Happy Are the Happy by Yasmina Reza (2013) French title: Heureux les heureux.
In September, our Book Club had picked Yasmina Reza’s novel Happy Are the Happy. It’s a particular novel as each chapter is named after a character and features different persons but all are related in one way or the other. They are friends, family or colleagues. Each chapter is an excerpt of their life, a moment that sheds some light on their love life. This novel feels like wandering in a gallery of portraits in a castle with a guide who stops in front of each portrait and tells you a story about the person in front of you.
I’m afraid it’s almost all I remember from Reza’s novel that I read four weeks ago. I remember that first chapter opens on a hilarious and Frenchissime domestic row in a supermarket: husband and wife fight over which cheese to purchase that week. I vaguely remember about a burial, adultery, a diner in town, stilted exchanges between parents and children, a young man who sinks into madness and believes he’s Céline Dion.
The married characters often have a poor marriage and if they don’t, their happiness seems suspicious. Don’t give this book to someone the night before their wedding day unless you want them to have a bad case of cold feet. The people of Reza’s world are lonely. They’re married and they’re lonely, which is maybe the worst loneliness. They’re trying to capture happiness but it evades them, perhaps because they don’t have a clear vision of what happiness means for them. Not for society or their family or friends, but for themselves. The reflexions on life and marriage can be spot on:
|On accepte d’un héros de la littérature qu’il se retire dans la région des ombres, pas d’un mari avec qui on partage une vie domestique.||One accepts of a literary hero that he isolates himself in the land of darkness but not of a husband with whom one shares a domestic life.|
In other words, you can think as hard as you want but at some point, someone needs to make diner.
It is full of insightful remarks and it doesn’t lack of humour and yet, things didn’t work for me. It Frenchy French stuff. It could be a film by Christophe Honoré with Louis Garrel playing the guy believing he’s Céline Dion. As much as I loved Comment vous racontez la partie, I was disappointed by Happy Are the Happy. In 2013, it won the Prix Littéraire by Le Monde and the Grand Prix du roman by Marie Claire. I’ve obviously missed something.
The English and the French covers of this book couldn’t be more different. The French one is a drawing by Ernst Ludwig Kirchner, Nacktes Liebespaar (Nude Lovers), while the American cover shows a heart.
The tone of the book is a mix of the two. The French cover implies that sex is a prominent theme, which is not true. The English cover is a bit too sentimental for the tone of the book.
Fateless or Fatelessness by Imre Kertész (1975) French title: Etre sans destin. (Translated from the Hungarian by Natalia Zaremba-Huszai and Charles Zaremba.)
|Il y a dans notre personnalité un domaine, qui, comme je l’ai appris est notre propriété perpétuelle et inaliénable.||As I discovered later, there is a place in our personality that forever and inalienably belongs to us.|
Fateless or Fatelessness is a novel based upon Imre Kertész’s experience at Buchenwald. I’m not keen on reading books about concentration camps, as I find them hard to bear. Then Caroline picked it up for Literature and War Readalong and I decided it was time to give myself a kick and read it. (Her review is here)
It starts like this… I didn’t go to school today. Or rather, I did go but only to ask my class teacher’s permission to take the day off. …and it propelled me to another novel that starts with Mother died today. Or maybe yesterday, I can’t be sure. (The Stranger by Albert Camus) A few short sentences that let you know the narrator’s world is about to change forever but that also set the tone of the narration. It’s not going to be warm; this person is aloof, hard to reach and blunt.
Köves György, the narrator of Fateless is a Jew from Budapest. He’s 15 when the bus he takes to go to work is hijacked and the passengers are sent to Auschwitz. He relates his journey from Budapest to Auschwitz, then to Buchenwald until he comes back to Budapest after the liberation of the camps.
I’ve read two other books by survivors of concentration camps, If This Is a Man by Primo Levi (Auschwitz) and Literature or Life by Jorge Semprún. (Buchenwald). Fateless is an autobiographical novel and the other two are non-fiction. If we set aside the fiction / non-fiction part, the main difference with Fateless is that Levi and Semprún were grown men when they were deported and they were Resistants. They knew they were taking risks, they knew about camps and they knew why the Nazis would go after them.
Here, we have a coming-of-age novel about an adolescent who became a man too fast and in terrible circumstances. The book begins with the deportation of the narrator’s father to labor camp. The narrator is a bit annoyed to be retrieved from school to help with the preparation of his father’s departure. He’s a “normal” adolescent: selfish, interested in girls, unwilling to spend time with his family and not really interested in the news. He’s 15 and everybody wonders who they are at this age but for him, the angst takes another dimension. He’s is an assimilated Jew, doesn’t go to the synagogue, doesn’t speak Yiddish or Hebrew and he doesn’t understand why he’s different from other Hungarian citizens. The Nazis’ intrinsic hatred for Jews puzzles him. He looks at himself and wonders “why?”, “What substance am I made of to be ostracized that way?”
Later, he feels a sense of security when he’s given papers to go out of town and work in a factory. Legit papers seemed a good protection. But the whole bus full of Jews is taken by the Hungarian authorities in the summer 1944 and he’s shipped to Auschwitz. He relates the time spent in Budapest, waiting for their destination, the trip on the train without water, the arrival in Auschwitz, all the procedures he went through. Then he’s sent to Zeitz and eventually to Buchenwald.
The most unsettling thing about the novel is the narrator’s ignorance. He’s just a Jewish boy who doesn’t know much about Jewish religion, about the world. He definitely doesn’t know anything about concentration camps. At first, he’s even a bit excited about his adventure, until he gets to Auschwitz and he is enlightened by other prisoners about the workings of the camp and the gas chambers.
He relates the process to sort out the prisoners, the meticulous, well-oiled process. He goes through the motions and tells candidly what he sees, what he does, how his body is rapidly disintegrating under the harshness of the living conditions. His naiveté is baffling for the reader who knows better and reads between the lines. It emphasizes the horror of the camp. György’s descriptions show how the camps were so perfectly ruled, like efficient death factories. Sometimes he gives a full description of the bucolic countryside around the camps and the reader’s feeling of horror moves up another notch. The rampant question is always the same: How? How could this happen at this scale with this thorough and cold blooded savagery?
His tone is detached, focused on material things (food, clothes, showers, sleep). He’s reverted to basic needs. His detachment and his focusing on surviving take all his strength and willpower. He goes by, one day after the other, one step after the other.
|C’est seulement à Zeitz que j’ai compris que la captivité a aussi ses jours ordinaires, et même que la véritable captivité se compose en fait exclusivement de grisaille quotidienne.||It is only in Zeitz that I understood that captivity also has its ordinary days, and even that real captivity is exclusively made of the greyness of the quotidian.|
Everything seems absurd and he goes with the flow. He’s not very likeable because his dehumanization seeps through his narration. The whole novel bathes in absurdity. I’ve read it’s a bit like The Castle by Kafka. It certainly is for the sheer absurdity of bureaucracy, for the blind and incomprehensible hatred for Jews. The narrator tries to understand what’s happening around him but he doesn’t get it. The absurdity is so total that the most surreal things seem natural. The more the book progresses, the more he punctuates his sentences with naturally. As if the most horrific things were natural in camps, and if course, they were as they had become the new normality. The difference of understanding between the boy and the reader enforces this impression of absurdity. And absurdity brings me back to Camus.
A word about the title. In English, it’s been translated as Fateless or Fatelessness. In French, it is Etre sans destin, which means To be fateless and A being without a fate. And György is both. His fate is ripped away from him.
|J’essayais de regarder vers l’avant, mais l’horizon se limitait au lendemain, et le lendemain était le même jour, c’est-à-dire encore un jour parfaitement identique, dans le meilleur des cas, bien sûr.||I tried to look forward but the horizon was limited to tomorrow and tomorrow was the same day, that is to say another perfectly identical day, in the best case scenario, of course.|
While in Buchenwald, he can’t imagine his future, he doesn’t have one anymore. And when he comes home, the future he had no longer exists. This former fate has been taken from him. He can’t erase what happened to him, it shaped him into someone else, he can’t resume his former life and he doesn’t know what his new fate is. He’s fateless, left to face his fatelessness.
But for me, this fatelessness also refers to something else.
Wikipedia mentions that “Between 15 May and 9 July , Hungarian authorities deported 437,402 Jews. All but 15,000 of these Jews were sent to Auschwitz-Birkenau, and 90% of those were immediately killed. One in three of all Jews killed at Auschwitz were Hungarian citizens.” György’s (and Kertész’s) survival is a miracle. His fate is sealed by chance. (Same thing for Levi and Semprún). When he arrives in Auschwitz, another prisoner makes him understand he needs to lie about his age and say he’s 16. He doesn’t know why but instinctively follows the advice. It saves his life. In Buchenwald, he ends up in the hospital and it saves his life too. At the beginning, one of the characters caught on the bus on the way to the factory keeps saying that he was going to see his mother, that he almost missed the bus, that he wouldn’t have been there if he had missed that bus and decided to go home instead of giving it a chance and try to catch it. Back to Camus again. Life is unpredictable. The events flow randomly and fate is against us. He ended up in Buchenwald but he could have escaped it or ended up in the Danube like other Jews from Budapest.
|S’il y a un destin, la liberté n’est pas possible ; si, au contraire, ai-je poursuivi de plus en plus surpris et me piquant au jeu, si la liberté existe, alors il n’y a pas de destin, c’est-à-dire—je me suis interrompu, mais juste le temps de reprendre mon souffle—c’est-à-dire qu’alors nous sommes nous-mêmes le destin : c’est ce qu’à cet instant-là j’ai compris plus clairement que jamais.||If there is a fate, then liberty isn’t possible. If, on the contrary, I said, more and more surprised and getting into it, if liberty exists, then there is no fate. That is to say—I stopped, just long enough to catch my breath—that is to say we are fate ourselves. That’s what I understood at that moment, with the greatest clarity.|
Yes fate doesn’t exist or more exactly what we think as fate is a succession of tiny decisions, barely conscious sometimes, that change our route, our life. Even in this barbaric, dictatorial steamroller that what the organization of the Holocaust, the narrator did make decisions that changed his life, like lying about his age. As all of us, the narrator is fateless, his future is not determined by any superior being.
Here’s another review by Lisa.
Vienna Tales. A collection of short stories edited by Helen Constantine and translated by Deborah Holmes. Not available in French.
The good old days and good old Vienna belong together like husband and wife. When you think of one, the other comes to mind. There is something touching about the fearful assiduousness with which the Viennese seek to uphold the belief that the good old days are still here in Vienna and that the city remains unchanged. (Heinrich Laube)
I’d already planned to spend a few days in Vienna in August when I read Marina’s review of Vienna Tales, a collection of short stories by various authors. As the title gives it away, Vienna is the common point between the stories. Some are snapshots of life in Vienna at different times:
- Day-Out by Joseph Roth (1894 – 1939)
- Merry-go-round by Joseph Roth
- Vienna 1924 to …by Friedericke Mayröcker (1924)
- The Prater by Adalbert Stifter (1805-1868)
- Ottakringerstrasse by Christine Nöstlinger (1936)
In these stories, you wander in Vienna along with the writers, discovering neighbourhoods and places. For example, Day-Out is an impressionist description of an outing in the outskirt of Vienna and the story is so short it’s more like a vignette than an actual story. The Prater is the big park in Vienna a mix of Central Park and Tivoli Gardens (Copenhagen). Stifter’s description of people promenading in the park reminded me of Zola in Money or Proust when they show us bourgeois parading in their carriages in the Bois de Boulogne.
Some stories focus on a moment in Vienna’s history.
Vienna by Heinrich Laube (1806-1884) portrays Metternich, a major Austrian political figures of the 19thC century, in the aftermath of Napoleon’s defeat.
Lenin and Demel by Anton Kuh (1890 – 1941) is set between the two world wars and starts with an image of Bela Kun standing at Vienna’s gates. Demel is a famous café in Vienna. It reminded me of the beginning of Anna Edes by Desnő Kostolányi: the first scene is Bela Kun fleeing from Budapest in an airplane, taking with him pastries from Gerbeaud, the Budapest counterpart of Demel.
In The Twilight of the Gods in Vienna, German author and film director Alexander Kluge. (1932) retells the episode of WWII when the Vienna orchestra recorded The Twilight of the Gods during the bombing of Vienna by the Allies.
Other stories are common short stories set in Vienna, like
- The Four-poster Bed by Arthur Schnitzler. (1862-1931)
- Oh Happy Eyes. In memoriam Georg Groddeck by Ingeborg Bachmann (1926-1973)
- Spas Sleeps by Dimitré Dinev (1968)
- The Criminal by Veza Canetti (1897-1963)
- Envy by Eva Menasse (1970)
- Six-nine-six-six-nine-nine by Doron Rabinovici (1961)
The two stories by Schnitzler are very short too, infused with melancholy and philosophical thoughts. Where Roth is mainly descriptive, journalistic, Schnitzler looks more into the souls of his characters.
Spas Sleeps is one of my favourite stories of the collection. It resonates with today’s news about refugees seeking asylum in Europe. Dimitré Dinev is of Bulgarian origin, just like his character Spas Christov. The story opens to Spas, sleeping outside like a bum. He arrived in Vienna to find work, build a new life. He remembers his years as an immigrant and how work becomes the only thing that matters. It’s the Open Sesame! to a future because it means the end of fear, identity papers, money and dignity.
Work was the most important thing. Everyone was looking for it, not everyone found it. And anyone who didn’t find it had to go back. Work was a magic word. All the other words were inferior to it. It alone determined everything. Work was more than a word, it was salvation.
It takes a special dimension with the migrants pushing through the doors of Eastern Europe these days. The story is really moving. Dinev is not trying to sell misery. He just puts Spas’s hardship at human height. Through this single case, he triggers empathy. You see Spas’s experience with eyes that could be yours and you hear him, you root with him and hope he’ll get a work permit.
Oh Happy Eyes! is a lovely tale of Miranda who’s blind as a bat but refuses to wear her glasses because she finds that the world isn’t that nice when she sees it with clarity.
And last but not least, two stories are about the Viennese literary world.
The Feuilletonists by Ferdinand Kürnberger (1821-1879) is another of my favourites in this collection. With a great sense of humour, Kürnberger pictures the different kind of feuilletonists working in Vienna. You have the house feuilletonist, the street feuilletonist, who strolls through the Hyde Park of modern industry like the serpent in paradise, seducing at every step the modern daughters of Eve who would much rather have the latest style in Parisian fig leaves than the most dewy-eyed innocence in all eternity, the salon feuilletonist, whose natural habitat is actually Paris or London, the tavern feuilletonist, whose species is naturalized in the coffeehouse, the social feuilletonist and the forest feuilletonist who always walks alone. Seen from a distance, he resembles a candidate for suicide. I loved the description of the house feuilletonist:
‘There is, for example, the common house feuilletonist, Feuilletonistus domesticus. Only look at this exemplar and you will see right away that there is actually no need for city or public life to provide inexhaustible subject matter for a feuilleton. The material of the house feuilletonist is just that, his house. He describes to us his staircase, his parlour, his furniture, the view from his window. We are acquainted with the moods of his cat and the philosophical worldview of his poodle. We know the precise spot behind the oven where his coffee machine stands, and when he takes up the cross of civilization every morning with the first cup of the day, we know how many beans he grinds, how many drops of spiritus he uses, how much water is in his milk and chalk in his sugar. Like Humboldt discussing the folds of the earth’s crust, he talks about the tendency of his dressing gown to tear, missing buttons are sewn on before our eyes, in fact, he lives just like a prince whose every private action is performed in public. He seldom airs his own feelings (another aristocratic characteristic!), but shares with us in great historical detail the love affair between his poker and his shoe-horn, or else the stories he sees unfolding amongst the ornamental figures on his mantelpiece in the twilight hour.
I guess the contemporary house feuilletonist is a blogger, a frantic social media user. It seems that the temptation to expose one’s life to others is not new…
Out for a Walk by Arthur Schnitzler is best described by Helen Contantine is her informative foreword to the book:
‘Out for a Walk’ enriches my anthology not only with references to Viennese topography, but also to its literary history. The four friends would have been immediately recognizable to readers of the time as portraits of the central clique of ‘Young Vienna’: Schnitzler, Hofmannsthal, Felix Salten, and Richard Beer-Hofmann.
I totally missed the reference but I can understand that it was obvious to Schnitzler’s contemporaries.
I enjoyed Vienna Tales but I have suggestions about the lay-out of the book. Since we leap from one writer to the other, from one time to another, it would be great to have the year the story was published along with its title. Moreover, I have the Kindle edition and the lay-out of the pictures doesn’t work very well, I found it hard to navigate in the book and it’s something you want to do more with a collection of short stories from various authors than with a novel you’ll read from cover to cover. I also found it a bit difficult to switch from one story to the other, from one style to another and it took me longer than usual to finish the book. It’s still worth reading after a trip to Vienna.
I’ll end this billet with a last quote that really describes my experience with Austrian cuisine:
Overnight, Spas became a cook. He fried Schnitzel, chicken, mushrooms, cheese, and chips. He boiled egg dumplings, soup with strips of pancake or liver dumplings, frankfurter sausages and smoked sausages. He roasted meat and made salads. That’s how easy Austrian cuisine was!
Piazza Bucarest by Jens Christian Grøndahl (2004) Translated from the Danish by Alain Gnaedig.
|Raconter n’est pas seulement conserver des souvenirs mais aussi en éliminer.||Narration doesn’t only preserve memories, it also eliminates some.|
Piazza Bucarest won the Prix Jean Monnet de Littérature européenne in 2007. The list of the prize winners seems interesting to explore and it rewards a work of European fiction that was translated into French. I can understand why it won this prize: it’s set in Denmark, Italy and Romania and in a way deals with a page of European history, the collapse of the Iron Curtain.
Scott is a photographer from New York who settled in Denmark. In 1988, he flies to Bucarest for a reportage. It is before the fall of the Caucescu regime and he decides to marry his guide, Elena, to help her flee Romania. Their marriage doesn’t last and she eventually leaves him. Scott is devastated by her departure, so when, years later, he receives a letter addressed to Elena at their old home, he asks the narrator to find her and bring it to her.
The narrator shares a special bond with Scott as Scott used to be married to Vicky, the narrator’s mother. Vicky was quite young when the narrator was born and Scott is six years younger than her: the age difference between Scott and the narrator isn’t big. The two men are rather close.
Scott is a quiet man who ended up in Denmark by chance. He was on a trip in Europe in 1966 when he received his papers to go to Vietnam. He decided to stay in Denmark and marrying Vicky helped him out. He’s not very forthcoming and Elena never really confided in him. The narrator will be the first to hear the story of her life when he finds her in Italy.
I wasn’t enthralled by this novel although it has literary merits. Scott is too contemplative, too passive, I wanted to shake him up. The narrator is a writer, like Grøndahl and sometimes I’m tired of novels where the main protagonist is a novelist. Elena’s story is banal but in an unusual environment. I don’t want to reveal too much about her as discovering her past is part of the interest of the novel.
The narrator tries to reconstruct Scott’s feelings for Elena and the ins and outs of their failed marriage. He’s following leads from former conversations with Scott, time spent with Elena. He tries to guess what happened even knowing how futile it is. No one can understand someone else’s marriage or love relationship.
This European trip to find Elena is an opportunity for him to mull over Scott and Elena who have one thing in common: they both left their country and family behind. It is a reflection about freedom, exile and literature. Elena is ready to make a lot of sacrifice for the freedom of the West. Is it worth it? Is it as freeing in real life as it is on paper? Grøndahl gives us a tentative answer.
|La liberté ne donne aucun sens mais des possibilités, cependant, elle nous offre, entre autres, le choix de les saisir ou non.||Liberty does not give any meaning to life but it opens opportunities. However, among other things, it gives us the choice to seize them or not.|
And how do you live in your new country? How do you adapt to it? What kind of relationship do you keep with the country you left? Elena doesn’t elaborate and the narrator contemplates her position, tries to imagine hers and Scott’s situation. Elena may not voice her thoughts about exile but she’s not as quiet about the place of literature:
|Elle [Elena] répliqua qu’elle n’était pas écrivain, mais que si jamais il lui prenait l’idée d’accabler le monde avec un livre de plus, ce serait parce qu’elle aurait un message, une interprétation radicalement nouvelle de la place de l’homme et de l’Histoire, et non pour convier les lecteurs à admirer à quel point j’étais doué pour remuer les tourments de mon nombril avec une cuillère à thé.||She [Elena] said that she wasn’t a writer but that, if it ever occurred to her to burden the world with another book, it would be because she has a message, a totally new interpretation of the place of humanity and History and not to invite the readers to admire to what extent I was gifted to stir my navel’s turmoil with a teaspoon.|
That’s the crux of the literary matter, right? Elena is too ambitious. Who wouldn’t find writing daunting if your book had to bring a totally new interpretation of the place of humanity and History? Phew! That’s quite a challenge. Who’s up for that? And there’s a wide range of possibilities for books between explaining the grand scheme of the universe to readers and observing one’s navel under a microscope.
I can’t help thinking Grøndahl is a bit self-deprecatory here and the narrator’s books are actually his. I haven’t read any of his other novels but this one rather fits the description. If Grøndahl had literary cousins, I think they would be Modiano, Noteboom, Kundera and possibly Marias. His cousins would be European, not American. In my opinion, this is a trend in European literature. While these novels are often beautifully written, full of marvelous exploration of the fleetingness of life, of memories, they also often leave me unsatisfied. I don’t like to generalize but the characters are often in the same social circles as the writer: journalists, writers, university teachers, artists. No corporate executives, shop owners or plumbers in these books. They dig deep in the characters’ psyche or angst and they feel a bit disconnected with real life. I had this impression with Piazza Bucarest and with Dimanches d’août by Modiano. They are good books, ones that give you a long list of artistic quotes but whose plot is fuzzy a few weeks after you’ve read them. Does that ring a bell to you?
Have you read Grøndahl and what do you think about this last quote?
N.N. by Gyula Krúdy (1922) Translated from the Hungarian into French by Ibolya Virág.
|Il est nécessaire que chacun ait sa propre cigale dont les chants et les bercements lui font oublier toute sa vie.||It is necessary that everyone has their own cicada whose songs and lullabies make them forget their whole life.|
N.N. stands for nomen nescio and is used to describe someone anonymous or undefined. It refers to Gyula Krúdy who was the natural child of an attorney descended from minor nobility and a servant. He was born in 1878 in Nyíregyháza, Hungary. His parents eventually got married, after their seventh child was born. Gyula Krúdy lived in Budapest where he was famous for being a gambler, a womanizer, a “prince of night”. He’s one of Hungary’s most famous writers. He wrote more than eighty-six novels and thousands of short stories. He contributed to the most important newspapers and reviews of his time, Nyugat included. He died in 1933. Sadly, most of his novels aren’t available in translation.
I usually don’t give biographical elements about writers, anyone can research them and they are, most of the time, not directly relevant with the book I’m writing about. It’s different here as N.N. is autobiographical. Gyula Krúdy wrote it during the winter 1919, after the Austro-Hungarian Empire fell apart. He was 41 at the time. N.N. is the story of a man who, after being famous in Budapest, comes home to Eastern Hungary and wanders between dream and reality on his childhood land. He resuscitates his youth, the people, the places, the customs.
It’s lyrical, poetic, full of wonderful images. I’m sharing with you several quotes, I tried to translate them as best I could but honestly, my English is not good enough for Krúdy’s prose. If a native English speaker who can read French has other suggestions for the translations, don’t hesitate to write them in the comments.
|On eût dit qu’une femme géante jetait sa jupe sur le monde lorsque la nuit tombait.
|When the night came, it was as if a giant woman spread her skirt on the world.|
|Les jardins faisaient des rêves profonds à la manière des vieillards qui rêvent de leur jeunesse, d’étreinte amoureuse, de secrets sur lesquels les jardins des petites villes en savent long.
|Gardens were dreaming deeply like old people who dream about their youth, love embraces or about secrets that gardens in small towns know a lot about.|
|Les étoiles d’été regardaient le monde avec une douce indulgence au travers des feuillages épais des chênes.
|The summer stars looked at the world with sweet benevolence through the oaks’ thick foliage.|
|Sóvágó savait que des vents glacés hurlaient dans les montagnes, que les arbres restaient cruellement silencieux face aux plaintes désespérées de l’homme, que le prunier n’apprenait à parler que lorsqu’on taillait en lui une potence pour les sans-espoir.
|Sóvágó knew that icy winds howled in the mountains, that trees remained cruelly silent faced with the desperate moans of mankind; that the plum tree only started to talk when someone used it to carve gallows for the hopeless.|
It’s laced with nostalgia. It’s the spleen of a man who is not so young anymore, who has lived through a terrible war and whose country is dismembered. His old world does not exist anymore. He’s the cicada of the novel. He’s had his summer in Budapest, he’s had fun and now it’s over.
Krúdy describes the inn where he used to have a drink and listen to travelers and Tsiganes. He loved listening to their stories of their lives on the road. He remembers his grand-parents, his first love Juliska, his departure to Budapest. More than his former life, he depicts the seasons, the nature and the old habits.
He comes back to Juliska who now has a small farm and meets with the son they had together and that he had never met. He comes back to a simple peasant life and conjures up the smells, the landscape, the food and the cozy homes. His style is musical and evocative. It’s as if the dreamlike style of Klimt’s paintings were mixed with the themes of old Dutch masters.
It’s a difficult book to summarize, it needs to be experienced.
The picture on the cover of my book is a portrait of Gyula Krúdy. Given the theme of the book and the style of this portrait, it’s hard not to think about Marcel Proust here. However, even if the two writers were contemporaries, their writing styles differ. Krúdy’s style reminded me more of Alain Fournier but Krúdy is more anchored in reality.
Let’s face it, this is a terrible Translation Tragedy. (For newcomers, a Translation Tragedy is a fantastic book available in French but not translated into English. Or vice-versa) It seems like something Pushkin Press or NYRB Classics would publish, though.
A word about my copy of N.N. There are useful notes to give information about Hungarian references, from the names of writers or cities to the race of dogs. (I wish they’d do that with Japanese literature as well) The font used is named Janson, as an homage to a typeface created in the 17th century by the Transylvanian Miklós Misztótfalusi. The only flaw of this book as an object is that the pages are a bit hard to turn, and it’s a bit tiring for the hand to keep the book open.
I have read N.N. with Bénédicte from the blog Passage à l’Est. Check out her billets about Eastern Europe literature.
UV by Serge Joncour (2003) Translated by Adriana Hunter. French title: U.V.
|Nul mieux qu’un loup sait deviner la faim d’un autre.||No one is better skilled than a wolf to figure out someone else’s hunger.|
Time went away and I’m really late to write this billet about U.V. by Serge Joncour that I read back in June. It’s a French novella that will appeal to readers fond of crime fiction and books featuring people on vacation.
A bourgeois family is settled in their holiday home on an island in Brittany. The patriarch is there with his wife, their two grown-up daughters Julie and Vanessa, their grand-children and their son-in-law André-Pierre. It’s the second week of July and they’re waiting for Philip, the other child of the family who’s just spent 18 months in America. They don’t know when Philip will arrive but he’s never missed a 14th of July (Bastille Day) at the house. He’s the one in charge of the fireworks and they expect him to be there on time to organize the show.
When Boris shows up at the house, unannounced and saying he’s Philip’s friend, they assume he’s come a bit early and that Philip will be there shortly. They don’t know Boris but they welcome him into their home. He’s polite, charming, flirting a bit with Julie and Vanessa, bonding with their father, taking the kids on a boat… Philip entertains the family. He’s reckless and he’s a new addition to the group, providing fresh air and sweeping the boredom away. He seems happy to be there, building his nest in this foreign house:
|Il y a toujours une gêne à se retrouver seul dans la maison des autres, un vague embarras. Boris n’avait jamais souffert de ce trouble, au contraire, il éprouvait même un certain plaisir à ouvrir un placard inconnu, à y découvrir une configuration particulière, voir un peu au-delà de la zone permise.||It’s always uncomfortable to be alone in someone else’s house, it’s a bit embarrassing. Boris never suffered from that problem, quite the contrary. He felt a certain pleasure to open a stranger’s cupboard, to find out its particular setting, to see beyond the permitted zone.|
André-Pierre remains weary of him, maybe because he knows and protects Philip’s secrets. He knows better than to take any of Philip’s friends at face value. And he doesn’t like Boris and his easy ways with this family.
|André-Pierre se laissa ravaler par son canapé, réalisant comme une évidence que ce Boris, bien que parfait inconnu, avait su s’imposer en quarante-huit heures, en quarante-huit heures il était ici comme chez lui et marquait tout de son empreinte.||André-Pierre let the sofa swallow him, realizing suddenly that this Boris, although a perfect stranger, had managed to impose himself in forty-eight hours. In forty-eight hours, he made himself at home here and was leaving his imprint everywhere.|
Where’s Philip? What has he done that only André-Pierre knows? Why is Boris worming himself into this house? What is he after? Serge Joncour builds up the suspense page after page in a scrumptious style. The reader keeps wondering, not if but when the drama will happen. There’s something murky in Philip’s absence, something unhealthy in Boris’s intrusion in this family. The relationships between the characters are tense, there is something explosive in the atmosphere, enhanced by the preparation of the fireworks for the 14th of July. Boris strives for effect and engages the family members in activities that seem innocent but are carried on with such intensity that they become dangerous. A walk on the beach at night, skinny dipping in the ocean, driving a boat too fast…Boris likes to live on edge, playing with fire, flirting with danger and stirring trouble, all behind an easy-going façade.
Joncour seems to invoke all the holy ghosts of the masters of suspense and bourgeois criticism: Hitchcock, Highsmith and Chabrol. It’s extremely well written, the plot is well conducted, the characters well drafted and yet I can’t say I loved UV. Things are excellent individually but didn’t mesh as well as they should have. Or maybe I read it at a wrong time.
Therefore I’d love to hear another opinion on this novella. If you’ve read it, please leave a comment, I’ll be happy to read your thoughts about it. (For French readers, leaving comments in French is not a problem). I’ll just add that UV was made into a film directed by Gilles Paquet-Brenner in 2007; I haven’t seen it but if you have, let me know what you thought about it.
PS: A word about the characters’ names. I don’t know why Philip is spelled the English way and not the French one, Philippe. In case you’re wondering, it doesn’t come from the translator. And André-Pierre is really a bourgeois name that conveys conservatism.
Still Life by Louise Penny. (2005) French title: Nature morte. Translated into Quebec French by Michel Saint-Germain.
In the twenty-five years she’d lived in Three Pines she’d never, ever heard of a crime. The only reason doors were locked was to prevent neighbors from dropping off baskets of zucchini at harvest time.
I bought Still Life by Louise Penny after reading Caroline’s review here and it’s been on my TBR since 2012. Then Louise Penny was signing books at Quais du Polar this year and it reminded me I needed to get to her book soon and it fit nicely in my #TBR20 project.
Still Life is cozy crime fiction of the good sort, the kind you’d want to take on a long flight to forget you’re squeezed in coach or one you’d save to read it curled up on the sofa by a nice fire on a cold and foggy winter day. It is also the first volume of a series featuring Armand Gamache, Chef de la Sûreté du Quebec.
Now the plot. The sweet old lady Jane Neal is found dead in the bucolic village of Three Pines, located a couple of hours from Montreal. She was killed in the woods by an arrow. It’s hunting time and the first question is: is it a hunting accident or a murder?
Jane was well respected in her village and almost everyone was fond of her. She was a bit eccentric: she loved painting but never wanted anyone to see her art and she also never let anyone past her kitchen in her house. Jane gets killed just after one of her paintings had been chosen for a local art exhibition, Arts Williamsburg but before the list of the selected artists was announced officially. Jane’s work raised controversy and the committee picking artists for the show. Does this event have something to do with her sudden death?
Her death strikes her friend Clara Morrow really hard as Jane was like a surrogate mother to her. Clara is a struggling artist, married to Peter, a painter whose art is rather highly priced but who doesn’t paint fast enough to make a decent living out of it. Clara and Peter were on the committee who approved of the painting for the art show and they were also hosting a diner with their friends the day the choice was made and only two days before Jane’s death. If it is a murder, is the murderer someone from the village?
Chief Inspector Armand Gamache is in charge of the investigation and starts digging around, chatting with the villagers, Jane’s friends, settling an office in the old station, sleeping at the local B&B. His approach relies on science and evidences, observation and understanding of human nature. He’s perfectly aware that his investigation will play havoc with the villagers. The questions he asks will unearth secrets, including some that aren’t relevant for the investigation, they will make people look at each other differently. Gamache sticks to his principles, tries to see the best in his team and is committed to coaching rookies. This first volume starts to explore the characters of the police team: Jean Guy Beauvoir, Gamache’s second in command, Yvette Nichol, the rookie and Isabelle Lacoste, experienced but not as much as Beauvoir. It’s going to be nice to see how Louise Penny will develop them, especially Nichol and Gamache. Readers who like Thomas Pitt, the policeman in Anne Perry’s books will like Armand Gamache and vice-versa. The two men could be cousins.
Beside the plot and the investigation, I enjoyed Still Life for Penny’s style, the setting in Quebec and her observations on human nature and on her country. Louise Penny is Canadian and anglophone. She writes in English and her books were translated in Quebec French before being available in France. I have the original version, though. At Quais du Polar, she explained that the French publisher Actes Sud kept the Quebec French translation instead of re-working it into French. Hearing that, I almost regretted to have the English version, just to have the pleasure of reading a book set in Quebec, in French from Montreal and not from Paris. In the end, the English version proved to be a delight with all the French words included in the text to give back the Quebec atmosphere. It enforces the sense of place and it works well like in these short examples:
Nichol waved toward the back seat while negotiating Blvd St Denis to the autoroute which would take them over the Champlain Bridge and into the countryside.
Clara and Myrna stood in line at the buffet table, balancing mugs of steaming French Canadian pea soup and plates with warm rolls from the boulangerie.
The vocabulary sometimes gave me a lovely impression of outdated times. Chef de la Sûreté (Chief Inspector) propelled me to the Ancien Régime and police under Louis XV. The French-speaking characters had rather old-fashioned names like Armand, Reine-Marie or Yvette.
I wonder what Louise Penny thinks of the title of the French translation, Nature morte. I guess she discussed it with her translator. Still life is a genre of painting and since painting is in the center of the plot, it makes sense. And in French, when you discuss painting, a still life is a nature morte. However, in English, still life conveys another meaning, if you put aside the reference to painting and it is explained in the book by Myrna, the local bookseller.
‘I think many people love their problems. Gives them all sorts of excuses for not growing up and getting on with life.’ Myrna leaned back again in her chair and took a long breath. ‘Life is change. If you aren’t growing and evolving you’re standing still, and the rest of the world is surging ahead. Most of these people are very immature. They lead “still” lives, waiting.’ ‘Waiting for what?’ ‘Waiting for someone to save them. Expecting someone to save them or at least protect them from the big, bad world. The thing is no one else can save them because the problem is theirs and so is the solution. Only they can get out of it.’
Nature morte (literally “dead nature”) doesn’t convey this meaning at all as this expression is attached to painting and nothing else. So part of the depth of the title is lost in French. Honestly, I don’t know what else the title could have been, though.
The investigation and the description of Three Pines and its inhabitants are combined with thoughts about the relationship between anglophones and francophones in Quebec. Some anglophones characters say they feel out of place sometimes. I don’t know if it’s true but it intrigued me. I also thought that the following observation…
It was, reflected Gamache, one of the fundamental differences between anglophone and francophone Quebecers; the English believed in individual rights and the French felt they had to protect collective rights. Protect their language and culture.
…seems relevant for France as well. The protection of collective rights is the source of social security and collective pension schemes. Indeed, in France, you don’t pay for your own pension plan, you pay for the people who are retired now and the next generation will pay for you. We also want to protect our language, our way-of-life and our vision of the world.
In other words, Still Life is a solid cozy mystery with more depth than a book by Agatha Christie. It mulls over the impact of a police investigation on a community and lets the reader see glimpses of the society it is set in. Recommended.