[L]ike a kingfisher I have made my nest on the waves. - François-Auguste-René de Chateaubriand

My mother, Apolline de Bedée, endowed with great wit and a prodigious imagination, was formed by reading Fénelon, Racine, and Madame de Sévigné. She was nourished on anecdotes of the Court of Louis XIV and knew all of Cyrus by heart. A small woman of large features, dark-haired and ugly, her elegant manners and lively disposition were at odds with my father’s rigidity and calm. Loving society as much as he loved solitude, as exuberant and animated as he was expressionless and cold, she possessed no taste not antagonistic to the tastes of her husband.

You are not superior just because you see the world in an odious light.

The Memoirs from Beyond the Grave have come to be considered a classic of French literature as much for the elegiac beauty of their language as for the way they capture an age. If they are the recollections of a sometime ambassador, a part-time politician, and a onetime celebrity, they are also the masterwork of an artist in consummate control of his prose. The person who writes that, on the day of his birth, his mother “inflicted” life on him, who makes up a meeting with George Washington and has the gall to declare that the first president “resembled his portraits,” has picked up the plume for more complicated reasons than the urge to compose a record of his times. The seductiveness of the Memoirs’ style — what Barthes calls the “vivid, sumptuous, desirable seal of Chateaubriand’s writing” — makes questions of factual authenticity seem piddling. The voice of the Memoirs is the voice of the private man behind the public façade, the grown-up boy who left home out of fear and in search of the Northwest Passage, the death-haunted exile, the solitary writer at his desk at night, who knew that he had to imagine himself and his world into being, as if everywhere were America, a second space and a dominion of dreams.