge against society, which he documents with accounts of unsatisfying sex, unrealized ambition, unmitigated lo neliness, and a sense of local and global distress. The square, overpopulation, the bourgeois, the bomb and the cocktail party are variously identified as sources of the grudge. There follows a little obscenity here, a dash of philosophy there, considerable whining overall, and a modern satirical novel is born.
The author relates that the word "OBSCENE" springs from the concept in Greek drama that certain actions would be performed outside the scene or off the stage. He clarifies that the Greeks did not shy away from shocking actions, but they knew that portraying them in the audience's view would drown out the emotional subtlety of the character development and ethical dilemmas.
8 April 1891The obscenity of nostrils and mouths; the ignominious cupidity of smiles and women encountered in the street; the shifty baseness on every side, as of hyenas and wild beasts ready to bite: tradesmen in their shops and strollers on their pavements. How long must I suffer this? I have suffered it before, as a child, when, descending by chance to the servant's quarters, I overheard in astonishment their vile gossip, tearing up my own kind with their lovely teeth.This hostility to the entire race, this muted detestation of lynxes in human form, I must have rediscovered it later while at school. I had a repugnance and horror for all base instincts, but am I not myself instinctively violent and lewd, murderous and sensual? Am I any different, in essence, from the members of the riotous and murderous mob of a hundred years ago, who hurled the town sergeants into the Seine and cried, 'String up the aristos!' just as they shout 'Down with the army!' or 'Death to the Jews!