Bodily Secrets: William Trevor

William Trevor’s Bodily Secrets is a collection of 5 short stories in Penguin’s Great Loves series. As you’d expect, the topic is love, but the selection here offers a wide range of aspects on this complicated topic. We see the end of love, a love that cannot endure poverty, compromises in love, and a love that is destroyed by shame.

In The Day We Got Drunk On Cake, Mike is persuaded to spend a night out on the town with a disreputable acquaintance:

Garbed in a crushed tweed coat, fingering the ragged end of a tie that might have already done a year’s service around his waist, Swann de Lisle uttered a convivial obscenity in the four hundred cubic feet of air they euphemistically called my office. I had not seen him for some years: he is the kind of person who is often, for no reason one can deduce, out of the country. In passing, one may assume that his lengthy absences are due in some way to the element of disaster that features so commandingly in his make-up.  

That’s the opening paragraph of the story. “Swann is a great one for getting the best out of life,” and he persuades Mike to ditch work and join him in a pub for the afternoon. Swann has arranged to meet two women, “Margo and Jo, a smart pair who drew pictures for magazines.” Margo starts complaining about her husband Nigel who keeps bringing home gangs of elderly women, and somehow or another, Mike is strong-armed into becoming involved. During the hours that pass, Mike is supposed to call Nigel and harass him about his old ladies, but instead, at first at least, he calls a woman named Lucy. He’s in love with Lucy and finds any excuse he can to pester her on the phone, but she’s clearly moved on…

This is one of my two favourite stories in the book. It’s a funny story but bitter-sweet. Mike realises that in this precious moment in time, he still loves Lucy, but he knows that time will eventually blur those feelings.

Lovers Of Their Time concerns a married travel agent, Norman Britt who begins an affair with Marie, a girl who works at the chemists. I won’t say anything much more about the story, but I will mention his marriage to Hilda, a woman who works at home making jewelry. Hilda is a bit of a dark horse:

‘All right then?’ she said when he carried his tray of food into the sitting-room and sat down in front of the television set. ‘Want some V.P., eh?’

Her eyes continued to watch the figures on the screen as she spoke. He knew she’d prefer to be in the Fowlers’ house or at the Club, although now that they’d acquired a Tv set the evenings passed easier when they were alone together.

‘No, thanks,’ he said in reply to her offer of wine and he began to eat something that appeared to be a rissole. There were two of them, round and brown in a tin-foil container that also contained gravy. He hoped she wasn’t going to be demanding in their bedroom. He eyed her, for sometimes he could tell.

‘Hi,’ she said, noticing the glance.’Feeling fruity, dear?’ She laughed and winked, her suggestive voice seeming odd as it issued from her thin, rather dried-up face. 

Lovers of Their Time explores the idea that the 60s intoxicated the behaviour of the middle-aged–not just the young. A sort of Pandora’s Box of possibilities, and one that Norman opens. This is an affair, like most affairs, that has a glamour that’s removed from the details of day-to-day life, such as dried out rissoles from the oven. What’s also fun here is Norman’s assumption that he’s the only one with longings.

The next two stories are nicely contrasted. Bodily Secrets is the story of a middle-aged, wealthy widow who flouts convention when she decides to marry one of the family’s employees. Honeymoon in Tramore concerns a young couple who get married–she’s pregnant by someone else, and her new husband is an employee on the family farm.

In Love With Ariadne is the story of a young medical student who falls in love with the daughter of his landlady. This is another bittersweet story of a love that’s nursed for years and that survives in memory.

If you’ve never read Irish author William Trevor before, Bodily Secrets is a wonderful introduction. The gentle humour tinged with bittersweet poignancy, it’s all here.

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German Stories and Tales: Robert Rick ed. (Part III)

Back to German Stories and Tales, and here’s part I and part II for anyone interested in the contents of this modest OOP book. Readers who are seeking German stories really can’t go wrong with this collection, for most of the tales here are excellent.

In Moritz Heimann’s  (1868-1925) story The Message That Failed, a tale of unrequited love, humble revenue clerk/poet Vincentius Hüttenvogel returns from the theatre following a performance of The Marriage of Figaro. In a burst of enthusiasm, he writes a poem to the singer who played the role of Cherubino in a sexually ambiguous fashion:

Vincentius, who had often seen and heard her, but had formerly resented her crude, naturalistic vocal style, was at first vexed and then enkindled by her Cherubino’s ambiguity. Artlessness this time impressed him as superior art; no love song had ever had the elemental quality of this gay, careless outpouring from a creature who did not lure a woman with male wiles or try as a woman to seduce a man. This was no longer yearning or mere concupiscence. This was rapture itself an all its sweetness. 

Vincentius considers sending the singer, Nanette, the poem, but decides against it. His landlady. however, finds the poem, copies it, and sends it to Nanette. Nanette is used to fan mail, but this poem strikes at her heart, and somehow the adulation shown by its author make her impatient with her young, wealthy lover, Xavier. So begins a search for the poet, a search laced with irony and a bittersweet ending. (translated by E.B. Ashton)

Arthur Schnitzler’s The Bachelor’s Death reminded me, slightly,  of the old film, Letter to Three Wives. A doctor, a writer, and a businessman are called to the bedside of their friend, a bachelor, but they all arrive too late; the bachelor is dead. The doctor discovers a letter written by the bachelor and reads it aloud. To state the contents of the letter would be to give away too much, but I’ll say that the letter is a confession which has profound implications for the three men. (translated by Richard and Clara Winston)

Another great favourite is Hermann Broch’s Zerline, the Old Servant Girl. At first it seemed as though the focus would be A., an affluent businessman with the Midas touch. But no, the focus is Zerline, a bitter, nasty old servant who tells a story of her youth and the competition between her and her mistress, the Baroness, for the love of a dissolute man.

Man is cheap, and his memory is full of holes that he can never patch up. How much of what you forget forever you have to do in order for what you have done to be able to carry the little that you keep forever. Everyone forgets his everyday life. With me it was all the furniture that I dusted day after day, all the plates that had to be wiped, and like everyone else. I sat down every day to eat. But as with everyone, it’s only a knowing about it, not a real remembering, as though it had all happened without any weather, good or bad. Even the lust I enjoyed has become a space without weather, and though my gratitude for what was alive has remained, the names and features that once meant lust and even love to me have vanished more and more from my mind, vanished into a glass gratitude that has no content any more.Empty glasses, empty glasses. And yet if it weren’t for the emptiness, if it weren’t for the forgotten, the forgettable wouldn’t have been able to grow. The forgotten carries empty-handed the unforgettable, and we are carried by the unforgettable. 

It’s a long quote, slightly awkward in the beginning, but it captures life and memories so well, and how at the end of our lives, we forget all the meals we’ve eaten, all the boring stuff, and instead our lives are accordioned into some “unforgettable” memories. In the case of Zerline, the unforgettable shrinks down to a few days with Herr von Juna…. (translated by Jane B. Greene)

German Stories and Tales: Robert Pick Ed. (part II)

Following on from the first post about German Stories and Tales ed. by Robert Pick, I’m going to cover a few more of my favourite selections from this stellar collection. The three stories described here (I’m not counting Krambambuli by Marie von Ebner-Eschenbach) explore various scenarios regarding tragic love.

An Episode in the Life of the Marshall de Bassompierre by Hugo von Hofmannsthal is a story told in retrospect by a man who’s attracted to a beautiful French shopkeeper. She has formed the habit of standing outside of her shop and greeting the narrator as he passes by on his horse. The woman’s interest is so noticeable, that the Marshall de Bassompierre sends a servant to secure an assignation with this beauty.

The assignation is a bit tawdry with the meeting taking place at a procuress’s grubby establishment. Since there’s plague in the city, the Marshall takes along (by his servant’s advice) his own mattress and sheets. Bassompierre’s new mistress, it turns out is married, and the assignation, while enjoyed by Bassompierre, clearly means a great deal more to the woman who has given herself freely but may suffer consequences. The couple make another assignation. …

There’s a gothic feel along with an accompanying sense of dread to An Episode in the Life of the Marshall de Bassompierre. What means so much to the young woman is clearly less meaningful to Bassompierre, yet the incident haunts him for years to come. (Translated by Mary Hottinger)

Lukardis by Jakob Wasserman has a similar theme of a woman who sacrifices a great deal for a man. This story is set in Russia and concerns a young dragoon named Evgen who, when he hears that his sister has been deported to Siberia for subversive activity, revolts when he’s ordered to suppress a protest in the streets. In the skirmish that follows, Evgen joins the protestors and is shot by his fellow dragoons. Subsequently, Evgen is smuggled into a network of sympathetic people, but with the police on the hunt for Evgen, hiding this badly wounded man is a liability that most households won’t risk. Enter Anastasia Karlovna, an influential woman who agrees to hide Evgen, but finds that she soon runs out of options until she comes up with a brilliant plan. But she needs a respectable young woman who is willing to make a sacrifice.  … (Translated by Lewis Galantière)

For animal lovers, I’d recommend passing on Krambambuli by Marie von Ebner-Eschenbach. It’s a short story that shows that we humans mostly don’t deserve, or understand, the animals in our lives, and it has scenes of  animal cruelty.

Cardiac Suture from Ernst Weiss is an unusual story for its depiction of an operation. The story begins in an auditorium where students attend lectures, but the auditorium converts into an operating room when, mid-lecture, a young woman who stabbed herself through the heart, is rushed into the room. The lecture turns into demo, and as fate would have it, one of the students is the love interest of the dying girl.  It’s a strange story which leaves the reasons for the suicide attempt vague, but instead focuses on the doctor who lectures and then operates on the girl in front of his students. While the doctor (he’s known as the General) who operates dehumanises his patient, he’s nonetheless efficient–all business while the girl’s lover, who assists, is patently disturbed.

Upon reflection, the story is terrifying as the silent, anguished emotional drama between the student and the girl is subsumed by the efficient process of the operation. We know that the operation, in full view of a class full of students, will conclude, but what will happen afterwards? (Translated by E.B. Ashton)

Operating time: seven minutes and a half. A hundred years ago Napoleon’s personal physician could amputate a leg in that time, including everything, blood-stilling, et cetera. But those were other masters than we are. Well, pick the patient up carefully and lift her into the bed-or rather, let me do it. That’s it-that’s the way. Hot-water bottles ready? Cover her. Cover her! Everything all right. Everything else we’ll leave to luck. Good morning, gentleman, good morning. 

German Stories and Tales: Ed. by Robert Pick (Part I)

As part of my 2017 TBR project, I committed to read 48 books that I’d bought any time prior to January 1st. One of the books that made the cut is German Stories and Tales edited by Robert Pick. This paperback was given to me in 1987, but it was published more than 20 years prior to that: 1966. I mention the date of the publication as a couple of the authors whose stories appear in the collection were still alive in 1966. It was eerie reading about Alexander Lernet-Holenia in the present tense, living in “Vienna and Sankt Wolfgang, Upper Austria,” and Hermann Kesten living in NYC.

So here I am thirty years after being given this book, finally reading it. This is such a modest looking little paperback but what treasures it contains:

Youth, Beautiful Youth by Hermann Hesse
Kannitverstan by Johann Peter Hebel
An Episode in the Life of the Marshal de Bassompierre by Hugo von Hofmannsthal
Lukardis by Jakob Wassermann
Krambambuli by Marie von Ebner-Eschenbach
Cardiac Suture by Ernst Weiss
The Message that Failed by Moritz Heimann
Rock Crystal by Adalbert Stifter
The Bachelor’s Death by Arthur Schnitzler
Unexpected Reunion by Johann Peter Hebel
Mona Lisa by Alexander Lernet-Holenia
The Picnic of Mores the Cat by Clemens Brentano
Zerline, the Old Servant Girl by Hermann Broch
The Friend in the Closet by Hermann Kesten
The Metamorphosis by Franz Kafka
A Little Legend of the Dance by Gottfried Keller
Death in Venice by Thomas Mann
The Hussar by Johann Peter Hebel

I’ve never read Herman Hesse although I’ve looked at, and passed on, his books many times. Youth, Beautiful Youth is a wonderful bitter-sweet short story that captures the feeling of lost youth. The story is told in retrospect, by Hermann, a man who recalls his visit home. He’s been away for a few years and has employment lined up for the autumn. This then is his last summer before settling down, possibly permanently, so this is an auspicious visit home:

With creeping caution the train descended the hill in great winding curves, and with each turn the houses, streets, river, and gardens of the town below came closer and grew more distinct. Soon I could distinguish the roofs and pick out the familiar ones; soon, too, I could count the windows and recognize the stork nests. And while childhood and boyhood and a thousand precious memories of home were wafted toward me out of the valley, my sense of arrogant triumph at the homecoming slowly melted away. My desire to make a big impression upon all the people down there yielded to a feeling of grateful astonishment. Homesickness, which in the course of the years had ceased to trouble me, assailed me powerfully in this last quarter-hour. Every clump of broom near the station platform and every familiar garden fence became strangely precious to me, and I asked each to forgive me  for having to be able to forget it and get along without it for so long. 

It’s a wonderful carefree summer with the narrator taking long walks, reading, setting off fireworks with his brother Fritz, and falling in love. The summer stretches out far ahead, and yet it ends all too soon.

And as all loveliness and sweetness is mortal and has its destined end, day after day of this summer, too, slipped through my fingers-this summer which in memory seems to have brought my youth to a close.

This summer is a moment in time–a moment that will never be repeated. Hermann presses memories and scenes into his mind where they remain even though the world Hermann knew passed away. There’s the sense that something happened after the narrator left–was it WWI? And here is how the story ends.

As the train approached our garden, I caught sight of a powerful blood-red flare. There stood my brother, Fritz, holding a Bengal light in each hand. At the very moment that I waved to him and rode by, he sent a skyrocket shooting straight up into the air. Leaning out, I saw it mount and pause, describe a gentle arc, and vanish in a rain of red sparks.

Translated by Richard and Clara Winston.

Crimson Snow: Winter Mysteries. ed. by Martin Edwards

“It’s the bloke who spends the night in the haunted chamber who always cops it in the neck.”

Crimson Snow, a collection of crime stories set around the Christmas season is a perfect companion read to Mystery in White. Short story collections are a wonderful way to ‘try out’ new authors, and in the case of Crimson Snow, I had a reunion with Margery Allingham and met some new (to me) interesting authors. And here’s the line-up:

The Ghost’s Touch: Fergus Hume

The Chopham Affair: Edgar Wallace

The Man with the Sack: Margery Allingham

Christmas Eve: S.C. Roberts

Death in December: Victor Gunn

Murder at Christmas: Christopher Bush

Off the Tiles: Ianthe Jerrold

Mr Cork’s Secret: Macdonald Hastings

The Santa Claus Club: Julian Symons

Deep and Crisp and Even: Michael Gilbert

The Carol Singers: Josephine Bell

Solution to Mr Cork’s Secret: (author’s solution and two winning entries)

I shan’t cover every story in the review, but will instead focus on some favourites. The collection itself presents a pleasant variety with private citizens, an unpaid PI, and a few policemen in the mix. While there’s a range of stories, I found myself really enjoying the blend of voices here.

I’ve been meaning to read Fergus Hume’s The Mystery of the Hansom Cab for years, so I was delighted to read his short story, The Ghost’s Touch, in which the narrator, Doctor Lascalles is invited by an Australian friend, Frank Ringan to spend Christmas at the “family seat near Christchurch.” Frank, whose father made his fortune in the “gold-digging days”  is the wealthy member of the family, but the “head of the family” is Frank’s cousin impoverished Percy Ringan. Alarm bells ring in the mind of any self-respecting crime reader when we learn that the Ringan cousins have made their wills in each other’s favour.

Frank is extremely proud of the ancestral estate and “the position and antiquity of his family,” so he’s thrilled to spend a traditional English Christmas at the ancestral estate at Ringshaw Grange.

It was a wonderful old barrack of a place, with broad passages, twisting interminable like the labyrinth of Daedalus; small bedrooms furnished in an old-fashioned manner; and vast reception apartments with polished floors and painted ceilings. 

At Ringshaw Grange, however, things begin to go wrong when there’s an unexplained fire in Frank’s bedroom and he’s moved to the notorious haunted chamber, the Blue Room. …

Edgar Wallace’s The Chopham Affair was another pleasant surprise. In the introduction, Martin Edwards states that while “subtlety was not” Wallace’s strongest point, “his short stories have arguably stood the test of time.”  The Chopham Affair, a story of blackmail and murder, was excellent, and this is how it begins:

Lawyers who write books are not, as a rule, popular with their confrères, but Archibald Lenton, the most brilliant of prosecuting attorneys, was an exception.

Off the Tiles from Ianthe Jerrold is a short story with a twist as it ends not so much with a solution (which does occur) as with an observation on the unwavering consistency of human behaviour. The story is an investigation into the death of a woman who appears to have fallen off of her roof. Hostilities exist between the dead woman and her neighbours and the dead woman’s sister insists that murder has occurred.

The Man with the Sack from Margery Allingham was a delight. It’s a story in which we find poor Albert Campion roped into being an unpaid PI during a Christmas gathering which takes place at the home of some old friends. In The Santa Claus Club from Julian Symons, private investigator Francis Quarles is employed by the wealthy Lord Acrise who has been receiving threatening letters from a man who went to prison decades earlier. Christopher Bush’s Murder at Christmas is the story of a golfing holiday interrupted, most inconveniently, by a murder. Victor Gunn’s amusing Death in December features Chief Inspector Bill ‘Ironsides’ Cromwell who investigates a murder that takes place during the holidays at a castle. A dead body pops up and then everyone finds themselves snowed in….

“A fine place to bring me to for Christmas,” he said sourly. “Ghosts all over the place before we even get indoors!”

Crimson Snow, and what a apt title that is, is a most enjoyable read for the season.

Review copy

A Very Russian Christmas from New Vessel Press

“In California they drink gin instead of tea.” 

I saved A Very Russian Christmas from New Vessel Press for the right time of year, and while I can’t say that the stories made me full of good cheer, they all definitely contained elements of Christmas in one way of another. There’s a universality to these stories which show Christmas as a troubling time, a time for reflection and, as cheesy as it may sound, being grateful for what we have. Here’s the line-up:

The New Year’s Tree: Mikhail Zoshchenko

The Boys: Anton Chekhov

A Christmas Tree and a Wedding: Fyodor Dostoevsky

At Christmastide: Anton Chekhov

Dream of the Young Tsar: Lev Tolstoy

Makar’s Dream: Vladimir Korolenko (translated by Victoria Zinde Walsh)

A Woman’s Kingdom: Anton Chekhov

A Distant Christmas Eve: Klaudia Lukashevich

The Little Boy at Christ’s Christmas Tree: Fyodor Dostoevsky

Christmas Phantoms: Maxim Gorky

A Lifeless Animal: Teffi

My Last Christmas: Mikhail Zoshchenko

Chekhov’s The Boys is the tale of a planned escape to America; In Mikhail Zoshchenko’s, The New Year’s Tree, the forty-year-old narrator recalls the lessons learned 35 years earlier. In another story from Chekhov, At Christmastide, an older couple pay someone to write a letter to their daughter who has married and moved away. Dream of the Young Tsar from Tolstoy was a bit of a disappointment; it’s sort of a Russian version of A Christmas Carol, heavy handed and moralistic.I’m not going to review all the stories, and instead I’m going to concentrate on my favourites in the collection.

Maxim Gorky’s story, Christmas Phantoms, is the story of a writer who, on one very cold night, is finishing a story about two peasants–a blind husband and his elderly wife, who, after an unsuccessful day begging on Christmas Eve, freeze together to death in the snow. What a dreadful story, I thought to myself, and I felt disappointed (too soon) by Gorky, but he pulled a few tricks and before the story was done, I had a few chuckles. All I’ll say is ‘writers beware what you do to your characters.’

Another favorite was Chekhov’s A Woman’s Kingdom. The story opens on Christmas Eve and focuses on unmarried Anna Akimovna, a young woman who owns substantial property, including a factory which employs 1800 workers. Every year at Christmas, she distributes a certain amount of money to the poor, but this year, an extra 1500 roubles lands in her lap, and she decides to give it away. But who to give it to? She’s faced with a stack of begging letters (and hateful letters), and letting fate award the 1500 roubles, she picks a begging letter at random.

A Woman’s Kingdom is a fairly long story, and one that could have been worked into a novel. We see Anna’s Christmas when she is visited by the local poor who shivering with cold, pay respects, Anna notes “in reality there is something cruel in these Christmas customs,” but she’s powerless to stop the century old traditions.

For Christmas dinner she’s joined by a civil councillor and a slimey barrister, Lysevitch. These men can be seen, ostensibly, as suitors, but neither of them court Anna-although sleek Lysevitch, “like a spoiled horse fresh from the stable,”  is full of stupid advice about Anna taking multiple lovers.He’d “long ceased to believe in anything he had to say in the law courts, or perhaps he did believe in it, but attached no kind of significance to it–it had all so long been familiar, stale, ordinary ..”

Anna, an extremely sympathetic character, was raised from peasantry to wealth by inheritance. She’s not entirely comfortable with her position. She longs for love and marriage, but it seems that she’s destined to remain unmarried. We see a life of privilege but a life that’s sterile. She has wealth but she’s being ripped off in various ways; she’d like to help those in need and give charity, but her actions are either thwarted or futile.

My favourite story in the collection was Dostoevsky’s A Christmas Tree and a Wedding. The narrator is an unnamed man who sees a wedding, and then casts his mind back to a children’s party which took place five years earlier on New Year’s Eve. The family who threw the party were wealthy, and the narrator, an outsider, observes the other guests, the children and their accompanying governesses.

Particularly charming was a blackeyed, curly-headed boy, who kept trying to shoot me with his wooden gun. But my attention was still more attracted by his sister, a girl of eleven, quiet, pensive, pale with big, prominent, pensive eyes, exquisite as a little cupid. 

Idle gossip between the guests whispers that the little girl will inherit 300,o00 roubles, and the supposedly disingenuous narrator notices that gifts, which seem to be randomly distributed, are awarded to the children with “presents diminishing in value in accordance with the rank of the parents of these happy children.” The son of the governess, “the child of the lowest degree” gets a cheap book while the little heiress receives the most expensive doll. To say what happens next would be to spoil the story for other readers, but once again Dostoevsky chronicles the lowest points of human behaviour.

Review copy

Makar’s Dream translated by Victoria Zinde Walsh

My last Christmas and The New Year’s Tree copyright estate of Mikhail Zoshchenko

Christine Stead Week: November 14-20, 2016

Lisa at ANZLITLOVERS organised a week honouring Christina Stead. I’m swamped at the moment, but I ordered Ocean of Story: the Uncollected Stories of Christina Stead. Since it’s OOP, there wasn’t much information out there, but my copy arrived and here’s the contents of this 552 page book:

1: The Early Years: Australia

The Old School

The Milk Run

A Little Demon

2: Apprentice Writer

A Night in the Indian Ocean

La Toussaint

O, If I Could But Shiver!

About the House

Uncle Morgan at the Nats

3: Pre-War Europe

The Azhdanov Sailors

Private Matters

Lost American

4: New York

Life is Difficult

A Harmless Affair

I Live in You

My Friend, Lafe Tilly

An Iced Cake with Cherries

UNO

The Fathers

5: Post War Europe

The Captains’ House

Yac, Yac

The Hotel-Keeper’s Story

A Household

The Woman in the Bed

The Boy

Trains

6: England

Street Idyll

1954: Days of the Roomers

A Routine

Accents

7: Biographical and Autobiographical

A Waker and a Dreamer

A Writer’s Friends

Les Amoureux

Another View of the Homestead

Did it Sell?

The Magic Woman and Other Stories

Afterword from R. G. Geering, literary executor and life-long friend.

This post is created for anyone else out there interested in the contents of this book. My review of The Little Hotel is here.

Marseille Noir: ed. Cédric Fabre

“As long as I was only whacking them in my dreams.”

It was a bizarre coincidence that the night I finished watching the French-Belgian film, The Connection, I started a story from Marseille Noir which mentioned Gaetan Zampa and the murder of a judge. The film doesn’t leave the impression that things were ‘cleaned up’ in Marseille–rather the opposite–that political and police corruption triumphed in the end. But that was in the 70s, so let’s fast forward to 2015 and Marseille Noir. How do a group of writers depict this famous city now? I’ll have to say that after finishing this collection, I don’t think any reader is going to rush out and book a trip to Marseille.

The book contains an introduction from author, contributor & Marseille resident, Cédric Fabre, which gives an overview of the current crime situation in Marseille and just why Marseilles is such great raw material for the crime novelist.

However, Marseille-bashing–the city is a byword for economic stagnation, political patronage, drug trafficking in the northern suburbs, organized crime (actually in decline since the demise of the French Connection smuggling chain), recurrent drive-by killings and, of course, police corruption–is grist for the mill of crime fiction.

Here’s a breakdown of the stories.

The Josettes Really Liked Me: Christian Garcin

Extreme Unction: François Thomazeau

Silence is Your Best Friend: Patrick Coulomb

The Dead Pay a Price for the Living: René Frégni

I’ll go away with the First man Who says I Love You: Marie Neuser

On Borrowed Time: Emmanuel Loi

What Can I Say: Rebecca Lighieri

Katrina: François Beaune

The Problem with the Rotary: Philippe Carrese

The Prosecution: Pia Petersen

Green, Slightly Gray: Serge Scotto

The Red Mule: Minna Sif

The Warehouse for People From Before: Salim Hatubou

La Solidarité: Cédric Fabre

I’m not going to discuss every story in the book, but instead I’ll mention my favourites: The Josettes Really Liked Me–a wonderful story set against a backdrop of the shifting face of crime in Marseille,  Extreme Unction– the tale of a young boy who has a series of strange meetings with an even stranger man, and The Problem with the Rotary, a tale packed with atmosphere and dark rancid humour. In one story, The Prosecution: Pia Petersen, a disgruntled man finds himself stuck in Marseille, a “city where anything was possible.” In some of the stories, crime comes to the average person;  In Silence is Your Best Friend, a teacher in Le Panier neighbourhood is plagued by noisy neighbours, and in I’ll go away with the First man Who Says I Love You–a woman takes her strayed lover on a bizarre, gory trip. Other stories argue that the past never really goes away; in The Dead Pay a Price for the Living, a ex-prisoner returns home to exact vengeance, and in On Borrowed Time, a man’s past catches up with him after ten years. I’ll also mention the story The Red Mule about a violent punk who works for the “narco-jihad” and poses for bloody selfies. Well you know that story isn’t going to end well…

The Josettes Really Liked Me (Christian Garcin) is told by a man who recalls the four sisters of Ange Malatesta.

I never knew which one of Ange Malatesta’s four sisters was the craziest. I don’t know anything about the symptoms of dementia, psychosis, schizophrenia, or any other mental illness, so I certainly wouldn’t dare to diagnose them, but I do know they were all nuts. Besides, they took turns in a mental hospital, sometimes even together.

The narrator’s father is supposed to be a “salesman of wine and spirits” but is rumoured to work for the mob.

Sure, he was a mobster, but a small-time mobster, someone who never threatened anyone. Or not very often–or let’s say, not on a regular basis. Who in any case had never stolen, or killed anyone. He had connections to the Corsicans, who controlled the slot machines in the bars and cafes. He was a collector. Otherwise he was a very nice, sensitive, and generous man who loved his wife and son. I was an only child.

The narrator grows up with Ange, who comes from a Sicilian family. Ange’s father is a frightening presence, and Ange’s four sisters, known as “the four Joes,” are all completely crazy. When the narrator is nine, something strange occurs between him and one of ‘the Joes.’ It’s an event that reveals Ange Malatesta’s violent nature, but it’s also an event that leads to payback years later when the narrator is called to an appointment with Raymond Burr:

 the nickname of a baron of the Damiani branch of the powerful Altieri family, who ran part of the city. Raymond Burr was mostly in charge of the Endoume-Corderie Catalans sector, going up toward Notre-Dame de la Garde. He was said to be utterly devoid of scruples. Some claimed his nickname came from his temperament, others said it was because he was paralyzed and in a wheelchair, which still others denied. Me, I had no idea: I’d never met him.

Extreme Unction (François Thomazeau) is a story centred on the Vélodrome Stadium. A narrator, now an adult, recalls 4 times  when he was picked up from his grandmother’s home by a man and taken to Vélodrome Stadium.

We wouldn’t exchange a word. He’d light up a cigarette, lower his window, stick out his arm, and cough all the way. At the stadium, a flunkey would open the gate for him and we’d park smack in the middle of the empty parking lot in front of the main entrance that said Jean Bouin. When there was someone there beside the guard, he’d politely say hello to André, lowering his eyes. Occasionally some bolder guys would throw out a “Hi, Dédé.” And he’d cough to answer them.

André tells the teenage boy stories while passing crumpled bags of potato chips, and the trips end with a pizza from the stadium pizzeria. It’s not until the narrator is an adult that he finally figures some things out about these four trips.

With various Marseille locations central to the action, one of the really good things about this collection is that you can’t imagine that you are anywhere else in the world but Marseille.

The problem with Marseille’s South End is how strangely mixed it is. Opulent homes stand alongside sordid housing projects, luxurious villas next to derelict cabins, and terraces with swimming pools look down on boat garages with rusty doors turned into summer dwellings. The beautiful Roy d’Espagne park spread its lawns one alley away from the dilapidated Cayolle projects where the former shantytown that Le Corbusier had invented was razed to make way for a supermarket on permanent borrowed time by local vandals. Baumettes prison is at the end of all the dead ends, the old stone mansions still shelter a handful of end-of-the line aristocrats holding onto their ghosts and past glory, a few wealthy families are holed up in their famous architect-built houses, their windows stained with the sticky resin of the ever-present Aleppo pines. The nouveau riches and the old poor, the show-offs and the sluts. The sun weighs down on minds, the sea cools them off, the most beautiful streams in the whole world are within any tourist’s reach, and the dealers are two bus stops away from the nearby junior high. Marseille, its pervasive mess, its generalized thoughtlessness. But is that really a problem…? (from The Problem with the Rotary: Philippe Carrese)

I’ve said it before and I’ll say it again: short story collections are a great way to discover new authors, and in this case, many of the authors are not available in English. Finally a word on the Akashic Noir series which was launched in 2004… If you like crime and have an interest in a particular country or city, this is a great way to be a safe armchair traveler. For those interested, I read Mexico City Noir and really liked it.

Translated by David Ball and Nicole Ball

Review copy

See You in Paradise by J. Robert Lennon

 

See You in Paradise is a wonderful collection of short stories from American author J. Robert Lennon. His novel, Familiar, a story of a woman who trips into an alternate universe, made my best-of-year list in 2012. I loved this novel because its premise was unique, and I also really liked the way that the author concentrated on plot and didn’t try to explain what happened to his main character. Ultimately we are left not knowing whether or not the novel is about a woman who falls into a parallel universe or if she’s just so wracked with regret and guilt that she has a psychotic break.

In 2013, I read Lennon’s novel Happyland, a very funny take on what happens when a wealthy businesswoman begins buying up a small new England college town and turning it into a cheesy tourist destination for her tremendously successful doll company. And to give the full J. Robert Lennon background here, I’ll also add that my introduction to this author was in 2011 through Castle, a psychologically  intense story of a man who returns to upstate New York and buys a home which includes some acreage. After investigating the title to the property, he discovers that there’s a small section of land right in the middle that he doesn’t own, and that the owner’s name which should appear on the title has been blacked out. The key thing about this book, an exploration of memory, is exactly where fantasy and reality split…

The descriptions of those three novels (and there are more I’ve yet to read) should give an idea of this author’s scope. J. Robert Lennon has a reputation as a writer of speculative fiction, and that’s a very broad term. Not all the stories in See You in Paradise can be classified as speculative, but if there’s a recurring theme here, it’s the unexpected. Take Zombie Dan, for example, a (speculative) story that made me wince when I read the title, but which rapidly became one of my favorites.

They figured out how to bring people back to life–not everybody, just some people–and this is what happened to our friend Dan Larsen. He had died falling off a yacht, and six months later, there he was, driving around in his car, nodding, licking his pale, thin lips, wearing his artfully distressed sports jacket and brown leather shoes.

Dan’s indomitable mother enlists Dan’s friends to man shifts at his bedside during the crucial phases of the “revivification process,” and we get a little background on this.

The discovery of the revivification process had resulted, initially, in great controversy. Surely, the naysayers wailed, not everyone who died could be brought back to life. What would separate the haves from the have-nots? Science offered one answer. To be eligible for revivification, you had to die in a certain way. Drowning was best. Suffocation. Anything that resulted in a minimum of harm to the body, other than its being dead. Freezing wasn’t bad, and a gunshot wound, if tidy, could be worked around. Electrocution was pushing it, as was poisoning. Car crash, cancer, decapitation. old age? Right out.

But still, who then? Who among the drowned, the frozen, the asphyxiated, would get to come back?

The rich. Naturally.

The narrator explains that the news that revivification was an option for the wealthy dead under some circumstances was initially expected to have catastrophic results:

Riots had been predicted, the burning of hospitals and medical schools, the overthrow of the government. None of it materialized. The rich had been getting the goodies for millennia.

But there’s another reason for the lack of class resentment.  “Revivs” or zombies (both considered politically incorrect terms) as they are known are a “little bit off.”

So if you asked a random person from the street whether, if they choked to death on a Jolly Rancher, they would like to be revived, the answer was generally yes. But not an especially enthusiastic yes. “Sure,” accompanied by a shrug, was the common response. By and large revivification was thought to be something weird rich people did, something along the lines of hymenoplasty, or owning an island.

That’s quite a few quotes from a short story, but they convey the tone of the story and also how the author approaches speculative fiction. We aren’t given a date in the future or the nitty gritty details of the process itself–revivification is a given, and now both the reader and the author, having accepted the premise, must deal with the results which are both hilarious and terrifying.

The collection’s title story, See You in Paradise was also a great favourite. This is the story of  “nice guy” Brant Call who still works at the college he attended. He’s the managing editor of the business school’s alumni magazine, and one of his tasks is to solicit donations. It’s in this capacity that he meets Cynthia Peck, a horsey, libidinous heiress. Their relationship becomes quite serious and then he meets her ruthless father:

Peck took Brant’s hand, but took it limply, making Brant’s strong grip, intended to express a marriageable masculine confidence, instead seem like a withering critique of the old man’s waning virility. Peek actually winced, and Brant jerked his hand away. “Uh, I ought to thank you, sir, for the—“

“Please,” Peck said, secreting the hand back under the table, “there’s no need to grovel. Now Brant.”

“Yes sir.”

“You’re diddling my daughter.”

“Yes, sir.”

“You’re thinking of marrying her, right.”

“Uh, yes.”

“Get yourself a piece of the family fortune?”

The interview with Cynthia’s father doesn’t go as expected and Brant can never get control of the conversation. After calling Brant’s motives into question, Mr Peck gives Brant Hobson’s Choice: he can agree to a job in Bermuda or ….

“If you say no, you can get the hell out of my daughter’s graduation party, and if you ever again fondle so much as a tit I’ll have all your arms broken. And don’t think I can’t do it.”

Brant takes the job….

See You In Paradise is another very funny story, but the most fascinating aspect of this story is that you ever really know what game Cynthia and her father are playing. The ‘job’ in Bermuda initially seems to be a test of Brant’s devotion to Cynthia, but when the story concludes, we have reason to think otherwise.

Many of the stories explore the danger in everyday life. The story Portal, for example, tells of a gateway to time and space discovered in the back garden and used repeatedly with mixed results by a family. Do they travel to other worlds, back in time, or to hell? With each successive use of the portal, the trips become increasingly surreal and dangerous. In The Wraith, a woman appears to split in two, leaving her anger and depression at home in the form of a wraith. While the wife becomes absurdly cheerful, the wraith, embodying the negative, lurks in the home and shows an unhealthy interest in the husband. In Hibachi, a husband and wife exact revenge against their friends, while in No Life, two couples find themselves competing to adopt the same child. In this excellent, disquieting and unconventional collection, J Robert Lennon delivers the unexpected. These darkly imaginative tales hint at an undercurrent of unease through the limitless of possibilities–even in the most mundane situations. Finally just a word on the book’s title: See You in Paradise–a phrase that holds a threat and also the hint that paradise, perhaps, isn’t so great after all.

Review copy

Horror Stories: Classic Tales from Hoffman to Hodgson Edited by Darryl Jones

“But there are men, sane men, who are entirely of the opinion that it is quite within the bounds of reason to suppose that there may be what the world commonly calls spiritual manifestations–dealing with the seen and the unseen. Of such men, I avowedly, am one.”

A severed hand with murderous intentions, a portrait that drips blood, a husband out for revenge, opium-fueled dreams, and a locked bedroom in which a brother turns into a monster… yes all this (and more) occurs in Horror Stories: Classic tales from Hoffmann to Hodgson from Oxford University Press. The book, a review copy sent to me from a friend who chose not to read this, comes with a fantastic intro from editor Darryl Jones.  I would not call myself a fan of horror and typically avoid the gore of modern horror novels–although for some reason I have a weakness for a handful of films that fall under that heading: The Shining, The People Under the Stairs, Nightbreed, and Hellraiser. And this brings me back to the informative intro which adds a great deal to the selected stories.

Horror is a phobic cultural form, both in the sense that it is designed to produce a specific reaction–fear and loathing–but also in the way that it is produced by and directly reflects cultural preoccupations, fears and anxieties at any give moment, which it renders obliquely, in displaced and often highly metaphorical guises, as monsters, madmen, ghosts. A very clear example of this can be seen in the rise of colonial horror in the later nineteenth century. As the British Empire and the other empires of nineteenth century Europe reached their zeniths, so appeared the ‘reverse-colonization’ narrative, a paranoid cultural form in which conquered or oppressed colonial subjects return to the West (or to the Western officials in the colonies) to wreak terrifying revenge.

There are several examples of this ‘reverse-colonization’ in this wonderful collection, and I doubt that I would have made the connection but for this savvy intro which also explores the nineteenth century emergence of fascination with spiritualism, the “elements of terror,” the “contradictions” of Horror, and the “terror/horror binary.” Darryl Jones states that “the long nineteenth century was the great age of the ghost story,” and that the ghost story “represents a significant breach in the Victorian narrative of progressivism and modernity.” Jones, who obviously took a great deal of care in making his selections for this collection, points out that Stephen King, “by far the most prominent living horror writer” acknowledges The Monkey’s Paw (included here) as a “quintessential example of the tale of terror.” 

The 29 stories in this collection are from the period 1812-1916, and while many of the author names are expected (Edgar Allan Poe, Sheridan Le Fanu, M. R. James, Algernon Blackwood, William Hope Hodgson,) many are unexpected–Zola (The Death of Olivier Bécaille), and Balzac (La Grande Bretêche) are just two examples of authors I didn’t expect to find here.

As I read the stories, I was struck by how the authors keyed into our deepest primal fears. In Sheridan Le Fanu’s Strange Event in the Life of Schalken the Painter, for example, the narrator explains how he came across this strange story through his acquaintance with a military man who owns a disturbing painting by the long-dead painter Schalken. The painting seems to capture a horrifying moment, and the owner of the painting relates the tale of a beautiful young woman claimed by a dead man. Yet another terrifying painting plays a role in E.H Benson’s creepy The Room in the Tower–the story of a man who has a recurring dream which involves being left to sleep in a tower room. Inevitably, of course, the person who suffered a lifetime of bad dreams finds himself relegated to the tower room which contains … a painting which drips blood. I’d run for the hills, but our narrator spends the night almost as though he cannot resist this moment. Zola’s The Death of Olivier Bécaille tells the tale of a young man who falls ill and enters some sort of coma state, and of course eventually he faces another of our primal fears: being buried alive. Yet another deep rooted fear is the centre of W. F. Harvey’s August Heat– the story of a man who learns the date of his death.

One of the biggest surprises of the collection was Arthur Conan Doyle’s The Case of Lady Sannox. A childhood exposure to Basil Rathbone as Sherlock Holmes created a lack of curiosity in Arthur Conan Doyle as an author, but I loved this clever story, and perhaps some of my enjoyment can be explained by my newfound recognition of ‘reverse-colonization.’ This is, of course, one of the best aspects of reading a collection from several authors–we are inevitably exposed to someone we’ve never read before.

In Arthur Conan Doyle’s  The Case of Lady Sannox, Douglas Stone “one of the most remarkable men in England” is embroiled in a passionate affair with the notorious Lady Sannox. Stone is a “high-handed, impetuous” man, one of the most famous surgeons in London.

Those who knew him best were aware that famous as he was as a surgeon, he might have succeeded with even greater rapidity in any of a dozen lines of life. He could have cut his way to fame as a soldier, struggled to it as an explorer, bullied for it in the courts, or built it out of stone and iron as an engineer. He was born to be great, for he could plan what another man dare not do, and he could do what another man dare not plan. In surgery none could follow him. His nerve, his judgment, his intuition, were things apart. Again and again his knife cut away death, but grazed the very springs of life in doing it, until his assistants were as white as the patients.

Lady Sannox, a former actress, has many lovers in her past, and there’s a degree of speculation as to whether her mild-mannered husband is clueless about her affairs  or “miserably wanting in spirit.” But when Douglas Stone becomes Lady Sannox’s latest lover, there’s no attempt to hide the affair which very quickly becomes a subject of scandal and threatens Stone’s career.

As I noted earlier, I would not classify myself as reader of Horror fiction, but I am certainly a fan of Gothic fiction and the supernatural. The book’s title: Horror Stories: Classic tales from Hoffman to Hodgson may possibly alienate potential readers, and that’s a great shame. Gothic or Supernatural Stories may have a wider appeal, and yet as the intro emphasizes, Gothic “is a term with a bewildering variety of referents.” After reading this excellent collection, the use of “Horror” in the title seems most appropriate as we move from anticipated dread (which in Gothic fiction may not materialize) to the horror of our fully realized fears.