love

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If Beale Street Could Talk by James Baldwin

If Beale Street Could Talk is the first work by James Baldwin that I have read. It was the first work he wrote after he moved to St Paul de Vence in the south of France, where he would pass the last 17 years of his life.

He also wrote his first two novels at the beginning of his literary career, Go Tell It on the Mountain and Giovanni’s Room, along with his best-known collection of essays, Notes of a Native Son during a nine-year period he lived in Paris.

When Jordan Elgrably of The Paris Review asked why he left the United States said:

I was broke. I got to Paris with forty dollars in my pocket, but I had to get out of New York. My reflexes were tormented by the plight of other people. Reading had taken me away for long periods at a time, yet I still had to deal with the streets and the authorities and the cold. My luck was running out. I was going to go to jail, I was going to kill somebody or be killed. My best friend had committed suicide two years earlier, jumping off the George Washington Bridge.

He found it increasingly difficult to be a witness to life in America so perhaps France provided him the distance from which to write. With Beale Street he was able to immerse in a love story, bringing out the emotional bonds that keep a family together, that give them something extra, to not just survive, but overcome the harsh, unjust realities of everyday life in America for black people.

The novel revolves around childhood sweethearts, 19-year-old Tish and 22-year-old Fonny. We meet them as she visits him in prison.

I don’t know why people always look down when they talk through a telephone, but they always do. You have to remember to look up at the person you’re talking to.

I always remember now, because he’s in jail and I love his eyes and every time I see him I’m afraid I’ll never see him again. So I pick up the phone as soon as I’m there and I keep looking up at him.

Interspersed with the regular visits, are flash-backs to childhood and the moment their friendship evolved to something deeper. Fonny takes Tish to his basement pad where he has set up a woodwork studio, his deepest passion is sculpting wood and stone, he wants to show her and for her to understand its importance to him.

After asking her to marry him, they’d looked for loft space together, they were planning a future together, when suddenly robbed of it by a false accusation.  His alibi’s are discredited and he sinks into despair, but for her visits.

Though heartbroken, she is emboldened by her family, by the adamant support of her sister, who finds them a good lawyer, her mother, who travels to Porto Rico to confront the accuser, and her father, who works extra shifts to raise funds for Fonny’s bail.

It is the words, actions and support of the family that keep everyone from falling apart, they are a stalwart to Fonny especially, as his family crack under the pressure of a mother converted to a conservative faith prone to judgement and disappointment, more concerned about her own reputation than the innocence of her son.

It is interesting that Baldwin chose to narrate the novel from Tish’s perspective, and though it may have provoked criticism, it is perhaps one injustice that he sought to right – allowing the voice of a young black woman to rise and be heard.

Sharon, her mother, was a fabulous character. So in touch with her deepest roots, she is able to appease her daughter when she fearfully shares news of her pregnancy:

‘Tish’, she said, ‘when we was first brought here, the white man he didn’t give us no preachers to say words over us before we had our babies. And you and Fonny be together right now, married or not, wasn’t, wasn’t for that same damn white man. So let me tell you what you got to do. You got to think about that baby. You got to hold onto that baby, don’t care what else happens or doesn’t happen. You got to do that. Can’t nobody else do that for you. And the rest of us, well, we going to hold on to you. And we going to get Fonny out. Don’t you worry. I know it’s hard – but don’t you worry. And that baby be the best thing that ever happened to Fonny. He needs that baby. It going to give a whole lot of courage.’

Right there, the mother reinforces stability in their lives and I can’t help but be aware of the contrast, having just read the memoir An Affair With My Mother of a baby conceived within a culture that shame(s)d its daughters for pregnancy outside of wedlock, destroying lives, dividing families, creating unnecessary drama. This action and steadfast support by Sharon is a protest against the inherent culture and inherited religious beliefs, over which love and the family bond will prevail. It is a powerful matriarchal triumph, one that reaches far back in ancestral memory.

So the family encounter difficult circumstances and yet their ability to be there for each other sees them though and even Fonny is swept up in this wave of support, nourished by it, even though he has moments of sliding into darkness, as is human. By contrast, his family is fragmented, the mother and daughters reject the offer of unity offered by Joseph and Sharon, the father Frank gets it and tries to support them, to be part of this newly extended family, but without the strength of an unconditional bond within his own, he is left vulnerable.

James Baldwin in France

I think Baldwin succeeds if it was his intention to write about the powerful effect of love and family, in their ability to carry each other through difficult times, when they refuse to resort to blame (of themselves or others) or judgement, when they hold each other up and decide to be a force together and not give in to destructive tendencies.

I’ve just seen the film at our local cinema. It’s challenging to watch to a film you are still reflecting on reading.

In a recent interview, Director Barry Jenkins talked about Baldwin’s work:

I chose Beale Street because I felt the novel, more than any of his other works, represented the perfect blend of Baldwin’s dual obsessions with romance and social critique, as sensual a depiction of love as it is a biting observation of systemic injustice.

I thought the movie was a beautiful and moving depiction of the story, although my big takeaways from the book about that family bond, (especially the mother to the daughter) weren’t as strong in the film. Some of the most important lines I’d noted (and went back to check) were taken from the mother and given to the father, which surprised me, as it shifted the dynamic and removed what for me had been a significant and empowering statement coming from the mother (supported by the father). Passing those lines to the father risked putting the mother back into a supporting role, and lessened the matriarchal force Baldwin imbued her with.

The other significant moment in the book for me, which I’m not sure comes across in the film with quite the same impact, is a moment near the end where there is a change in Fonny, observed here by Tish, which you’ll have to read to find out more:

“- something quite strange, altogether wonderful, happens in him…”

All the more reason, even if you’ve seen the film, to get a copy of the book! And all that said, I’d recommend both without hesitation.

Buy a Copy of Beale Street via Book Depository

Have you read James Baldwin? Do you have a favourite?

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Love by Anita Moorjani & Angie DeMuro and a Poem by Derek Walcott

“Be your own best friend. Love yourself just as you are!”

is the message that Love: a story about who you truly are teaches children to embrace.

Anita Moorjani, author of Dying to Be Me and What If This is Heaven and illustrator Angie DeMuro have co created this book to help parents teach children how to love themselves, especially through the hard times, and to know and understand that this is something important and valuable for all of us to learn.

Within the beautifully written and illustrated pages of the book, children are taught how to have compassion and acceptance for themselves, and how to love themselves through many everyday situations. The happiness and confidence that can come from learning this ability is a gift that children, even grown-up ones, will carry with them their entire lives.

“You can’t love another unconditionally until you love yourself unconditionally, and when you truly do achieve that, you will never allow anyone to use you or abuse you.”

Anita Moorjani, What If This Is Heaven

At the end of the book is a Love Yourself Pledge, with a space to write the name of the person who has been given the book. Anita Moorjani believes her own childhood might have been changed had she had access to something like this.

Although I have not yet bought a copy for myself, this is a book that I’ve gifted, and one I recommend gifting to anyone who might have the opportunity to read to children and to impart positive messages of love and compassion in today’s increasingly stressful world.

I can’t think of any child that wouldn’t want to be exposed to something as reassuring and heartfelt as this, and it may just make a difference to some who needs to hear its message now, especially as we become more aware of the widespread silencing of victims of bullying and criticism, events or experiences that too often children are too afraid to share with parents.

It reminds me too of a wonderful Derek Walcott poem, which since today is Valentines Day, I share below for you, for not everyone can rely on another to express loving words or gestures on this day, but as Derek shares with us below, we have it in us to do that for ourselves.

So what loving thing are you doing for yourself today?

L O V E   A F T E R   L O V E

The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other’s welcome,

and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you

all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,

the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.

Derek Walcott

 Happy Valentine Everyone!

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The Complete Claudine, by Colette – An Introduction by Judith Thurman tr. Antonia White #WITMonth

Every summer I choose to read one chunkster, a big fat book, and this year knowing August would be the month that many others are reading books by women in translation, I decided to combine the two things and so chose to read a book translated from French to English, a classic, by the renowned author and personality Sidonie-Gabrielle Colette, referred to by her surname and pen name Colette.

The book I chose The Complete Claudine, is in fact four books combined in one volume, however I’ve written them up separately, including this first post, which is an introduction to the extraordinary personality behind the writer.

Introducing Colette

The book begins with an intriguing introduction by Judith Thurman, which I found helpful as I really knew little about Colette which she used as her writing pen-name.

Sidonie Gabrielle Colette by Leopold Reutlinger

She was a colourful, eccentric, driven character, a woman way ahead of her time, who wanted it all and seems to have pretty much lived her life, pursuing that goal, ignoring societal stereotypes and rejecting all labels about who, what and where a woman’s place should be,  attracting as many admiring fans as scathing critics. She detested labels, and while her attitude may be thought of as feminist, she was far from abiding by political correctness or aligning herself with any kind of women’s group.

“Me, a feminist?” she scoffed in a 1910 interview. “I’ll tell you what the suffragettes deserve: the whip and the harem.” She saw no contradiction between supporting conservative positions and living her life as an “erotic militant” in revolt against them. Better worlds and just rewards were of no more consequence to her than the prospect of an afterlife. – Judith Thurman, Introduction

She was born in the Burgundy village of Saint-Saveur-en- Puisaye on January 28, 1873, a countryside upbringing that informs the autobiographical Claudine at School; the first volume in this book. Her own school years were likely more conservative that those expressed in her novel, which was influenced by her husband Willy, the pen name she would use when these books were first published, as it was he who introduced her to avant-garde intellectual and artistic circles while engaging in sexual affairs and encouraging her to do the same. It was he who suggested the idea of  “the secondary myth of Sappho…the girls’ school or convent ruled by a seductive female teacher” (Ladimer, p. 53)

Her mother, “Mme Colette – the splendid earth mother known to Colette’s readers as Sido” came from a family of mixed African and Creole descent from the colonies (Martinique) and:

had boundless ambitions for her youngest daughter and “second self,” Gabrielle, and these never included domestic – or sentimental – drudgery. Sido called marriage, only half-ironically, a “heinous crime,” and would rejoice in Colette’s liaison from 1905 to 1911 with a cultivated and melancholy lesbian transvestite (transgender man), the Marquise de Morny, largely because “Missy’s” generosity and solicitude were so wholesome for Colette’s fiction. Nor was Sido’s “precious jewel,” childless until forty, ever encouraged by her mother to procreate.

She published nearly 80 volumes of fiction, memoir, drama, essays, criticism, and reportage, Gigi the best known to readers in the English language, though unfortunately so according to Judith Thurman as its promise of happiness so misrepresents Colette’s view of love.

The character Claudine was Colette’s invention of the century’s first teenage girl, one who was rebellious, secretive, erotically restless and disturbed, free-spirited and determined to carve her own path. Her rebellion was against convention not family, she had free rein at home, her single parent father poring over his slug manuscript left her to her own devices, though somewhat constrained by the maid who took care of her basic needs.

 

“It is not a bad thing that children

should occasionally, and politely,

put parents in their place.” Colette

Colette married at twenty(1893) and moved to Paris, separating from Willy in 1906 though with no access to royalties for her books as she had penned them in his name, leading her to a stage career in the music halls of Paris, her experience of that way of life informing her novel The Vagabond (1910).

“a novel that anticipates by ninety years, the contemporary fashion for wry, first-person narratives by single, thirty something career women. Its heroine examines her addictions to men with amused detachment, and flirts, alternately, with abstinence and temptation. Is there love without complete submission and loss of identity? Is freedom really worth the loneliness that pays for it? These are Colette’s abiding questions.”

Her move to Paris heralded the beginning of a public personality, as she would go on to become one of the most notorious and exuberant personalities of fin-de-siècle Paris. Her subsequent divorce and the years working on the stage exposed her to a poverty consciousness she’d not until then experienced and induced in her a steely determination to be independent and earn her own living at all times. After his death, she sued to have his name removed from her earlier books.

“The frugality of Virginia Woolf’s five hundred a year and a room of one’s own had as much allure for her as the ideals of Woolf’s feminism, which is to say, none at all. Colette’s models were never the gentlewomen of letters living on their allowances but the courtesans and artistes she had frequented in her youth, whose notion of a bottom line was fifty thousand a year and a villa of one’s own – with a big garden, a great chef, and a pretty boy.”

She would have a child (a daughter) at forty, though her maternal instinct never developed sufficiently for her to spend much time in the role of mother, allowing her to be raised by a nanny, though she marry the baby’s father Baron Henry de Jouvenel, an influential, flamboyant political journalist in Paris.

Below is a summary of Lessons We Can Learn From Colette, written by Holly Isard on the anniversary of her death, 3 August, do click on the link to read the lessons, they provide an interesting insight into the individualist character Colette was and lived according to. Each lesson has a wonderful anecdote connected to it.

Famous for her free spirit as much her style of writing, Colette was a chronicler of female existence, a precursory feminist who pushed against the bounds of sexuality for women in Paris. To the abhorrence of Parisian society, Colette experimented with androgyny on and off stage. She also frequented the spaces where marginal sexualities were beginning to find some visibility, in the cabarets and pantomimes. Even 142 years after her birth, Colette remains an icon and an indisputably formidable woman. Here, we consider five key lessons we can learn from the great lady herself.

1. Continue on in the face of controversy 

2. Stick with your gut instinct

3. Don’t underestimate a woman’s influence 

4. “Perfect companions never have fewer than four feet.”

 Next Up:
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Why Be Happy When You Could Be Normal? Jeanette Winterson

why-be-happyThis stylised memoir, set in the working-class north of England, is the book Jeanette Winterson wasn’t ready to write back in 1985 when at 25 years of age, she wrote the novel Oranges Are Not the Only Fruit, a book that plunged the reader into her universe, one that provided the author the liberty of narrating freely, without the confines of the story having to have been exactly as she had lived it – it was fiction, an imagined story, and she named the main character Jeanette, a provocative gesture for sure.

It was indeed inspired by her own experience, as we discover when she braved it and published this memoir nearly 30 years later (her adopted mother no longer living or able to be disapproving of her work), providing for the title, a quote from the mother who had been unable to shape the little human she acquired into her version of a normal daughter.

In her memoir she allows the real life characters to reveal parts of themselves, in particular Jeanette and the woman who raised her, whom she refers to as Mrs Winterson (her adoptive mother), a telling detail in itself, that she reserves the title of mother for the woman who is a shadowy illusion for most of the narrative; not there, not looked for, a vague presence in her psyche that she continuously rejects the thought of, her biological mother. I did wonder whether this was a literary invention or whether she actually did refer to her adoptive mother as Mrs W. It makes quite a statement.

‘I do not know why she didn’t/couldn’t have children. I know that she adopted me because she wanted a friend (she had none), and because I was like a flare sent out into the world – a way of saying  that she was here – a kind of X marks the spot.

She hated being a nobody, and like all children, adopted or not, I have had to live out some of her unlived life. We do that for our parents – we don’t really have any choice.’

Despite what was likely to have been a desperate desire for a child, Mrs W. dolled out punishments and criticisms more than any form of affection or love for her chosen child. When her mother was angry with her, Mrs W. often repeated one of her preferred biblical phrases “The Devil lead us to the wrong crib”. The Church was like family (though unsuccessful in helping them make friends) and the Bible one of only five books in the house, the one referred to most often. The most regular punishment however, was to lock her in the coal-scuttle or out on the door stoop – for the whole night.

‘Dad’s on the night shift, so she can go to bed, but she won’t sleep. She’ll read the Bible all night, and when Dad comes home, he’ll let me in, and he’ll say nothing, and she’ll say nothing, and we’ll act like it’s normal to leave your kid outside all night, and normal never to sleep with your husband. And normal to have two sets of false teeth, and a revolver in the duster drawer…’

It is a collection of anecdotes, written in a way to make the reader present, it’s not like reading an account of the past, it’s reliving days in the life of this fierce little battler, a girl who had a zest for life, who used her locked up time to invent imaginary characters, who made up stories, who forged her own personality through, who would not be tamed, who left home while still at school, taught herself to drive, lived in a car for a while and remarkably pushed herself forward as one of the ‘experimental’ working-class contenders for a place at Oxford University and succeeded.

Jeanette Winterson Photo by Sanhita SinhaRoy

Jeanette Winterson, Photo by Sanhita SinhaRoy

Jeanette Winterson writes her own story, forged over a past she didn’t know, that she tried to convince herself wasn’t important until driven almost mad and finally would follow through to unravel the missing link.

Her experience with Mrs Winterson is told with as much compassion as is possible, the facts related in a way that leaves the reader to judge and most will wonder why Mrs Winterson desired a child or was deemed fit to be given one at all.

It is an extraordinary account of childhood and growing up, of what home is, of how we perceive and learn love, of adoption, of how those formative years contribute into making us what we will become and that mysterious ‘other life’ that might have been, when you’ve been switched to alternative parentage post birth.

I never wanted to find my birth parents – if one set of parents felt like a misfortune, two sets would be self-destructive. I had no understanding of family life. I had no idea that you could like your parents, or that they could love you enough to be yourself.
I was a loner. I was self-invented. I didn’t believe in biology or biography. I believed in myself. Parents? What for? Except to hurt you.

It is also a tribute to literature and to the power of stories to influence lives, whether they are an escape for those who need refuge and to understand the world around them, or whether they are the occupation of the oppressed, a creative outlet for someone with nothing but their imagination to keep them entertained while enduring their struggle.

Buy Why Be Happy When You Can Be Normal? via Blackwell’s

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Their Eyes Were Watching God by Zora Neale Hurston

Totally brilliant and original, what a voice, a narrative and an insight into a woman’s desire for fulfilment.

yin_yang_by_fallen_eyeIf you have read or were considering reading Marlon James Booker winning A Brief History of Seven Killings, then this is the Yin to his Yang, this is the feminine yearn to his masculine ambition.

Immersed in the dynamic culture of the American South, its language, traditions and folklore and equally fascinated by it, Zora Neale Hurston had instant access to a rich depth of stories, songs, incidents, idiomatic phrases and metaphors and an adept ear for the rhythm of speech patterns. With her literary intelligence and skill, she brings it together with remarkable power and beauty to the written page.

Their Eyes were Watching God is an American classic, the esteemed author Toni Morrison called her “One of the greatest writers of our time”, though she may be lesser known beyond those shores. There has been much written about her work and of this particular novel, criticized by feminists at the time of publication, yet come to be more appreciated and understood with time.

Alice Walker’s essay, “In Search of Zora Neale Hurston” revived interest in the author and since then there have been numerous new editions published. It was originally published in 1937.

Zora Neale Hurston tells the story of Janie, a girl raised by her Nanny, who was an ex-slave and therefore wanting to protect her daughter and grand-daughter from the things she feared, which amounted to marriage to a man with land or money or to live under the wings of a good, white family.

zoraUnable to protect her daughter, who was raped by her schoolteacher, her focus moves to Janie, whom the daughter leaves her with. As soon as adolescence beckons she arranges for her to marry an older farmer with land. Janie dreams of love and fulfilment and when mentions not finding it in this marriage is reprimanded by her grandmother for her romantic notions.

“There are years that ask questions and years that answer.Janie had had no chance to know things, so she had to ask. Did marriage end the cosmic loneliness of the unmated? Did marriage compel love like the sun the day?”

She moves on and marries Joe Sparks who takes her to a new town in Florida, a town built by black people for black people. It isn’t as Joe expects, so he sets about continuing its creation, getting himself elected as mayor and becoming a wealthy man. Janie becomes his showpiece, working in the shop, however he curtails her interactions with the community, thwarting her ability to be herself, even making her cover her hair due to his jealousy.

“She had found a jewel down inside herself and she had wanted to walk where people could see her and gleam it around. But she had been set in the market place to sell.  Been set for still-bait. When God had made The Man, he made him out of stuff that sang all the time and glittered all over. Then after that some angels got jealous and chopped him into millions of pieces, but still he glittered and hummed.  So they beat him down to nothing but sparks, but each little spark had a shine and a song. So they covered each one over with mud. And the lonesomeness in the sparks made them hunt for one another, but the mud is deaf and dumb. Like all the other tumbling mud-balls, Janie had tried to show her shine.”

Finally, her quest will become fulfilled, though not without its share of life’s ordinary and extraordinary sufferings, when she meets Tea Cake and they manage to ride life’s roller coaster of events and emotions, working together to deal with the demons and living their dream.

“Dis is uh love game.  Ah done lived Grandma’s way, now Ah means tuh live mine.”

The excellent afterword of the Virago edition I read, says the following to explain one of the reasons this novel has attributed such notoriety today and why it is that she achieved something so rare.

Black women had been portrayed as characters in numerous novels by blacks and non-blacks. But these portraits were limited by the stereotypical images of, on the one hand, the ham-fisted matriarch, strong and loyal in the defense of the white family she serves (but unable to control or protect her own family without the guidance of some white person), and, on the other, the amoral, instinctual slut. Between these two stereotypes stood the tragic mulatto: too refined and sensitive to live under the repressive conditions endured by ordinary blacks and too coloured to enter the white world.

Even the few idealised portraits of black women evoked these negative stereotypes. The idealisations were morally uplifting and politically laudable, but their literary importance rests upon just that: the correctness of their moral and political stance. Their value lies in their illuminations of the society’s workings and their insights into the ways oppression is institutionalised. They provide, however, few insights into character or consciousness. And when we go (to use Alice Walker’s lovely phrase) in search of our mother’s gardens, it’s not really to learn who trampled on them or how or even why – we usually know that already. Rather, it’s to learn what our mothers planted there, what they thought as they sowed, and how they survived the blighting of so many fruits. Zora Hurston’s life and work present us with insights into just these concerns.” Sherley Anne Williams

Zora Neale Hurston’s depiction of Janie’s life provides a wonderful insight into the character and consciousness of a woman of her era, drawing from her own experience, though the character of Janie has a different personality to Hurston, providing a look not so much into the experiences, but of the yearnings and emotional life of women, their quest for fulfilment and self-discovery and though it’s not without obstacles, allows a little light to shine on those moments where her life does reach that bitter-sweet destination, leaving wisdom in its wake.

Zora Neale Hurston

Zora Neale Hurston

Zora Neale Hurston (1892-1960) was born in Eatonville, Florida, the first incorporated black town in America. Her life there, nine years of wanderings is described in her book Dust Tracks on the Road. She studied at Howard University and began to write, attracting the attention of the Harlem Renaissance with her essays and short fiction and won a scholarship to Barnard College where she studied Cultural Anthropology, subsequently spending four years researching folklore on the South and publishing another five books including this novel and a collection of tales, songs, games and voodoo practices from the time.

Click Here to Buy a Copy of Their Eyes Were Watching God

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Bonjour Tristesse by Françoise Sagan tr. Irene Ash #WITMonth

Bonjour TristesseRachel Cooke in this Guardian article The subtle art of translation reflects on the importance of the right translation and relates her memory of reading Françoise Sagan’s Bonjour Tristesse.

Last year, I decided to treat myself to a new copy of Bonjour Tristesse by Françoise Sagan, a novel I have loved ever since I first read it as a teenager, and whose dreamy opening line in its original translation from the French by Irene Ash – “A strange melancholy pervades me to which I hesitate to give the grave and beautiful name of sadness” – I know by heart.

She decides to splash out and buy a new copy to read and chooses the Penguin Modern Classics version translated by Heather Lloyd.

Some days later, in bed, I began reading it. The shock was tremendous, disorienting. “This strange new feeling of mine, obsessing me by its sweet languor, is such that I am reluctant to dignify it with the fine, solemn name of ‘sadness’,” went the first sentence, which sounded to my ears a little as though a robot had written it.

Françoise Sagan

Author, Françoise Sagan

For a while she continued to read it, telling herself it was stupid to cling to one version, as if it were a sacred thing, however she gave up, it may have been an accurate translation but it lacked the magic of that fist reading experience. She ends by saying that if you tried this story and hated it, to please have another go and entrust yourself to Irene Ash’s gorgeous 1955 translation.

Having read the article, I had no hesitation in going straight for the Irene Ash translation and was transfixed from the very first pages, totally put under the spell of this charming little novella.

Cecile is looking back and recalling the summer she was seventeen, when she and her father spent 2 months on the French Riveria near St Raphael, having a blissful holiday. He is a widower who doesn’t lack for female company and she has just finished school and lives a life of privilege and indulgence, her father imposing few if any limits on her, they are in a sense like children both of them in adult bodies.

He had rented a large white villa on the Mediterranean, for which we had been longing since the spring.It was remote and beautiful, and stood on a promontory dominating the sea, hidden from the road by a pine wood; a mule path led down to a tiny creek where the sea lapped against rust-coloured rocks.

She is surprised to enjoy the company of a young man Cyril, preferring the company of more mature men and her father’s friends, and discovers she quite likes the attentions of this young man who is falling in love with her and she with him.

CalanquesIt should have been perfect, but things change when an old friend of her mother’s Anne arrives and she and her father announce their intention to marry. Although it is actually something Cecile feels is right for them and she adores Anne, part of her resents what signifies to her the end to the playful era she and her father have indulged, for Anne’s presence in their lives will certainly bring order and sensibility.

Yes, it was for this I reproached Anne: she prevented me from liking myself. I, who was so naturally meant for happiness and gaiety, had been forced by her into a world of self-criticism and guilty conscience, where, unaccustomed to introspection, I was completely lost. And what did she bring me? I took stock: She wanted my father, she had got him. She would gradually make of us the husband and step-daughter of Anne Larsen; that is to say, she would turn us into two civilised, well-behaved and happy people.

She embarks on a plan to provoke a change in this happy little situation, instantly regretting it, but unable to halt the progress of a development she has initiated.

Tears came into my eyes at the thought of the jokes we used to have together, our laughter as we drove home at dawn through the empty streets of Paris. All that was over. In my turn I would be influenced, re-oriented, remodelled by Anne. I would not even mind it, she would act with intelligence, irony and sweetness, and I would be incapable of resistance; in six months I should no longer even wish to resist.

It is a simple storyline, but what makes it incredible are the adept insights Cecile has into herself and her behaviour and to all those around her. She acts irresponsibly as if she is unable to help herself, but with a certain equanimity, it is as if she stands outside of herself and narrates events and what is driving each character to act their part in her little drama, which will escalate into tragedy.

Utterly engaging, I was riveted, loved that ability her character had to understand the personalities around her and her own flaws, despite being unable to stop the mischief she provoked, not to mention that this was written when the author was only 18 years old.

Buy Bonjour Tristesse from Book Depository (Affiliate Link)

 

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The Blue Satin Nightgown by Karin Crilly #memoir

Tell me, what is it you plan to do with your one wild and precious life? Mary Oliver, Poet

Outdoor MassageA few years ago a lady who had recently moved here to Aix-en-Provence contacted me in relation to Flairesse, my aromatherapy therapeutic massage business. She became a regular client and over time I got to know her well, discovering a mutual interest in culture, books and writing. She had a strong passion for travel, the lives of others and the excitement of discovery, which was the name of a blog she’d set up to keep a record of her adventures while living in France.

I learned that she was writing a book, which had initially been planned to be a collection of a dozen or so stories she had related to her clients over the years, (she had been a Marriage and Family Counsellor for 30 years in Southern California) these stories had been her way to illustrate a particular teaching, something she had found that people absorbed more easily through storytelling than being given the lesson directly.

However, and given her adventurous spirit, it came as no surprise to me, once she sat down to write it, she realised that looking back and recounting the past, the stories she had spent 30 years narrating, no longer excited her, so she decided to change direction and push her focus forward, towards the unknown lifescape before her and share this grand adventure she had embarked on, three years after her retirement, at the unstoppable age of seventy-eight.

Every month, I would hear how the book was progressing and I’d also hear about Karin’s latest travels, culinary adventures, her move to a quieter apartment, her daily five Tibetans rites of rejuvenation ritual, and always that infectious laugh and sense of fun she had about life. I lent her a few writing books and then suggested she might like to enter The Good Life France writing competition, 1,000 words about France – about memories, a favourite place, or something you love about France.

good lifeExcited about the opportunity to put her writing skills to the test, Karin took the first chapter of her book, moulded it as much as she could to meet the criteria, sent it to me to look over and to make recommendations on how to whittle it down further without losing any of the content and then sent it off! We came up with the title ‘Scattered Dreams’ and a few weeks later heard the fantastic news, a confirmation if ever any was needed of how realistic this dream was in coming to fruition, that she had won first prize! She was now published and on her way to fulfilling that goal of becoming an inspirational author.

And so, today I am delighted to be able to introduce you now to published author Karin Crilly, and the book that made its first chapter appearance in The Good Life France where it was so fabulously awarded the recognition it deserved – The Blue Satin Nightgown, My French Makeover at Age 78.

I had to share this photo which Karin sent me one night as I was scribbling notes over one of her chapters in the book, (after that first success, I read all her manuscript and tried to concentrate on making notes for feedback, which was difficult, as her stories were so entertaining and often had me open-mouthed in surprise).

She’d told me she was going to an Elton John concert earlier in the evening and then later this picture arrived, showing her accepting a lift home from Xavier – the husband of her friend Marie-Paule, a couple who became like family to her –  it so depicts the excitement and sense of adventure Karin was always up for and no wonder her book is so full of laughs and the pure delight of living life to the full.

The Blue Satin Nightgown is an enchanting, easy reading memoir of Karin’s two years based here in the small town of Aix-en-Provence, taking us through both the trials and delights of her attempt to integrate into French culture, finding an apartment, discovering the markets, learning French cuisine – though she is already an excellent cook, and shares some new and favourite recipes throughout the book.

She attracts men without trying and there are many entertaining chapters of close encounters and demonstrations of what we might refer to as, the French culture’s ‘art of seduction‘, a term that doesn’t have the same meaning in English, more of a natural charm that often surpasses the boundaries of the Anglo-American experience and is practised by young and old.

One of the endearing aspects of Karin’s writing and of her character is her ability to look at herself and see how she reacts in certain situations, to talk to herself as if she were one of her own clients. She brings a natural and gracious wisdom to the page and often thought back to wonder how her late husband Bill, to whom she dedicated the book, would have responded to what she had experienced and often asked herself what lesson she needed to learn. She finds wisdom not just in her own encounters, but by maintaining a strong and positive link to her loved one, a memory that never held her back, one she found a way to help push her forward and kept at her side, without ever succumbing to grief or self-pity.

Karin is not just an inspiration to those in their seventies or those who have lost a life partner, she is an inspiration to all of us, who have ever thought about doing something a little adventurous or extraordinary.

When my husband died from complications of Parkinson’s disease, I wondered if I could still be extraordinary. I had expended so much energy being his caregiver for eighteen years, the last five years of which demanded my entire being. After grieving for several years, I retired from thirty years of counselling. I needed to reinvent my life. I believed what I have always known: that the true self is presented  with ideas that it is capable of fulfilling.

When I received the call at age seventy-eight, I remembered my clients and my advice to them.  And I said YES!

Karin Crilly, Introduction, The Blue Satin Nightgown

Buy a copy of Karin’s The Blue Satin Nightgown via Book Depository here (affiliate link)

or Buy a Kindle E- book version here

*****

Aix

by

The Man Who Snapped His Fingers by Fariba Hachtroudi tr. Alison Anderson

Layout 1A woman working in an asylum centre as a translator is called to fill in for an interview. She utters the word she has all but banished from her vocabulary. Yes.

Now she faces the man with the voice she recognises, the man who snapped his fingers and changed her life, in their country, all those years ago.

One last interview with an asylum seeker who’s a bit of a problem, said my interlocutor, who was not anyone I knew. He went on, It’s a Colonel from the Theological Republic. But – I read your file. “Refuses to do any simultaneous translation for military or government personnel from her country of origin.”

Fariba Hachtroudi’s novella (translated from French) is a dual narrative, switching between two characters as they experience the present and remember the past in flashbacks, a kind of first person stream-of-conscious prose that is tense and withholding, though ultimately revealing.

We know bad things have happened, but no one wishes to relive or explain them, their thoughts rarely go there and yet we feel the presence of the past that hangs over them and the danger in the present. They both live with fear, paranoia and suffer from separation, from the memory and pain of love. They seek answers, atonement and their brief meeting will move them closer to it.

Now the Colonel is one of the hunted. He has been reinstated as a citizen. We have become full-fledged compatriots.  But what about the past? Can you just erase it with a swipe of your hand? And that pool of putrefaction that he waded into, without blinking an eyelid? The stench of it?

They live in isolation and with the memory of a great love and yet they have this terrible connection, which they must move beyond if they are to benefit each other. Can one overcome the memory of torture, the victim and the perpetrator and establish some other understanding?

Torture, like love, destroys, distorts, and transforms. Indubitably. Love, like torture, alters bodies. From the precipices of torment. Both love and torture mortify the soul deep in one’s inner chaos. Where the self disintegrates.

It’s a book that would benefit from being read twice as the narrative isn’t chronological, the characters and their loved ones are revealed slowly so thoughts shared in the beginning without reader knowledge add more to the story if we flip back and reread them.

Though a short novella, it requires concentration and acceptance that the threads will become clear, even while things are unclear, there is a mounting tension and discomfort that is hard to articulate, but is testament to the profound, tightly woven writing style of the author, this her first translation into English.

Fariba Hachtroudi

Fariba Hachtroudi

Fariba Hachtroudi was born in Tehran, leaving Iran after the 1979 revolution and settling in France. She spent 2 years in Sri Lanka teaching and researching Theravada Buddhism.

An account of her return to Iran after 30 years in exile was the subject of a memoir The Twelfth Iman’s a Woman? Following that visit she set up MoHa, a humanitarian foundation that advocates for women’s rights, education and secularism.

Note: Thank you to the publisher Europa Editions for kindly providing a copy of this novel.

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Georgia: A Novel of Georgia O’Keeffe by Dawn Tripp

I’ve loved Georgia O’Keeffe’s paintings since I stumbled across them one weekend in an art gallery in Chicago and felt the effect of them, rather than saw them as such, for they are indeed imbued with feeling and when you see one of her large canvases with its bold visual statement, well for me anyway, you can’t help but be moved by it, struck dumb by it, to stop and appreciate how this artist communicated something deep within you, without words or reality. I felt it almost like a punch, I didn’t quite understand what it was, but I wanted to know who is was that had created that effect on me.

Although I bought a beautiful book about her paintings, it was something less intellectual and more personal I was after. I found a very old, yellowed copy of Laurie Lisle’s Portrait of an Artist: A Biography of Georgia O’Keeffe.

It provided an excellent framework of her life, her childhood and introduction to art, her various shows, her marriage and need for solitude and her eventual move to that part of the world that most resonated with her, New Mexico.

However, O’Keeffe comes off as a rather distant, aloof character, seen from the outside, rather brusque, detached. The biography filled in her life, but left me still wanting to know who she was, sure there was much more to her that we would benefit from knowing.

One of the things that makes Georgia O’Keeffe such an interesting character is not just her work, but her essence, her self-knowledge and ability to act upon it, to ensure that she lived in a way that allowed her art to express itself in an authentic way. When she wasn’t able to do this, her mental health declined, however she knew how to resolve it and in acting accordingly, lived to the age of 98.

She married the well-known gallery owner and photographer, Alfred Stieglitz, something of a scandal as she was 25 years his junior and he left an unhappy marriage for her, but she never collapses into the relationship, they find a way of supporting each other, that also allows them be individuals and to pursue (most of) their own ambitions wholeheartedly.

Inevitably there would always be compromise, Stieglitz accepted that O’Keeffe needed to spend a portion of the year in New Mexico without him and O’Keeffe had to accept that Stieglitz did not want to become a father again.

GeorgiaWhich all leads me on to say it was with quiet anticipation to learn that Dawn Tripp had the courage, respect and admiration for O’Keeffe to decide to venture into creating a work of fiction, that attempts to channel the voice of Georgia O’Keeffe. What might she have really been thinking if it was her voice relating the story of this life and not someone from the outside.

Georgia: A Novel of Georgia O’Keeffe does exactly that.

Dawn Tripp similarly came across her story through her art, after seeing an exhibition of her abstractions at the Whitney Museum of American Art in 2009. She had been aware of her work, but experienced something different that day.

As early as the fall of 1915, at twenty-nine-years old, she was creating radical abstract forms when only a handful of artists were bold enough to explore this new language of modern art. Her abstractions of that time – and those she continued to create throughout her life – were ambitious, gorgeous shapes of colour and form designed to express and evoke emotion, and they were stunningly original.

It provokes in the author, a desire to want to know this woman, the artist, the creator of these stunning works and why she was not recognised for the visionary power of these abstractions during her lifetime. There were excerpts from letters as part of the show:

The language of those letters was sharply intimate, vulnerable, complex. O’Keeffe’s letters revealed a woman of exceptional passion, a rigorous intelligence, and a strong creative drive. Her letters had a raw heat that felt deeply aligned with the abstract pictures I was seeing on the walls, but at odds with the image of O’Keeffe I’d grown up with: the aged doyenne of the Southwest, poised and cool, holding the world at arm’s length.

My Faraway OneWhen the novel was almost complete, the correspondence of O’Keeffe and Stieglitz was published, having been sealed for twenty-five years after her death.

It was a pleasure to read this novel that attempts to get inside that mind and share something that feels more genuine in terms of what her work intended, than the easy reference that so many of the male critics of the time jumped to, insinuating the sexual by responding to the visual elements of Stieglitz’s nude photos of her and the soft interior of her giant flowers, rather than the essence of life itself pushing forth.

This is the Georgia O’Keeffe I’ve wanted to know, and suspected existed, from someone who has tried to absorb her childhood, upbringing and place in the world, attempting to understand what she was trying to express and how it was both uplifted and repressed by the decisions she made.

To explore those initial choices, few of which were her own, the effect of Steiglitz managing and directing her career, their relationship, her need for a child, their life between New York and Lake George until the moment when she allows herself to visit New Mexico with her friend Beck and begins an annual pilgrimage to a place that will eventually consume her entirely and become her home, both physically and spiritually.

We see O’Keeffe as a young independent woman, learn about her family background, their vulnerability to TB, the shock of meeting Stieglitz’s wife and family, the abundance of material wealth and food, she so close to nature – and yet so attracted to him, his mind and his person.

Georgia O'Keeffe, 1920

Georgia O’Keeffe, 1920

She resents her art being seen through his lens of her, by the critics, that association with gender, the feminine. The thing that builds her up, blinds them to the work as she sees it. She seeks solitude. She resists being photographed, unable to convince through other means. By the time Stieglitz divorces, Georgia is lacklustre on marriage.

Her mental decline from accepting it all, the inevitable, necessary turning point, turning away from her husband, though forever connected to him.

Dawn Tripp has us completely immersed in a perception of the life of Georgia O’Keeffe that feels as real as if it were the artist herself speaking, though we all know how private she was, and through this novel we understand that need even more so.

People can be sceptical of the fictional biography, but when it is well researched, and the author has found the appropriate voice, and treats the subject with respect and understanding, it brings history alive and makes it accessible to a much wider audience than the more traditional, detached form of narrative.

I highlighted so many paragraphs and sections in the book, it would make the review too long to show them. All the better to discover the words for yourself.

Absolutely brilliant, loved it.

Notes on the Paintings Depicted

OKeeffe painting“Pink Tulip”, 1926, Georgia O’Keeffe, oil on canvas, 36” x 30”
The Baltimore Museum of Art, Bequest of Mabel Garrison Siemonn, in memory of her husband George Siemonn.
©Georgia O’Keeffe Museum

Georgia O’Keeffe, Untitled (City Night) (Untitled – Night city), Seventies © 2009 Georgia O’Keeffe Museum / © Georgia O

Georgia O’Keeffe White Iris, No. 7 (White Iris # 7), 1957 © 2009 by Georgia O’Keeffe Museum / © Georgia O

Georgia O’Keeffe, “Ram’s Head White Hollyhock and Little Hills,” 1935, Oil on canvas, 30 x 36 in. Brooklyn Museum, New York.

Click on the link to buy this book.

Buy Georgia: A Novel at Book Depository

Note: The book was an ARC (Advance Reader Copy) kindly provided by the publisher via Netgalley.

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Eugene Onegin – Chapters Three & Four Alexander Pushkin

Elle était fille, elle était amoureuse.

Jacques-Charles-Louis Clinchamps de Malfilâtre

Tatyana Eugene Onegin

January 25 – The Feast of Tatiana

What better day to write about these chapters, January 25 being the feast day of Saint Tatiana in Russia, a symbol of women and celebrated as a student festival. Both the name and the day have become even more popular since Alexander Pushkin made her the love interest of his epic poem.

Chapters Three & Four

Eugene Onegin inquires as to how his friend the poet spends his evenings and thus finds himself invited to join him for a family evening at the home of Olga and Tatyana, where they receive warm, old-fashioned hospitality, though afterwards he cannot remember which girl was Olga and which Tatyana. While the evening failed to ignite significant interest in our hero, it did set tongues wagging among the locals.

Conjecture found unending matter:

there was a general furtive chatter,

and jokes and spiteful gossip ran

claiming Tatyana’s found her man;

The girl who spends her hours immersed in romantic novels let her imagination run wild and fell for the insinuations, if not the man himself, suffering from a love sickness of her own making, culminating in a letter (in French) to the imagined hero she has shaped from the form of Eugene Onegin. A baffled Onegin, clearly does not read the same literary genre.

Who taught her an address so tender,

such careless language of surrender?

Who taught her all this mad, slapdash,

heartfelt, imploring, touching trash

fraught with enticement and disaster?

I can’t help but laugh, it is perhaps the poetic form combined with the ignorance of the hero, this bringing together of polar beings, to create such a discordant clash of romantic versus pragmatic. And so we wait to learn what will pass, when by chance the two meet, and Tatyana must listen to the unfeeling hero speak from a detached but well intended heart, warning her against baring her soul so easily in future. Though it is true, he tolerates and listens easily to similarly themed devotions from his friend the poet, for whom such outpourings are his raison d’être.

But I was simply not intended

for happiness – that alien role.

Should your perfections be expended

in vain on my unworthy soul?

Saint TatianaAnd finally the long autumn and winter bore him and he agrees to a second visit, one that will fall on Tatyana’s name day celebration!

Impressions of Tatayana and Olga

Tatyana is distant and aloof socially, yet vulnerable to the roller coaster of emotions she reads and studies at length in her romantic novels. Her falling in love is not as such inspired by meeting Onegin or anything he says or does in their first encounter, it is by the idea of him inflamed by the wagging tongues of neighbours, that allow her, now that she has some distance from the man himself, to imagine herself in love. She has a need to express herself and because she hesitates to ever do so in person, pours her emotion into the written word – a letter.

Olga we only see through the eyes of the enraptured poet Lensky, he is always with her, walking with her, reading to her, writing poems about her, he gives and receives love easily and neither of them appear subject to the more tumultuous vagaries of passionate love.

Onegin’s Reaction to Tatyana?

An almost fatherly response, he was concerned that she should not respond in the same manner when next she looks for love, outwardly he shows little emotional response to her revelations, however there is a hint that the words may have affected him at a more sub-conscious level that has yet to make its way into his more intellectual self. Fortunately, he does show careful consideration for her feelings, by refraining at least from criticising her too harshly or outrightly rejecting her. Ironically, it is his constant boredom that will lead back to the warm hospitality of her family home.

Le Grand Meaulnes

Le Grand Meaulnes

How Does it Contrast With Another Classic Romantic Novel?

I can only compare it with the most recent classic romantic novel I have read, though it was written nearly 100 years later, Alain Fournier’s Le Grand Meaulnes whose male characters are more afflicted by romantic notions in the vein of Tatyana, than Eugene Onegin. In Fournier’s novel and in his own personal experience, it is the women who dole out the practical advice and suggest that the young man is too young, only for him to become completely obsessed with her.

Overall, these chapters are much more dramatic and throw us deep into the story, they entertain, they shock and delight. It is a pleasure to read and I am looking forward to what the next two chapters will bring.

Click here to read the follow up review of Eugene Onegin Chapters 5 & 6