Gegen den Strich
"À rebours" marked a watershed in Huysmans' career. His early works had been Naturalist in style, being realistic depictions of the drudgery and squalor of working- and lower-middle-class life in Paris. However, by the early 1880s, Huysmans regarded this approach to fiction as a dead end. As he wrote in his preface to the 1903 reissue of "À rebours":It was the heyday of Naturalism, but this school, which should have rendered the inestimable service of giving us real characters in precisely described settings, had ended up harping on the same old themes and was treading water. It scarcely admitted—in theory at least—any exceptions to the rule; thus it limited itself to depicting common existence, and struggled, under the pretext of being true to life, to create characters who would be as close as possible to the average run of mankind.Huysmans decided to keep certain features of the Naturalist style, such as its use of minutely documented realistic detail, but apply them instead to a portrait of an exceptional individual: the protagonist Jean Des Esseintes. In a letter of November 1882, Huysmans told Émile Zola, the leader of the Naturalist school of fiction, that he was changing his style of writing and had embarked on a "wild and gloomy fantasy". This "fantasy", originally entitled "Seul" ("Alone"), was to become "À rebours".