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 (sĕ-lēn′), Louis-Ferdinand Pen name of Louis-Ferdinand Destouches. 1894-1961.
French writer whose works, such as Journey to the End of the Night (1932), are noted for their pessimistic and antiheroic depictions of the modern world.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Biography) Louis-Ferdinand (lwifɛrdinɑ̃), real name Louis-Ferdinand Destouches. 1894–1961, French novelist and physician; became famous with his controversial first novel Journey to the End of the Night (1932)
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014



Louis-Ferdinand, (Louis F. Destouches), 1894–1961, French novelist and physician.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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[beaucoup moins que] D'un chateau l'autre[beaucoup plus grand que] est le roman ou Louis-Ferdinand Celine s'evertue tant bien que mal a dire la verite: la sienne et celle des autres.
Louis-Ferdinand Celine was, by general agreement, one of the great French prose writers of the early 20th century.
Last week, one of France's most prestigious publishing houses stirred a controversy when it announced its intention to release a 1,000 tome by Louis-Ferdinand Celine, a stellar novelist turned anti-Semitic crank and convicted of collaborating with the Nazis.
In French literature, I like reading Louis-Ferdinand Celine and Albert Camus.
In two paintings from 2016, Van Imschoot depicts the controversial French author Louis-Ferdinand Celine. Compter les feuilles de fleurs (Counting the Leaves of Flowers) is a Velazquez-style portrait, complete with a deep-red velvet coat trimmed with a brilliant-white lace frill, while Juger le mort vers l'aube (Judging the Dead Toward Dawn) shows Celine facing a menorah, a clear comment on his contemptible anti-Semitism.
Moving into the postwar years, the narrative ground shifts as Martin probes social conflicts, moral ambiguities, and political cynicism through works of fiction, extensively in Roger Martin du Card's multinovel series The Thibaults, and selectively in writings by Henri Barbusse, Colette, Louis-Ferdinand Celine, Julien Green, Irene Nemirovsky, Francois Mauriac, Georges Bernanos, and Antoine de Saint-Exupery.
Part II, on "Race," makes the critical point that extensive scholarly attention to extreme anti-Semitic and misogynistic thought put forward by Pierre Drieu La Rochelle, Louis-Ferdinand Celine, and the journal Je Suis Partout, has masked mainstream forms of racism that were more subtle and dangerous.
Realismes begins with an enquete, "Le Manuel d'Emma," that connects the first scene of Flaubert's Madame Bovary to an obscure textbook released in numerous editions during Flaubert's childhood and then to more recent works by Louis-Ferdinand Celine and by Patrick Chamoiseau.

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