Simone de Beauvoir

Simone de Beauvoir

(1908 – 1986)

simone de beauvoirSimone de Beauvoir is one of the best-known French writers and thinkers of the twentieth century, and among the best-known female writers of all time. Her study of the oppression of women throughout history, The Second Sex (1949), is a founding text of modern feminism. De Beauvoir was prominent in the circle of left-wing Parisian intellectuals associated with the philosopher Jean-Paul Sartre. Interest in her long-term relationship with Sartre and controversies around The Second Sex have often eclipsed recognition of de Beauvoir’s fiction. Yet she was an acclaimed and popular novelist; The Mandarins (1954) received the prestigious Prix Goncourt. De Beauvoir was a perceptive witness to the twentieth century whose works span from her childhood days before World War I to the world of the 1980s.

A Young Diarist

Simone de Beauvoir was born in the fourteenth arrondissement, or district, of Paris in 1908, and lived there most of her life. Her mother was a devout Catholic; her father, a lawyer, was agnostic. Despite a comfortable childhood, she rebelled against her parents’ values at an early age, declaring that she would never become a housewife or mother. She also began to write when young, penning her first story at age eight and keeping a diary that would evolve into four published volumes of memoirs, starting with Memoirs of a Dutiful Daughter (1958).

In 1925, she began studying philosophy at the Sorbonne. Four years later she met Jean-Paul Sartre, beginning an intimate personal and intellectual relationship that would continue until his death in 1980. They studied together and passed the agre´gation de philosophie in 1929, placing first and second on the exam that provided their teaching credentials. At twenty-one, de Beauvoir was the youngest student ever to receive this prestigious degree. From 1931 to 1943, she taught philosophy at secondary schools in Marseilles, Rouen, and Paris. Sartre and de Beauvoir were lovers and developed an unwavering partnership, but they never lived together. They rejected the institution of marriage, and neither wanted children. Furthermore, they did not exclude what they called ‘‘contingent’’ affairs, some of which became important in their lives. In 1933, the pair attempted a me´nage a` trois with one of Sartre’s students, Olga Kosakiewicz.

She Came to StayThis experiment, and the anguish it caused, became the basis for de Beauvoir’s first novel, She Came to Stay (1943). The novel captures the hothouse atmosphere generated by the trio as the indolent intruder Xavie`re slowly destroys everything that surrounds her. In the 1930s, de Beauvoir’s life was essentially that of a provincial professor with intellectual leanings, a wide circle of friends, and a somewhat bohemian lifestyle. Sartre was drafted to fight in the French army during World War II, and spent nine months as a prisoner of war. When he returned in 1941, he and de Beauvoir determined to become more involved in public life during the German occupation of France. Both abandoned their teaching to devote themselves to writing and often to political activism. De Beauvoir provides one of the most vivid accounts of life in France during the war in her memoir The Prime of Life (1960).

The Second Sex and The Mandarins

When de Beauvoir set out to begin her autobiography, she realized that she first needed to understand the extent to which being born female had influenced her life. She spent hours in the library seeking documentation for each section of the book that was to become the foundation of her international reputation. The Second Sex examines the historical, biological, and sociological origins of the oppression of women. The opening statement of the section on childhood, ‘‘One is not born a woman, one becomes one,’’ has become familiar throughout the world. The book advises women to pursue meaningful careers and to avoid the status of ‘‘relative beings’’ implicit, in de Beauvoir’s view, in marriage and motherhood.

When The Second Sex appeared in 1949, reactions ranged from the horrified gasps of conservative readers to the impassioned gratitude of millions of women who had never before encountered such a frank discussion of their condition. Reactions to the sections discussing the female anatomy and homosexuality were especially hostile. Nevertheless, the book was widely translated and served as a battle cry of feminism in the 1960s and afterward. De Beauvoir’s best-received novel, The Mandarins, returns to the subject of the Nazi occupation of France. It presents the euphoria of Liberation Day in Paris as German troops were driven out, and the subsequent disillusionment of French intellectuals who found themselves dividing into factions as the glow of Resistance companionship and victory over the Nazis dimmed. De Beauvoir always denied that The Mandarins was a roman a` clef, or a thinly-veiled memoir offered as fiction, with Robert Dubreuilh, Henri Perron, and Anne Dubreuilh representing Sartre, Albert Camus, and herself. Nonetheless, echoes of the developing rift between Sartre and Camus, and of the concern of French intellectuals over the Soviet work camps, are clearly audible throughout the novel.

Her Life and Deaths

A Very Easy Death

A Very Easy Death

Most of the writing de Beauvoir produced after The Mandarins was nonfiction, beginning with her remarkable series of memoirs, invaluable documents for following the development of her career. Memoirs of a Dutiful Daughter examines her early years and growing rebellion against bourgeois tradition. The Prime of Life treats the continuing dialogue between de Beauvoir and Sartre from 1929 to 1944, including the development of the existentialist movement. The Force of Circumstance (1963), focuses on the postwar years and reflects the author’s political awareness; it is written with anguish over the French military involvement in Algeria. The Force of Circumstance reveals its maturing author’s concerns with aging and death. In the year of its publication, 1963, de Beauvoir’s mother died from cancer. In the moving pages of A Very Easy Death (1964), the author recaptures the warmth of her childhood relationship with her mother, and shares with her readers the anxiety of knowing more about her mother’s condition than she could reveal to her, as well as the pain of helplessly watching a life ebb away. Sartre considered A Very Easy Death de Beauvoir’s best work. De Beauvoir also published an important study of the social conditions of aging, entitled Old Age (1970). Seventeen years after the passing of de Beauvoir’s mother, Jean-Paul Sartre died. De Beauvoir wrote Adieux: A Farewell to Sartre (1981), a companion piece to A Very Easy Death, to cope with the anguish of watching age and illness take their toll on her companion of fifty years. De Beauvoir notes that Adieux differs from her previous work in that Sartre did not read it before its publication.

Simone de Beauvoir died in a Paris hospital on April 14, 1986. She was buried in the same grave as were Sartre’s ashes. Five thousand people attended the funeral, and flowers sent by women’s organizations around the world attested to the renown of this beloved woman of letters.

Works in Literary Context

As de Beauvoir recounts in her autobiography, she was a precocious writer and avid reader of female authors such as George Eliot and Louisa May Alcott. In her adolescence, a cousin introduced her to French authors such as Andre Gide, Jean Cocteau, and Alain-Fournier. Hermother, scandalized by such literature, pinned together pages of books she did not want her daughters to read. De Beauvoir later acknowledged the influence of John Dos Passos and Ernest Hemingway on her novelistic techniques. Obviously, her intellectual partner Sartre provided a shaping influence on all her published prose. The pair wrote about the same ideas, and reflected on their shared experiences. For example, it is tempting to compare de Beauvoir’s first novel, She Came to Stay (1943), and Sartre’s famous play No Exit (1944). Both texts were written in the wake of the couple’s liaison withOlga Kosakiewicz. Both have three main characters, two women and a man, and both convey the fundamental theme that hell is the way other people would have us see ourselves.

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