Tapuscrit avec ajouts manuscrits autographes de L'intelligence en guerre

1945 | 22.30 x 27.90 cm | 340 feuillets | Typescript of L'Intelligence en guerre with autograph manuscript additions 1945 | 22.3 x 27.9 cm | (24) f. | 24 handwritten sheets hold with a pin & 340 leaves of typescript 340 page typescript of the work L'Intelligence en guerre by the resistant writer-journalist Louis Parrot, accompanied by manuscript notes concerning the title, half-title, preface and first bibliography pages (4 pages in total) and the index of names quoted at the end of the volume (6 pages in total). Several folds and rust marks from the metal fasteners. The typescript includes handwrittencorrections and changes, in particular 25 fully handwritten pages, and additions in the margin on several tens of pages, featuring fully in the version published in 1945 by La Jeune Parque publishers. * With L'Intelligence en guerre, writer and literary critic Louis Parrot, a leading figure of the underground press during the Second World War, friend of Eluard, Picasso, and Aragon, identifies a panorama of French resistant thought that does justice to the forgotten Maquis as well as the most emblematic writers of the underground press. The publication, at the end of the war, of this anthology of fighting poets, where the literary chronicle meets the history book, is also a political act committed to the selection of «heroes» of the intellectual resistance and an implicit condemnation of the supporters of the 'wait and see' policy. By sending this typescript to a journalist friend, also part of the resistance, Parrot entrusts this brother in arms with the sum of a work whose visible changes and additions show the political choices of its author, as well as his aesthetic inclinations. This typescript is a unique document whose in-depth study will serve as the basis for the his oriography of literary resistance. he recipient of the typescript, Auguste Anglès, is one of the main players in the Lyonnaise resistance press, creator of the underground newspaper Confluences. Parrot therefore addresses a version of his work, which highlights the difficulty as well as the need for completeness of his task, to this enlightened judge, who is very familiar with the intellectual networks, as shown by the handwritten note on the board chemise: «My dear Angles, Here is a copy, unfortunately not with even the major changes and corrections; they have increased the book by more than 100 typed pages. There were a lot of mistakes that were fixed. So forgive me for giving you a copy on which nothing has been corrected. I hope that it will, however, help you. Best wishes, Parrot» he handwritten note addressed to Auguste Anglès shows that it is a working document («a copy on which nothing has been corrected»), prior to the corrected proofs sent to the publisher. The typescript presents two stages of the text, increased by several marginal or full-page corrections, which, as Parrot indicates «have increased the book by more than 100 typed pages,» feature systematically in the text published in 1945. We note some important turnarounds, in particular the replacement of Georges Duhamel by François Mauriac as the figurehead of the resistance within the Académie Française. Other bundles of typed pages are added to this, enigmatically entitled «petit blanc» «little white,» which were incorporated later – the passages on the writers Antoine de Saint-Exupéry, Jean-Paul Sartre and Jean Giraudoux (added to the chapter on the Lettres françaises in the final version). These late additions mark the controversial inauguration at the Pantheon of the literary resistance of writers such as Saint-Exupéry (renounced by General de Gaulle) or Sartre, whose attitude during the Occupation was the subject of much controversy and who is indebted to Camus for his participation in-extremis in the resistant press. Louis Parrot paints those who have given their «soul» to the French resistance admirably: writers, filmmakers, musicians and actors, ambassadors of beauty and of fre