Charles Paul de Kock

By 1830, de Kock was one of the most popular authors in Europe. His books typically sold 2–3,000 copies, while Balzac, George Sand, and Eugène Sue were fortunate to sell more than 1,000 of theirs. According to Théophile Gautier, "There never was an author more popular in the real meaning of the word. He was read by everybody, by the statesman as well as by the commercial traveller and the schoolboy, by the great ladies in society and by the grisettes."[4] According to William Thackeray, in 1841, "The French writer whose works are best known in England is Monsieur Paul de Kock." But, he cautioned, "Talk to a French educated gentleman about this author, and he shrugs his shoulders, and says it is pitoyable."[5] One of the characters in Dostoevsky's novel Poor Folk (1846) wrote that reading a novel by de Kock was not becoming for ladies.[6] In The Idiot, Aglaya Ivanovna declares that she "read a couple of Paul de Kok’s [sic] novels two years since on purpose, so as to know all about everything."[7] James Joyce's Ulysses includes references to de Kock; Joyce plays with his name for bawdy humor in the Calypso, Sirens and Circe episodes, the last of which also specifically mentions de Kock's novel The Girl with the Three Pairs of Stays. In Thackeray's Pendennis, the title character of the book remarks that he had read nothing of the "novel kind" for thirty years, except Paul de Kock, who certainly made him laugh. The 1920 Encyclopedia Americana attributes his popularity abroad to his style, which it describes as his "worst feature... barely presentable, a fault evidently due to deficiency of education.... the defects of style disappear in translation."[8] The 1905 New International Encyclopædia describes his stories as "rather vulgar, but not immoral, demanding no literary training and gratifying no delicate taste". By this time he was seldom mentioned in the more conventional French histories of French literature. Anne O'Neil-Henry, a modern academic who has taken an interest in de Kock, calls him "the July Monarchy's bourgeois writer par excellence," but that "by the 1830s his name carried a specific connotation: 'Paul de Kock' signified 'bad' literature, a sort of … marker of poor taste." However, she clarifies, "while critics around 1830 began to use his name synonymously with lowbrow literature, many of their reviews evinced an appreciation of some elements of his work and recognition of his successful command of the taste of modern readers. Simply put, 'Paul de Kock' did not always signify 'Paul de Kock'."