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The text emphasizes travel’s imaginative power while insisting that characters, cities, and objects are fictional constructs. A narrator’s defiant voice—rage, mockery, and accusations—turns personal pressure into critique of intentions, institutions, and blame. The preface situates the story through satire, literary self-awareness, and a beginning scene in Paris.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/journey-to-the-end-of-the-night-preface-to-1952-gallimard-edition/143440/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/journey-to-the-end-of-the-night-preface-to-1952-gallimard-edition/143440.png","ImageObject",300,407,{"name":92,"@type":93},"Maeve","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-04","2026-08-25",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",18,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"What is the central idea presented in the preface about the journey?","Question",{"text":113,"@type":114},"The preface treats the “journey” as entirely imaginary, drawing strength from fiction while tracing a movement from life toward death.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"How does the narrator describe fictional elements like people and cities?",{"text":118,"@type":114},"People, animals, cities, and things are portrayed as imagined constructs, presented as a fictitious narrative rather than literal truth.",{"name":120,"@type":111,"acceptedAnswer":121},"What event marks the beginning of the narrator’s story in the excerpt?",{"text":122,"@type":114},"It begins with a meeting after breakfast in Paris, where Arthur asks him to go inside and the conversation starts on a terrace in the street.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},143440,1787695158,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":130,"read_time":145},5909877438554,"https://ap-avatar.wpscdn.com/avatar/5600025385ad2bf12a7?_k=1778553567797529272","Preface to the 1952 Gallimard Edition Journey to the End ofthe Night Glossary  \nAfterword  \nOur life is a journey  \nThrough winter and night, We look for our way  \nIn a sky without light.  \n(Song ofthe Swiss Guards 1793)  \nTravel is useful, it exercises the imagination. All the rest is disappointment and fatigue. Our journey is entirely imaginary. That is its strength.  \nIt goes from life to death. People, animals, cities, things, all are imagined. It’s a novel, just a fictitious narrative. Littré * says so, and he ’s never wrong.  \nAnd besides, in the first place, anyone can do as much. You just have to close your eyes.  \nIt’s on the other side of life.  \nPreface to 1952 Gallimard Edition  \nHey, they’re putting Journey on the rails again.  \nWhat a feeling it gives me.  \nA lot of things have happened in fourteen years …  \nIf I weren’t under so much pressure, forced to earn my living, I can tell you right now, I’d suppress the whole thing, I wouldn’t let a single line through.  \nEverything gets taken the wrong way. I’ve been the cause of too much evil.  \nJust think of all the deaths, the hatreds around me …the treachery … the sewer it adds up to …the monsters …  \nOh, you’ve got to be blind and deaf!  \nYou’ll say. but it’s not Journey! It’s your crimes that are killing you, Journey has nothing to do with it. You yourself have been your ruin! your Bagatelles! your abominable lingo! your imaging, clowning villainy! The law’s clutching you, strangling you? Hell, what are you complaining about? You jerk!  \nOh, many thanks! Many thanks! I’m raging! Fuming! Panting! With hatred! Hypocrites! Jugheads! You can’t fool me! It’s for Journey that they’re after me! Under the ax I’ll bellow it! between “them” and me it’sto the finish! to the guts! too foul to talk about …pissed with Mystique! What a business!  \nIf I weren’t under pressure, forced to earn my living, I’m telling you right now, I’d suppress the whole lot. A homage I paid to jackals!… That’s right!…A free gift …A tip …I threw my luck away …in ’36 … gave it to the executioners’wives! the prosecutors! the undertakers! One two three admirable books to cut my throat with! And listen to my groans! I made them a present! I was charitable, that’s all!  \nThe world of intentions amuses me   used to amuse me   not anymore.  \nIf I weren’t under such pressure, such duress, I’d suppress the whole lot …especially Journey … Of all my books it’s the only really vicious one …That’s right …The heart of my sensibility …  \nIt’ll all start over again. The Sarabbath!* You’ll hear a whistling from up above, from far away, from places without names: words, orders …  \nYou’ll get an eyeful of their machinations!…You’ll come and tell me about it    \nOh, don’t imagine that I’m playing! I’ve stopped playing … I’ve even stopped being amiable.  \nIf I weren’t under duress, as though standing with my back to something …I’d suppress the whole lot.  \nHere’s how it started. I’d never said a word. Not one word. It was Arthur Ganate* that made me speak up. Arthur was a friend from med school. So we meet on the Place Clichy. It was after breakfast. He wants to talk to me. I listen.“Not out here,” he says.“Let’s go in.” We go in. And there we were.“This terrace,” he says,“is for jerks. Come on over there.”Then we see that there’s not a soul in the street, because of the heat; no cars, nothing. Same when it’s very cold, not a soul in the street; I remember now, it was him who had said one time: “The people in Paris always look busy, when all they actually do is roam around from morning to night; it’s obvious, because when the weather isn’t right for walking around, when it’s too cold or too hot, you don’t see them anymore; they’re all indoors, drinking their cafés crèmes or their beers. And that’s the truth. The century of speed! they call it. Where? Great changes! they say. For instance? Nothing has changed. They go on admiring themselves, that’s all. And that’s not new either. Words. Even the words haven’t changed muc","cbCaiqxCtHuQZjk9","https://ap.wps.com/l/cbCaiqxCtHuQZjk9","pdf",2735607,539,"English","# Preface to the 1952 Gallimard Edition\n## Opening remarks on imagination and journey\n## Hostility, accusation, and self-contradiction\n## Paris meeting and conversation beginning","[{\"question\":\"What is the central idea presented in the preface about the journey?\",\"answer\":\"The preface treats the “journey” as entirely imaginary, drawing strength from fiction while tracing a movement from life toward death.\"},{\"question\":\"How does the narrator describe fictional elements like people and cities?\",\"answer\":\"People, animals, cities, and things are portrayed as imagined constructs, presented as a fictitious narrative rather than literal truth.\"},{\"question\":\"What event marks the beginning of the narrator’s story in the excerpt?\",\"answer\":\"It begins with a meeting after breakfast in Paris, where Arthur asks him to go inside and the conversation starts on a terrace in the street.\"}]","Journey to the End of the Night - Preface to 1952 Gallimard Edition | PDF",830]