The Guermantes Way: Proust

It is illness that makes us recognize that we do not live in isolation but are chained to a being from a different realm, worlds apart from us and by whom it is impossible to make ourselves understood: our body. Were we to meet a brigand on the road, we might manage to make him conscious of his own personal interest if not our plight. But to ask pity of our body is like talking to an octopus, for which our words can have no more meaning than the sound of the sea, and with which we should be terrified to find ourselves condemned to live.

In Volume One of Remembrance of Things Past, Proust describes ‘the Guermantes Way as a geographical phenomenon, a particular path along a river, but in Proust’s third volume the phrase ‘The Guermantes Way’ takes on new meaning. Proust’s narrator is now a young man in society. His health is still fragile, but in spite of this, he maintains his friendship with Saint-Loup, leads an active social life, suffers a major loss, and finally meets his goddess: the elegant Duchesse de Guermantes, but as is often the case, reality does not meet expectations.

Our narrator is maturing, and a number of incidents contribute to his process of understanding the world and human deficiencies. He now lives close to the Guermantes family, and these days we would probably call him a stalker. He has admired the Duchesse de Guermantes from afar for years and considers her to be a fascinating woman. He discovers the routines of the Duchesse and manages to ‘accidentally’ bump into this ultra elegant woman daily but this doesn’t spark an acquaintance, and if anything, the Duchesse seems annoyed by the constant sight of narrator. He goes to visit the Duchesse’s nephew, Robert Saint-Loup, and tries to rope Saint-Loup into an endeavor to meet the Duchesse, the leader of “the Faubourg Saint-Germain” set.

I was genuinely in love with Mme. de Guermantes. The greatest happiness that I could have asked of God would have been that He should overwhelm her under every imaginable calamity, and that ruined, despised, stripped of all the privileges that divided her from me, having no longer any home of her own or people who would condescend to speak to her, she should come to me for refuge. I imagined her doing so.

The narrator’s beloved grandmother dies in a very painful sequence of the novel, and the narrator, ever the observer, details his grandmother’s final illness, her valiant attempts to recover after a stroke in the park, and the behaviour of some of their circle in the face of the grandmother’s death. He notes the hypocrisy of the Duc de Guermantes who comes to pay his respects to the family. The Duke is so enamoured with his own generosity in visiting the narrator’s home, that he is oblivious to his mother’s distress and forever afterwards labels her as a sort of looney.

So much happens in this wonderful book–it was slow to start but once underway, I was hooked. Proust’s descriptions of evenings spent in society are delightfully detailed, and it’s easy to imagine that we are right there in the room with him. Proust manages to convey the boredom, the stuffiness, and the tedium of spending hours in this, the highest, Parisian society, and paradoxically while nauseating boredom infuses these scenes, Proust’s detailed descriptions of this rarefied life are fascinating. The Guermantes, husband and wife, are central here. Large portions of the novel relate details of the Duchesse’s salons in which she rules the roost and showers the company with bitchy comments about various people in society. It’s a circle jerk of admiration with visitors cooing at the Duchesse’s expertise on everything and tittering at the Duchesse’s nastiness (hoping the nastiness doesn’t come their way). She is the Queen of Society. There are rumours of a divorce between this golden couple and we get a good look at the toxic marriage. The Duc admires his wife as a sort of valuable trophy, acknowledging her premier place in society, but he has a constant flow of mistresses, and the married pair delights in verbally ripping apart the old mistresses as they fade behind newer acquisitions.

One subplot concerns Rachel, the mistress of Robert Saint-Loup. Saint-Loup has praised Rachel to the narrator, so when he finally meets her, he is shocked to recognize her as a coarse prostitute he once passed over:

I saw that what had appeared to be not worth twenty francs when it was offered to me in a brothel

He could have had sex with Rachel for 20 francs but Saint-Loup is spending over 100,000 francs a year to maintain her. One could argue that the 100k francs a year is for exclusivity but there are no such promises here. Rachel, however, is beyond price to Saint-Loup and he’s well on his way to bankrupting himself on Rachel as have other men in the past. To patch up a row, Saint-Loup buys her a 30,000 franc necklace. The relationship between Saint-Loup and Rachel is awful. He’s tortured with suspicion and jealousy, and Rachel stokes the flames by flirting shamelessly with other men in Saint-Loup’s presence. The narrator goes out to dinner with Saint-Loup and Rachel, and he gets a front row seat witnessing how Rachel manipulates and tortures Saint-Loup.

Snobbery pervades every aspect of life in this world especially in the salons of the ‘cream’ of Parisian society. The fierce boundaries of society, the totem poles of social hierarchy, are savagely protected by the highest members with those slightly lower begging and dreaming of invitations to the ‘important’ homes. It’s pathetically funny how one set of visitors must not be allowed to bump into another set–almost as if there’s some fear of class contamination. The backdrop to these salon evenings is the Dreyfus trial which is the dominant topic of conversation.

While the narrator is a keen, peerless observer, finds he is horribly disappointed in the shallow reality of the Duchesse de Guermantes, he also has many other maturing experiences which he, true to his nature, analyses scrupulously. Proust’s philosophical observations permeate the plot: most of them are nuggets of amazing wisdom, and a few show Proust’s own snobbery and attitudes. For example at one point the narrator talks about Rachel’s hands and how she eats clumsily but “recovered her dexterity only when making love with that touching prescience in women who love the male body so intensely,” and thus Proust’s male vanity surfaces.

In one section, Albertine visits the narrator and they have sex in his bedroom. He is aware that he no longer loves Albertine; he’s matured and moved on, and a few pages later he has the nerve to ask Albertine to select the course for a dinner for another woman. The other woman, incidentally is Saint-Loup’s new mistress. The eccentric (mad as a march hare) Baron de Charlus, the brother of the Duc de Guermantes makes a few appearances. He is homosexual and seeks out the narrator’s company, offering to mentor him in society. A few people throw out hints warning about Charlus, but the narrator is too naïve to understand. He misguidedly (and unsuspectingly) accepts an invitation to visit Charlus at home and sits in the ‘wrong’ chair. Subsequently Charlus spews venom and accusations at the astonished and confused young visitor who is humiliated in front of the servants.

Towards the end of the book, the narrator, leaving the Duc and the Duchesse de Guermantes, runs into a sickly-looking Swann. In the first volume, Swann, an iconic romantic figure, was a vigorous man who scandalized his family by marrying his mistress, but now Swann is dying. Swann tells the Duc and the Duchesse that he has just a few months to live and the Duc in his usual crass way diminishes Swann’s statement with a discussion of the Duchesse’s shoes and her petty ailments. It was clear before this poignant scene that the Faubourg Saint-German society is superficial but with this casual cruelty, the superficiality sinks to a new low.

It is the wicked deception of love that it begins by making us dwell not upon a woman in the outside world but upon a doll inside our head, the only woman who is always available in fact, the only one we shall ever possess, whom the arbitrary nature of memory, almost as absolute as that of the imagination, may have made as different from the real woman as the real Balbec had been from the Balbec I imagined- a dummy creation that little by little, to our own detriment, we shall force the real woman to resemble.

Within a Budding Grove: Proust

I mentioned in my last Proust post the Monty Python All-England Summarize Proust Competition. (Special thanks to Patrick Alexander, the author of the incredibly helpful Swann’s Way. Marcel Proust’s Search for Lost Time: A Reader’s Guide to The Remembrance of Things Past.) Given that Monty P made a skit on this topic, it’s not a difficult guess to say it’s a gargantuan task to summarize Proust. Many books have been written analyzing Proust, summarizing Proust, and then all the PhDs… so here I am writing a blog post on Book II: Within a Budding Grove. For this reader, Book II is about Youth. Yes, there you have it. I may be wrong, I may be right, but I am keeping it simple. An alternate title of this book is: In the Shadow of Young Girls in Flower, so perhaps I am right about Youth as a theme.

In Swann’s Way, we read a lot about the narrator’s childhood: his interests, his health, his relatives, his holidays etc. Within a Budding Grove Marcel is older, and discovers sex (thanks to his friend, Bloch and brothels). Indeed Marcel’s interest in the opposite sex seems to dominate here, but again, it’s youth pushing the narrative.

Time has moved on since the first volume, yes Marcel is no longer a child, and little Gilberte, the daughter of Monsieur and Madame Swann has also grown up. Marcel visits the home of the Swanns often and is in love with Gilberte, but their relationship only goes so far and eventually cools.

The novel oozes snobbery, sometimes consciously as when portraying the intricate snobbery of the bourgeoise, but sometimes unconsciously too. Marcel goes on holiday to Balbec with his grandmother, and snobbery rages within the hotel. No doubt this is due to the fact that anyone can book and pay for a room; it’s not as exclusionary as one’s drawing room. At one point, Marcel notes that the liftboy refers to Françoise, one of his grandmother’s servants, as an “employee.” At first Marcel is confused:

Suddenly I remembered that the title of ’employee’ is, like the wearing of a moustache among waiters, a sop to their self-esteem.

It’s amusing that Marcel never even considers the possibility that he may be the one who is incorrect, or stuck in the past which swarms with countless peasants. He decides that there is no difference between hotel workers and servants.

One of the greatest moments in the novel occurs when Marcel sees a group of girls along the seafront. One is pushing a bike and two others have golf clubs–all the accoutrements of physical activity and exertion. One of the girls is Albertine, Marcel’s (future great love):

Just as if, in the heart of their band, which progressed along the ‘front’ like a luminous comet, they had decided that the surrounding crowd was composed of creatures of another race whose suffering could not awaken in them any sense of fellowship, they appeared not to see them, forced those who had stopped to talk to step aside, as though from the path of a machine that had been set going by itself, so that it was no good waiting for it to get out of their way, their upmost sign of consciousness being, when, if some old gentleman of whom they did not admit the existence and thrust from them the contact, had fled with a frightened or furious, but a headlong or ludicrous motion, they looked at one another and smiled. They had, for whatever did not form part of their group, no affection of contempt, their genuine contempt was sufficient. But they could not set eyes on an obstacle without amusing themselves by crossing it, either in a running jump or with both feet together, because they were all filled to the brim, exuberant with that youth which we need so urgently to spend.

One of the young girls even leaps from a bandstand over the head of an elderly gentleman, parked by his much younger wife, “brushing” his yachting cap with her feet as she did so. There’s no compassion for age or infirmity; oh the harshness of youth, and yet there’s also the idea that time is passing and one day these young girls will be the object of derision from another generation. We all have our day in the sun.

It comes so soon, the moment when there is nothing left to wait for, when the body is fixed in an immobility which holds no fresh surprises in store, when one loses all hope on seeing–as on a tree in the height of summer one sees leaves already brown–round a face still young hair that is growing this or turning gray; it is so short, that radiant morning time, that one comes to like only the youngest girls, those in whom the flesh, like a precious leaven, is still at work.

Marcel is fascinated by this group of girls and later in the book, he tries to force a kiss on one of the girls, Albertine. He has mistaken her flagrant, rude youth and behaviour for sexual permissiveness.. There’s also the sense that the world is changing: one person has electricity installed, and heaven forbid, some people have phones! The book is packed with memorable characters: the Marquis de Saint-Loup, a man obsessed with his demanding, imperious mistress, and the unpleasant Baron de Charlus. I rather liked Mme de Villeparisis, an aristo also staying at the hotel. And then the marvellous image of Madame Swann:

So it is that the average life expectancy, the relative longevity, of memories being much greater for those that commemorate poetic sensation than for those left by the pains of love, the heartbreak I suffered at that time because of Gilberte has faded forever, and has been outlived by the pleasure I derive, whenever I want to read off from a sundial of remembrance the minutes between a quarter past twelve and one o’clock on a fine day in May, from a glimpse of myself chatting with Mme Swann, sharing her sunshade as though standing with her in the pale glow of an arbor of wisteria.

Little What’s-His-Name: Alphonse Daudet

“He did not foresee that, all through his life, he should be condemned to drag about, in the same silly way, a blue cage, the color of illusion, and a green parrot, the color of hope!”

It’s an odd experience to move from reading Daudet’s brilliant, funny, and worldly-wise stories: Artists’ Wives to Little What’s His Name (Le Petit Chose). I certainly wouldn’t have guessed that these two books sprang from the same author. Little What’s-His-Name was Daudet’s first published book, and it’s autobiographical.

Little What’s-His-Name is Daniel Eyssette, and the story opens with his birth. Daniel, one of three sons, is born in Languedoc, to a successful man who owns his own silk factory.  Daniel says he was his “parents’ unlucky star,” as right after his birth “incredible misfortunes assailed them from all quarters.”

First there was the customer from Marseilles who stole 40,000 francs, then two fires, a strike, a family quarrel, a lawsuit, and the coup de grace … the Revolution of 1848.  Within a few years, the business is finished and the family leave the factory and their splendid home and move to Lyons (Daniel/Little What’s His Name loses his beloved parrot on the way.) Chapter II is called The Cockroaches for the family’s humble home is plagued with the insects who proceed to make hell for the Eyssettes.  The education of the two youngest boys, Jacques and Daniel, takes a hit due to lack of funds, and the boys attend a school for choirboys. Later a scholarship is offered for one of the boys and the father, who doesn’t seem to think that highly of Jacques, selects Daniel.

It’s a rather sad childhood marked by death, poverty, and memories of a better life. But there’s worse to come; within a few years, with their fortunes tumbling even further, the remaining members of the family split up with “each one to seek his fortune independently.” Daniel is sent off to be a schoolmaster thanks to the recommendation from a family friend.

By this point, Daniel has earned the name “Little What’s-His-Name” thanks to his diminutive size and I’m guessing also because of his ability to sink into the background. Working at the boys’ school is hell for Daniel as he’s smaller than the bigger students, but at least he gets half a bottle of wine at meals!

It’s at the school that Daniel learns some painful life lessons. Daniel is trying hard in his job, and likes teaching the younger boys, but he runs into problems when he punishes the unpleasant son of a Marquis. This incident, with its humiliating results, throws Daniel into bad company at the local inn. It’s a bitter experience to learn that the man you thought was your friend is using you and considers you an idiot, and that’s exactly what happens to Daniel. Without giving away arguably the best part of the plot, Daniel finds himself in Paris.

The first section of the book is the tale of Daniel’s early life and the time spent at the school. The second half concerns Daniel’s move to Paris (he lives with Jacques) and his attempts at a literary career.

Daudet has the habit of moving, in his narrative, from first person to third which I found a little odd. This seems to be driven by sentiment/emotion when Little What’s His Name is embroiled in an emotional scene or is humiliated. Almost as if Daudet is only comfortable imparting these scenes when moving further from the character.

The man with the mustache looked like a good fellow; on the way I learned that his name was Roger, that he was a teacher of dancing, riding, fencing, and gymnastics in the school of Sarlande, and that he had served for a long time in the African light horse. This was enough to make him entirely attractive to me. Children are always inclined to like soldiers. We separated at the door of the inn with much shaking of hands and the explicit promise of becoming friends. 

And now, reader, I have a confession to make to you.

When Little What’s His Name found himself alone in his cold room, in front of his bed in that strange and vulgar inn, far from those whom, he loved, his heart burst, and the great philosopher weep like a child. Life terrified him now, he felt weak and helpless to meet it. He cried and cried. 

I enjoyed the first half of the novel far more than the second half. The first half is powerful in its depiction of the innocence of youth, the battering, humiliating experiences that must be endured, and painful lessons regarding treachery. The second half lacks the same power. It’s too sentimental for my tastes, and that’s the problem with using autobiographical material. My copy comes from Mondial books with an introduction from W P. Trent who was also the translator,

Artists’ Wives: Alphonse Daudet

“Artists who live only by and for the public, carry nothing home to their hearth but fatigue from glory, or the melancholy of their disappointments.”

Alphonse Daudet’s Artists’ Wives easily makes my best-of-year list. This themed collection of short stories argues “again and again that artists cannot be happily married.” The idea exists (is it broadly accepted?) that Art is a jealous mistress, and Daudet shows this argument to be true, repeatedly, through his stories. Yet it’s not as simple as that: Daudet creates 12 stories, 12 situations if you will, which argue his point from various, cleverly devised angles. The book begins with a prologue in which “two friends–a poet and a painter” spend an evening together. After dinner, the poet, who is single, declares that he envies his married friend, and so a dialogue begins with the painter stating categorically that artists “ought never to marry.”

Here’s the breakdown of the stories:

Madame Heurtebise

The Credo of Love

The Transteverina

A Couple of Singers

A Misunderstanding

Assault with Violence

Bohemia at Home

Fragment of a Woman’s letter found in the Rue Notre-Dame-des-Champs

A Great Man’s Widow

The Deceiver

The Comtesse Irma

The Confidences of an Academic Coat

Daudet doesn’t just create an artist (who by the way can be a poet, a writer, a singer, a sculptor, a painter) who neglects his wife and dallies with his latest muse; no, Daudet is too ingenious for that. He creates 12 different scenarios of domestic hell all built around the complexities and complications of placing an ‘artist’ in the relationship.

Madame Heurtesbise would be arguably the one of the most predictable scenarios were it not for the sting in the story’s tale. Madame Heurtebise is seen as an unpleasant, pretentious woman:

having a certain love for glitter and tinsel, no doubt caught at her father’s shop window, making her take her pleasure in many-coloured satin bows, sashes and buckles; and her hair glossy with cosmetic, stiffly arranged over the small obstinate, narrow forehead, where the total absence of wrinkles told less of youth than of complete lack of thought.

This story, of a writer who marries an unimaginative woman, reminds me of the misery of married life found in George Gissing’s New Grub Street.

The Credo of Love, one of my favourites due to its dark humour, is the story of a woman who dreamed of being “the wife of a poet,” but instead she is married off to a wealthy, older man whose one “passion” is gardening.

She remained like this for a long time, closed in by the four walls of the conjugal garden, innocent as clematis, full however of wild aspirations toward other gardens, less staid, less humdrum, where the rose trees would fling out their branches untrained, and the wild growth of weed and briar be taller than the trees, and blossom with unknown and fantastic flowers, luxuriantly coloured by a warmer sun.

Bored, she turns once more to poetry, and then “at the terrible age of thirty, which seems to be the decisive critical moment for woman’s virtue” she meets “the irresistible Amaury,”

a drawing-room poet, one of those fanatics in dress coat and grey kid gloves, who between ten o’clock and midnight go and recite to the world their ecstasies of love, their raptures, their despair, leaning mournfully against the mantelpiece, in the blaze of lights, while seated around him, women, in full evening dress, listen entranced behind their fans.

Amaury  is “a desperate man such as women love, hopeless of life but irreproachably dressed, a lyric enthusiast, chilled and disheartened, in whom the madness of inspiration can be divined only in the loose and neglected tie of his cravat.”

A Couple of Singers is the story of two opera singers, one male, one female, who fall in love, inevitably, after singing love arias on stage to each other night after night. You’d think this match should work, after all, both husband and wife have the same career, but Daudet explores what happens when one partner in the marriage becomes more popular than the other.

A Misunderstanding is a he said/she said comparison (literally side by side pages) of a bickering couple.

Assault with Violence is a rather funny short story in epistolary form with lawyers writing back and forth and Nina, a woman who married a writer, sending letters about the situation to her aunt “an old maid.” Oh the horrors of married life to a “Bohemian.”

A Great Man’s Widow, another favorite, concerns a woman who marries a musician who after 15 years of miserable married life, has the grace to die.

On the high road to fame, over which he had so triumphantly and hurriedly traveled, like those who are to die young, she sat behind him, humble and timidly, in a corner in the chariot, ever fearful of collisions.

But with the death of her husband, the widow finds that she has a newly gained stature: she is now the widow of a Great Man, and she capitalizes on this situation, becomes insufferable, marries a younger less well know musician and incorporates him into the cult-like worship of the dead man.

The Deceiver has a mystery at its dark heart, and The Comtesse Irma, sticks with me still–the saddest story in the collection.

I am impressed by Daudet’s agile mind and the subtle nuances of the stories. In the exploration of human nature, these stories are reminiscent of Balzac. The introduction from Olivier Bernier goes into Daudet’s life along with a description of how he stood as an artist during his lifetime.

Translated by Laura Ensor

 

Paris Spleen: Baudelaire (1869)

“Wickedness can never be excused, but there is merit in knowing we are wicked; the one vice beyond redemption is to do bad things out of stupidity.”

Paris Spleen had sat on my shelf for some years, and while it’s ostensibly Baudelaire writing about Paris and various aspects of all levels of French life, it’s also a look inside Baudelaire’s head. This was published posthumously in 1869 and it includes prose pieces on a wide range of topics from being drunk to an observation of two children playing.

On the first page, Baudelaire had my attention; he addressed Arsène Houssaye, arguing for the merit of the prose pieces, that  “each survives on its own.”

We can break off where we choose, I my reverie, you the manuscript, the reader his reading; for I have not tied his reluctant  will to the interminable thread of some pointless plot.

Some of the pieces are very short–less than a page; some are observations of human behaviour while others are centered on nature.

In The Double Room, just over two pages long, Baudelaire describes a bedroom, and the languid, sensual description begins with the bedroom as a pleasant place, but that soon changes:

And that fragrance of another world, which sent my seasoned sensibility reeling, has been displaced, alas, by the rank odour of tobacco mixed with god knows what stomach-turning damp. Now lungs breathe rancid desolation.

In this reduced world, so full of disgust, just one familiar object consoles me: the phial of laudanum, old and frightful mistress–and like all lovers, alas abundant with caresses and betrayals.

Ah indeed, Time is back, and reigns supreme now; and that hideous old personage has brought all his fiendish retinue of Memories, Regrets, Fits, Phobias. Anguish, Nightmares, Rage and Neuroses.

I could quote a lot from this book. There are times I liked Baudelaire and I agreed with him and there were times I thought it was hard being Baudelaire. Ultimately however, this is a thinker who analyses his feelings for us, his fortunate audience. Anyway, there’s a lot to chew over here; a friend who died insane, the beauty of nature, whether or not humans possess “innate goodness,”  why people do horrible things, and the sadness and tortures of life. Yes, it’s Paris and Parisian life, but it’s also a glimpse into the mind of Baudelaire. This is best dipped into rather than read at one sitting. I read at night and Baudelaire gave me a lot to think about as I drifted off to sleep.

Vauvenargues says that in public gardens there are walks haunted mainly by failed ambition, ill-starred inventors, unachieved fame, broken hearts, all those wild, barricaded souls in the last throes of a storm and who retreat far from the insolent gaze of laughing wasters. 

Translated by Martin Sorell

 

Adolphe: Benjamin Constant

“It is a dreadful misfortune not to be loved when we are in love, but it is a very great one to be loved passionately when we have ceased to love.”

My Penguin Classics edition of Adolphe includes a long introduction from translator Leonard Tancock regarding the life of its author, Benjamin Constant and his relationships with three women: Mme de Charrière, Madame de Staël and Anna Lindsay. Tancock notes that Adolphe’s Ellenore is an “amalgam of Benjamin’s experience with women,” and no doubt that explains why this novella is so powerful.

 

Adolphe is not a particularly appealing protagonist, and this is in spite of, or perhaps even because, he has control of the narrative, so that we only see things from his one-sided view.  The story begins when Adolphe is 22 and has just concluded his university studies. He’s bored and in society, he feels that nothing is “worthy of attracting” his attention. Influenced by his father’s attitude towards women, and in a “state of vague emotional torment,” he longs for a love affair. He is invited by a friend of his father’s, Count P, to visit, and it’s here that Adolphe meets Ellenore, a Polish woman “whose family had been ruined.”  In spite of the fact that Ellenore is the Count’s mistress and they live openly together, she is socially accepted by the Count’s circle. Ellenore and the Count have two children together, and it’s mainly due to Ellenore’s persistence that the Count’s fortunes have been restored following a successful lawsuit. So Ellenore is an unusual prospect for Adolphe–a woman of high station who has risked everything for love.  Because of scandal and social stigma, Ellenore would normally have the sort of ignominious position that demands that she be stashed away from society, but no, she’s rather unusually not hidden–accepted yes but with a stain.  This makes Ellenore an intriguing and also a vulnerable prospect for seduction.

Adolphe lays siege to Ellenore. At first his attentions are pleasant:

I did not think I was in love with Ellenore, but already I could not endure the thought of not pleasing her. She was continually in my thoughts: I made countless plans and invented countless ways of winning her, with that callow fatuity which is so confident of success because it has never attempted anything.

When Adolphe is rejected, instead of taking the hint and cooling down, he doubles down on the pressure:

I was stunned. Inflamed by this setback, my imagination took possession of my whole life. Suddenly I found myself racked by the torments of love which but an hour before I had been simulating with such-self-congratulation.

Poor Ellenore, Adolphe is determined to have her and so he resorts to the ultimate threat. Ellenore is moved, gives in, and so the affair begins. It’s a relationship that’s doomed from the start, and the road towards that finality begins with a bump or two but then becomes tortured, troubled and loaded with self deceit. There are times when Adolphe deceives himself (not the reader) and there are times when he’s blisteringly honest. It becomes all too easy to see that one person is the root of all your problems. One person is holding you back from the brilliant career you know awaits you.

Nearly always , so as to live at peace with ourselves, we disguise our own impotence and weakness as calculation and policy; it is our way of placating that half of our being which is in a sense a spectator of the other. 

This wonderful novella explores the crucial issues of any relationship: where exactly the ME and the US begins and ends and how novelty adds glitter to an affair while routine and obligation bury the thrill.

And yet the affairs of ordinary life cannot be forced to fit in with all our desires. It was sometimes awkward to have my every step marked out for me in advance and all my moments counted. I was obliged to hurry through everything I did and break with most of my acquaintances. I did not know what to say to my friends when they invited me to take part in some social activity in normal circumstances I should have had no reason for declining. When I was with Ellenore I did not hanker after these pleasures of social life which had never appealed to me very strongly, but I would have liked her to leave me freer to give them up of my own accord. It would have been pleasanter to go back to her of my own free will, without telling myself that time was up and she was anxiously waiting, and without the thought of my happiness at rejoining her being mingled with that of her displeasure. Ellenore was a great joy in my life, of course, but she was no longer an objective, she had become a tie. 

For its focus on a turbulent dying relationship Adolphe reminded me of  Jules Barbey d’Aurevilly’s Une Vieille Maîtresse.

His Excellency Eugène Rougon: Zola (Brian Nelson Translation)

A few years ago I completed Zola’s 20 volume Rougon-Macquart Cycle. As I worked my way through the 20 books, I came to the conclusion that some would forever have a place on my-best books of all-time list: The Kill, Nana, L’Assommoir, Pot Luck, Money, Earth, The Ladies’ Paradise, Debacle,His Excellency, The Masterpiece, while others were bridge-books and not so memorable. At the time only some of the books were available in new or newish translations, and that left me with the 19th century Vizetelly translations. I don’t intend to knock the Vizetelly translations as the Vizetellys believed in these books, tried to publish them and were heavily penalized for their efforts.

When I discovered the shocking fact that many of the 20-volume cycle hadn’t been re-translated since the 19th century, I thought that the reason these books hadn’t been re-translated had to be because they were the minor novels in the series. But as it turns out, my theory wasn’t correct.

That brings me to the new translation of His Excellency Eugène Rougon from Brian Nelson. Nelson has previously translated the following novels in the series:

The Fortunes of the Rougons

The Ladies’ Paradise

Earth

The Kill

Pot Luck

The Belly of Paris

I’m excited about this translation as His Excellency Eugène Rougon is due for a reread, and what better reason than a new translation. If you want to read my review of the book, it’s here, but this post is about translation.

The main character, power-hungry Eugène Rougon has a certain attitude towards women:

Vizetelly translation:

“Yes, beware of women,” Rougon repeated, pausing after each word so as to glance at his papers. “when a woman does not put a crown on your head, she slips a halter around your neck. At our age a man’s heart wants as carefully looking after as his stomach.”

Brian Nelson translation:

“Yes, be very careful with women,” Rougon repeated, pausing after every word as he peered in a file. “If they’re not putting a crown on your head, they’re slipping a noose round your neck… At our age, a man should look after his heart as much as his stomach.”

Perhaps those two quotes don’t seem so different at first glance, but I read them both several times. In the first quote, the word “halter” evokes the imagery of a man being controlled whereas in the second quote, “noose” implies a much more terminal position. Plus then there’s that last line … “a man’s heart wants as carefully looking after as his stomach,” versus “a man should look after his heart as much as his stomach.” The matter of who is doing the care-taking of the heart is not in question in the Nelson version, as we would expect with Eugène Rougon, whereas the Vizetelly version implies that a woman could perhaps be taking care of the heart and the stomach which is in complete contradiction of Rougon’s speech.

But here’s a meatier quote:

Vizetelly translation:

“What had first attracted him in Clorinde was the mystery surrounding her, the story of a past-away life and the yearning for a new existence which he could read in the depths of her big goddess-like eyes. He had heard disgraceful scandal about her–an early love affair with a coachman, and a subsequent connection with a banker who had presented her with the little house in the Champs-Elysees. However, every now and then she seemed to him so child-like that he doubted the truth of what he had been told, and again and again essayed to find out the secret of this strange girl, who became to him a living enigma, the solution of which interested him as much as some intriguing political problem. Until then he had felt a scornful disdain for women, and the first one who excited his interest was certainly as singular and complicated a being as could be imagined.”

Nelson translation:

“What attracted him in Clorinde was the quality of the unknown, a mysterious past, and the ambition he thought he could read in her big, dark eyes. Frightful things were said about her–a first attachment to a coachman, then a deal with a banker, rumoured to have paid for her false virginity with the gift of a house on the Champs-Élysées. On the other hand, there were times when she seemed such a child that he doubted these stories. He swore he would get the truth out of her himself, and kept going back hoping to learn the truth from the strange girl’s own lips. Clorinde had become an enigma which began to obsess him as much as any delicate question of high politics. He had lived his life thus far in disdain of women, and the first woman to whom he was attracted was without doubt the most complicated creature imaginable.”  *(and there’s a note here that Clorinde was modeled on the real-life Virginia Oldoini, Countess of Castiglione)

Comparing the two, IMO, the Nelson version is much smoother and also much more effectively conveys Rougon’s fascination with Clorinde. Significantly, Clorinde’s sexuality is absent from the Vizetelly quote. Back to censorship and what the Vizetellys had to deal with. Zola’s incredible, unforgettable characters are human beings who experience great passions: whether is be the passion/obsession for power, money, revenge, or sex, and it’s a shame  crime against literature that the Vizetellys were forced to tone down their translations. Henry Vizetelly was convicted twice for obscenity when he published versions of Zola novels. But that was the 19th century, so I’m going to celebrate the 21st century with a re-read of His Excellency Eugène Rougon.

Review copy.

The Corsican Brothers: Alexander Dumas

“In a quarrel, the origin is not of any consequence.”

I’ve seen a couple of versions of The Corsican Brothers: The Douglas Fairbanks Jr. swashbuckler version

and the crude, hilarious Cheech and Chong version:

And that brings me to the source material: the novella from Alexander Dumas.

It’s 1841. The story begins with our narrator, a Frenchman who is journeying through Corsica, explaining the custom of claiming a night’s free board and lodging just by picking the “most commodious house,” and explaining you’re a traveller. The narrator (Alexander) explains this is seen by the owner of the house, as a honour, since you’ve picked his house out of the entire village.

Sounds like a bit of scam to me. Imagine trying to pull that these days.

Anyway, Alexander travels to Sullacaro, and notices that all of the houses seem fortified. In some of the houses, the windows are bricked up, or “guarded by thick planks , provided with openings large enough to pass a gun through.” The narrator selects the house that looks the finest but oddly enough is the only house that is not fortified. This is the home of the widow Savilia de Franchi, a woman about 40 years old, the mother of 21-year-old twin boys: Lucien and Louis.

Fortunately for the reader, the narrator is the sort of person who is interested in his surroundings. He’s given the room which belongs to the absent son, Louis, who resides in Paris, training to be a lawyer. It’s obvious from the room’s contents that Louis is a great admirer of all things French, and then the narrator meets Lucien, his brother’s opposite. In childhood, it was impossible to tell them apart, but now Louis wears French clothing, reads French books, while Lucien is deeply Corsican.

While Louis’ room is full of French books, Lucien, now an arbiter between warring factions, is more into weaponry. He  has an impressive arsenal which includes a dagger owned by the legendary Sampiero.

The narrator spends a day with Lucien who negotiates a truce to end a vendetta between two families–a vendetta which started over a chicken.

A hen escaped from the yard of the Orlandi, and flew over into that of the Colonna. The Orlandi went over to claim their hen, but the Colonna refused to give it up, claiming it as their own; the Orlandi then threatened to take them to a justice of the peace. The old mother Colonna, who kept the hen in her hands, then twisted its neck, and threw it in her neighbor’s face saying, ‘Well then, if she belongs to you, eat her.’ One of the Orlandi then picked up the hen, and was going to strike the offender with it; but at that moment, one of the Colonna, who, unfortunately, had a loaded gun in his had, took aim at him, and shot him dead on the spot.

And how many lives have now been paid for this scuffle?

There have been nine persons killed altogether.

And that for a wretched hen worth only twelve sous.

No doubt the hen was the cause; but as I have told you already, it is not the cause, but the result you must look at 

Over the course of his stay, the narrator learns that the two young men, Louis and Lucien are deeply bonded, and when one falls ill or is distressed, the other twin feels it, hundreds of miles away. Then the narrator returns to Paris and meets Louis. We see scores settled, and the way two cultures settle those scores:

not after the Corsican fashion, from behind a hedge, or over a wall. No, no, but after the French manner, with white gloves, a shirt frill and ruffles.

Once the stage is set, a fairly predictable course of events take place, and since this is an action-based vendetta story, there wasn’t any room for character development. Still I enjoyed the story for its strong Corsican bent, and the idea that twins possess an unearthly bond.

Like Death: Maupassant

“Daylight poured into the enormous studio through an open bay in the ceiling: this oblong of brilliant light–an immense perforation in the remote azure infinity–was ceaselessly crisscrossed by sudden flights of birds.”

Maupassant’s delicately sensitive novel, Like Death is an exploration of aging, love and to a lesser degree the hollowness of fame. Painter Olivier Bertin is at the pinnacle of his long successful career, and yet although he’s achieved fame and material success (unlike most artists) he’s not a happy man. But neither is he unhappy–rather, he is bored and discontent. Now Bertin is at an impasse in his career and he’s beginning to wonder if he’s lost his “inspiration.” Every idea he has seems stale.

Rich, famous, the recipient of many honors, he remains, toward the end of his life, a man unaware of the ideal he is pursuing.

His art follows the style worshiped by dictated tastes of the Academy: “great historical scenes” and “living men along classical lines.” But a successful artist does not work in a vacuum.

Perhaps, too, the world’s sudden infatuation for his work–always so elegant, so correct so distingué–has had a certain influence on his nature and kept him from being what he would in the course of things have become. Since the triumphs of his early work, a constant desire to please has unconsciously haunted him, secretly impeding his development and attenuating his convictions. his craving to please, moreover, had shown itself in a great variety of forms and contributed a good deal to his renown.

Countess Anne de Guilleroy, the wife of a conservative politician, has been Bertin’s mistress since posing for her portrait many years earlier. She’s promoted his work and encouraged him in “considerations of fashionable elegance,” so in other words, she’s helped his career and kept his art safely in the commercially successful category. Over the years, their relationship has waxed and waned; he’s had other mistresses but he always returns to her, and “her life [is] a constant combat of coquetry.” At this point in time, facing old age, Bertin’s regretting that he couldn’t marry her and that he is alone.

Everything for Bertin and the Countess changes with the arrival in Paris of Annette, the Countess’s 18 year old daughter who’s there to be married off to a wealthy young man…..

An almost macabre dance between Bertin, the Countess and her daughter begins to take place. Bertin is awed by the young girl and considers her even more beautiful than her mother. Is she his next, most significant, muse? Meanwhile the Countess begins to wonder if her daughter is her fatal rival.

Like Death boldly confronts aging as Bertin feels jealous of the young girls fiance but sadder still is the fact that the Countess finds herself a poor rival against her daughter’s youth. So we see aging as the enemy of love: Bertin falls in love with a young girl who likes him but doesn’t conceive of him as a romantic suitor, and the Countess sees herself aging and is desperate to be attractive. There’s, of course, an immense sense of futility here as Bertin, thinking she’s his next muse, plies Annette with expensive gifts, and the Countess decides never to stand next to her daughter in bright light. In another writer’s hands, this could be a farce, but Maupassant grants both Bertin and the Countess dignity.

In one very poignant scene, the Countess prays for her beauty to remain, that she can stay attractive for just a few more years.

Then, having risen, she would sit before her dressing-table, and with a tension of thought as ardent as if in prayer, she would handle her powders, her cosmetics, her pencils, the puffs and brushes which gave her once more a beauty of plaster, daily and fragile.

While Like Death is not as perfect as Bel Ami, thanks to its subject matter, it’s relevant, and Maupassant shows incredible empathy as he gently explores the Countess’s fears and vanity.  As I read this I was reminded of Thomas Hardy’s The Well-Beloved, a novel in which a sculptor, in his search for the perfect woman, courts three generations from the same family.

Review copy

Translated by Richard Howard

The Mysteries of Paris: Eugène Sue (Part II)

Earlier this year, I took a look at (and started) Eugène Sue’s mammoth novel, The Mysteries of Paris. The Mysteries of Paris ran, as a series, in the Journal des Débats from June 1842-October 1843. I’m still chugging my way through it, and it’s hard to review as there are spoilers galore in every chapter. Each main character has at least one other identity, and their convoluted histories cross back and forth. Every time you think you have a handle on the plot, Sue throws in more to confound us.

As a writer, Sue is shameless. He’ll throw mention of a character into the narrative in a seemingly minor way, but you can almost hear the thunderclaps of suspense overhead. One of the characters mentions a lost son who is wearing a Lapis Lazuli cross; we don’t have to wait long; it appears in the next chapter. One character seems vile, but he flips into a decent sort within the space of a few chapters. People pop up and disappear. Conversations are conveniently overheard. Coincidence occurs so often, you’d think there were only a few dozen people living in Paris. It’s clear that Sue is thinking on the fly. This isn’t plotted out in minute detail in advance.

This is not great literature–it’s too melodramatic for that, but it’s still great fun. Sue is one hell of a plotter. If he were alive today, I could see him writing for one of those really tacky, addictive thrilling TV series: say The Affair, or Dallas back in the day.

The book’s main character and hero is Rodolphe; he’s actually a Grand Duke of some German principality whose agenda is to travel through the gutters of Paris in disguise and  save people from poverty and a life of crime. Rodolphe knows that many of the Parisians whose paths he crosses are mired in lives of poverty and crime for no fault of their own, and he also understands the difference between true evil and those who have to do what they do in order to survive. Hence he has no problem, for example, with Songbird, a young girl who’s enslaved in a life of prostitution, whereas he loathes the woman who abused Songbird: The Owl, a one-eyed hag whose secret weapon is a bottle of acid which she is prepared to throw on anyone who gets in her way.

Rodolphe even tolerates The Ogre: an innkeeper who whores out Songbird, and the message is that Rodolphe’s intolerance is for those who abuse and corrupt. This supposition comes true as we learn more of Rodolphe’s past.

I liked Rodolphe until he went all Old Testament on me. He’s a god-like figure dispensing bounty for those who deserve it and punishment for those who don’t. I’m still working on the book, so who knows what else Sue has in store.

Review copy