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Portuguese lit: The Memorables by Lídia Jorge

September 10, 2017 20 comments

The Memorables by Lídia Jorge (2014) French title: Les Mémorables. Translated by Geneviève Leibrich.

Elle serrait contre elle la copie des plans dessinés par la main de celui qui, trente ans plus tôt, avait mis en marche cinq mille hommes contre un régime décrépit, un de ces régimes si long et si séniles qu’ils laissent du fumier sur la terre pour plusieurs siècles. She held to her chest a copy of the maps designed by the man who, thirty years before, had led five thousand men against a decrepit regime. It was one of those long and senile regimes that left manure on earth for several centuries.

“She” is Ana Maria Machado, a young Portuguese journalist who works for CBS in Washington DC. The five thousand men mentioned in this quote are the military men who participated in the coup d’état on April 25th, 1974 in Lisbon, the one that led to the Carnation Revolution and the fall of the Portuguese dictatorship.

After reportages in war zones, Ana Maria’s boss asks her to go back to Lisbon and film a documentary about the Carnation Revolution and the miracle of this peaceful revolution where the military takes power to bring democracy to their country.

Ana Maria is reluctant to go back to Lisbon where she has unresolved issues with her father, Ántonio Machado, a famous political editorialist whose column always proved to be insightful. He was also close to the people who did the revolution. Ana Maria needs a crew for her mission and rekindles a working relationship with Margarida and Miguel Ângelo, two reporters she knew in journalism school.

Ana Maria decides against telling her father about her project, mostly because she doesn’t want him to interfere with her vision of the events. In Ántonio’s office, she borrows a picture taken on 21st of August 1975, in a restaurant, the Memories. This picture portrays all the people who were decisive participants in the revolution and close witnesses of the events. This photo will be the Ariadne thread of the documentary.

Ana Maria and her friends want to reconstruct the minutes this 25 of April 1974 and understand what everyone did and when. They will go and interview these key actors or their widow to discover what they did that day, how they felt, how they lived afterwards and how they reflect on the revolution, thirty years later.

Lídia Jorge autopsies the military coup that brought democracy to her country but more importantly, she questions what happened to the major players of the Carnation Revolution. Her book was published in 2014, for the fortieth anniversary of the 25 of April 1974 events. Ana Maria writes her story six years after she did her documentary and what she narrates happened in 2004, for the thirtieth anniversary of the revolution. Symbolic years. Time and remembrance are important in her book.

I wanted to read about the Carnation Revolution and it gave me a better vision of what happened and how extraordinary it was to have such a smooth transition to democracy. Lídia Jorge points out two disconcerting facts about these events: one, the major actors of the military coup were never properly thanked and none had a glorious career after that. And two, they were forgotten from the public. This is very different from what Petros Markaris describes about Greece in Bread, Education, Freedom or what Yasmina Khadra writes about Algeria in Dead Man’s ShareBoth Markaris and Khadra explain how the actors of the country’s liberation cashed on their being on the right side, either during the decisive demonstration against the Greek regime or against the French. In these two countries, these men became untouchable heroes, grabbed on power and didn’t let it go.

According to The Memorables, no heroes were born from the Carnation Revolution in Portugal. Ana Maria knew the men on the photo because her parents gravitated in their circle. Margarida and Miguel Ângelo had to research them. Lídia Jorge wants to celebrate them, to remind them to the Portuguese and show how ungrateful the Republic was towards them. None of them benefited from their act.

In addition to the questioning about the place they have in the Portuguese collective memory, Lídia Jorge muses over the impact of living through such historical events. How do you go back to normal after that? How does one leave their glorious days behind and go on with a mundane everyday life? How do you survive to the I-was-there-and-part-of-it syndrome? There is a before and an after the 25th April 1974 for all the Portuguese who were old enough at the time to grasp the importance of this day, but for the people who prepared the coup and succeeded, how does the rest of your life measure up to this? (I’ve always wondered how Paul McCartney, George Harrison and Ringo Starr survived to being a Beatle)

Ana Maria’s personal story is also linked to the 25th of April. That day, her mother, Machado’s lover, was supposed to fly back to her country, Belgium. The beginning and the excitement of the Carnation Revolution convinced to stay in Portugal. So, Ana Maria’s existence is also an outcome of the revolution. As mentioned before, her parents were close to the new power and knew the key players. Coming back to Lisbon is a personal journey for her. She’s estranged from her father and never saw her mother again after she divorced her father when she was twelve. She doesn’t want him to ask questions about her current assignment and therefore avoids asking questions herself. They live together but barely talk to each other. This added a dimension to the novel.

What can I say about my response to The Memorables? Honestly, sometimes I found it very tedious to read. When I read Dubliners, I wondered Do you need to be Irish to love Dubliners by James Joyce? because there were so many precise political details in the short stories that I felt I was missing vital clues in the stories. I felt the same here and I wondered if I needed to be Portuguese to fully understand the meaning of The Memorables. All the historical characters mentioned in the novel through a nickname are pathetic in the interviews with Ana Maria and her friends. It’s puzzling. They all have issues and are eccentric. How real are they? It made the book difficult to read and I don’t know how much is true and how much comes from the novelist’s licence. On top of that, Ana Maria is not exactly a warm character and it’s hard to root for her. And that’s probably the major problem I had with The Memorables. I was never fully engaged in the reporters’ quest. It could have been suspenseful and it wasn’t, except for the last 100 pages when Ana Maria uncovers her father’s secrets.

All in all, I’m glad I read it but it was not an agreeable read. I’d love to hear about your response to it. Alas, this is not available in English so none of my English-speaking followers will have read it. So, I’d be glad to hear from French and Portuguese readers who might have read it.

Street Art in Lisbon. Salgueiro Maia, member of the MFA, the “Armed Forces Movement”

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