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ALPHONSE ALLAIS - (OEUVRES ANTHUMES) - POUR CAUSE DE FIN DE BAIL - PARIS - ÉDITIONS DE LA REVUE BLANCHE - 23, BOULEVARD DES ITALIENS, 23
OEUVRES ANTHUMES - À SE TORDRE. PAS DE BILE. VIVE LA VIE! LE PARAPLUIE DE L'ESCOUADE. ROSE ET VERT POMME. ON N'EST PAS DES BOEUFS. AMOURS, DÉLICES ET ORGUES. DEUX ET DEUX FONT CINQ. LE BEC EN L'AIR. - CE LIVRE EST RESPECTUEUSEMENT DÉDIÉ À LA PATRONNE DU CAFÉ DE LA POSTE À LUZARCHES - (ORNE)
(NOTE DE L'ÉDITEUR.)\] - PRÉFACE
L'AUTEUR. - UN POINT D'HISTOIRE RECTIFIÉ
GEORGETTE S'EST TUEE!
TRISTE FIN D'UN TOUT PETIT GROOM
GAUDISSART S'AMUSE
DE L'INUTILITÉ DE LA MATIÈRE
LA SÉCURITÉ DANS LE CHANTAGE
A dizzying collection of short, tongue‑in‑cheek pieces, this book revels in the art of absurdity. The author treats lofty subjects—from philosophy to engineering—as playgrounds for sly jokes and mock‑serious footnotes, turning scholarly prefaces into comic riddles. Readers are invited to follow a whimsical narrator who explains a title about a lease ending simply because he’s moving, then launches into far‑cical proposals at an automobile club.
Among the most memorable sections is a mock‑historical essay that crowns the ancient cynic Diogenes as the father of automobilism, complete with imagined barrel‑carriages and tire‑less horses, and a parody of modern scientific writing that blurs the line between fact and farce. Sprinkled with playful digressions about geography, cafés, and even a tragic‑sounding headline that turns into a joke about a race day, the tone stays light yet sharply observant. The work’s eclectic humor makes it a perfect companion for anyone who enjoys clever wordplay and a gentle poke at pretentiousness.
Full title
Pour cause de fin de bail OEuvres anthumes OEuvres anthumes
Language
fr
Duration
~3 hours (177K characters)
Publisher of text edition
Project Gutenberg
Release date
2007-07-20
Rights
Public domain in the USA.
Subjects

1854–1905
Known for turning absurdity into an art form, this French humorist wrote sharp, playful pieces that still feel surprisingly modern. His jokes, sketches, and literary pranks helped make him a memorable voice of Belle Époque Paris.
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