Abstract:Combray, part one of Du côté de chez Swann, forms a diptych along with “Matinée chez la princesse de Guermantes” from Le Temps retrouvé. We have the beginning and the end of a novel that revolves around “raw material” dealing with the mother, childhood, death, and the Work. In these fragments of À la recherche du temps perdu, what would be the “embryo” of the work to come? And how does this project move towards the end, but always a provisional end?
