Those Who Leave and Those Who Stay, Elena Ferrante

This is the third book of Ferrante’s Neapolitan Quartet (2012-2015) which I have been reading, slowly, since 2017. The stories – and I believe the Quartet was written as a single novel but at 1,600 odd pages was simply too long to publish that way – are of the narrator, Lena, and her sometime best friend, Lila, born in ‘the Neighbourhood’, the poorest part of Naples, around 1945.

The first, My Brilliant Friend, which brought Ferrante to ‘instant’ fame is often read it seems to me as a girlish coming-of-age, but it is much more important than that. The Quartet is a long and fascinating discussion of what makes a (woman) writer.

Both girls are born into abject poverty and are expected to be subservient to their fathers, their brothers and to any boy/man to whom they might be seen as attached. Instead, through hard work and natural brilliance they rise, or have the potential to rise, out of the Neighbourhood. Lena into educated, liberal Italian society and Lila, the more naturally gifted, choosing, for reasons neither we nor Lena understand, choosing to stay.

In the Neighbourhood, just below the surface all the time are the Solara brothers, Marcello and Michele, bullies at school, the bad boys all the girls want, local hoodlums, their mother the local moneylender, rising in this book to wealthy businessmen, standing in maybe for the ‘Ndrangheta, the Calabrian mafia, which is never mentioned.

The heart of the Quartet is summed up by this quote of Lila berating Lena:

“Why did you study so much? What fucking use has it been for me to imagine that you would enjoy a wonderful life for me too? I was wrong, you’re a fool.”

It’s the late 1960s. Lila and her son – her ex-lover Nino’s son or her ex-husband Steffano’s son? – have an apartment near but not in the Neighbourhood, which they share with Enzo, a friend from the girls’ schooldays. Enzo supports them; Lila insists on separate beds; Lila works in a sausage factory, boning, cleaning the floors, subject to sexual assault; at night Enzo and Lila study computer programming by correspondence.

In Paris workers and students are rising up – as we will discuss when I get to Daniel Cohn Bendit’s Obsolete Communism at the end of next month – Lila engages with the Communists via Nadia and Pasquale who make brief appearances off and on through the novel. They produce a pamphlet which improves nothing and puts Lila in a difficult situation in the factory.

Lena is basking in the glow of the success of her novel, though too much is made of the ‘dirty’ bits. It is interesting that we seem to know very little about Elena Ferrante. The Quartet is framed as the biography or maybe the fictionalised biography of Elena Greco, writing in the early 2000s. I’ve spent the last quarter century studying Miles Franklin, and the parallels with My Brilliant Career and My Career Goes Bung are very close. Lena, Sybylla/Franklin write fictional biographies of their coming of age which launch their careers as writers; and then write further novels, encompassing their initial works, fictionalising their dealing with the fallout of fame, local and national.

The Neighbourhood are largely proud of Lena’s success, though her mother thinks she has portrayed herself as a whore; Franklin’s neighbourhood, and many of her family, though not her parents, were angry with their portrayals.

If Ferrante was not born poor in Naples, growing up to be an academic in the north, if these novels are not the autofiction they appear to be, then I will be very disappointed. If they are the result of imagined rather than lived experience then I think they have a lot less to say.

Lena listens to Lila and writes up an expose of the conditions at the sausage factory which is accepted by L’Unità, the Communist Party newspaper. Lena becomes a columnist for them, returns to her home in the north. Lila remains contemptuous.

For much of the rest of the book Lena and Lila are in different cities, communicating, often with long gaps, only by phone. Lila’s story is relatively straightforward – first Enzo and then she get jobs in computing, converting work procedures into algorithms which they programme into IBM mainframes with punch cards. They are successful and work their way up to high-paying jobs.

When the fascist son of the pharmacist, and then the owner of the sausage factory are shot dead Lena, with no evidence, suspects that Lila has remained connected with Nadia and Pasquale. We think of the Red Brigades, but as with the mafia, Ferrante doesn’t say these words out loud, though she does briefly mention Baader-Meinhoff.

Lena marries Pietro, a very dull young professor of Latin, and they go to live in Florence. Pietro’s far more interesting mother and sister, who live in Milan, remain strong presences in Lena’s life. In the background always is Nino, the boy from the Neighbourhood on whom she had a crush; who Lila took from her; who is now a respected intellectual, well known in the circles she moves in.

Their first night:

As soon as we got to our apartment and closed the door we began to make love. At first it was very pleasurable, but … Pietro strained for a time that seemed endless. His thrusting was deliberate, violent, so that the initial pleasure slowly diminished, overwhelmed by the monotonous insistence and the hurt I felt in my stomach … desire disappeared … I whispered words of love and yet I hoped he would stop. When he exploded with a roar … I was hurting and unsatisfied.

Later in the night, when she wakes, she finds him at his desk, working. “I’m sure that I became pregnant that night.”

The second half of the novel is Lena dealing with a boring and unsatisfactory marriage.

They have two daughters. For a number of years Lena finds she can’t write. Pietro disrespects her intellectually. Memories of her initial success fade. She has to turn to her mother for help with the children. Back in Naples her younger sister, and through her the whole family, become involved with the Solaras. As does Lila.

Pietro and Lena fight …

Did I enjoy it? I loved it. Do I recommend it? Of course. This is a fascinating account of the Neapolitan underclass and northern Italian educated upper middle class coming into bewildered contact, not just through Lena, but through Nino; through Pietro’s acceptance of his uneducated inlaws; through Nadia, the professor’s daughter, joining the communists; through Adele, Pietro’s mother using her contacts to help Lena’s friends. Do I have any questions? Sorry. I was too engrossed reading.

.

Elana Ferrante, Those Who Leave and Those Who Stay, Europa Editions, London, 2014. Translated by Ann Goldstein. 418pp.

Elana Ferrante’s Neapolitan Quartet:
My Brilliant Friend (review)
The Story of a New Name (review)
Those Who Leave and Those Who Stay
The Story of the lost Child

The Story of a New Name, Elena Ferrante

I read My Brilliant Friend (2011), the first of Ferrante’s quartet, The Neapolitan Novels, on the train from Milan to Naples in 2017. Spent a few hours there with my daughter and grandkids as they waited for the ferry to Ischia, and then by taxi and train continued heading south. But still, I like that I am able to imagine bits of The Story of a New Name (2012), the second in the quartet, in the places they occurred.

Ferrante apparently conceived of L’amica geniale as one novel, but chose to publish in four volumes for ease of reading. Certainly she makes no concessions; vol.2 takes off exactly where vol.1 ends, and if you have forgotten all the names and family relationships in the interval between reading 1 and 2, then you must resort to the look-up tables placed at the beginning of vol.2 for that purpose.

A number of you in the comments to my review of My Brilliant Friend said that you were put off by the hype, and the same was/is often said of Sally Rooney and Normal People. But Ferrante and Rooney are both excellent writers, as thoughtful about writing as they are about relationships, and I think this thing about hype leads to them being underrated (no doubt as they laugh all the way to the bank).

Also, I think being made into popular TV series has done both books/series no favours. Separating the stories from the writing reduces them to their ordinary coming of age and romance elements and leads most readers to overlook the literary elements of the writing – to a large extent the Neapolitan novels are a discussion of what it takes to be a writer. Lila and Lenu are two sides of the same coin, brilliance and hard work.

I can’t see Ferrante’s year of birth anywhere, nor her ‘real’ name. There are a couple of hints early on that the author/narrator, Elena Greco, is now in her 60s looking back, but apart from that the action and Elena’s thoughts are in the novel’s present, the late 1960s.

The ‘new name’ of the title is Lila’s married name, at 16, Signora Carracci, the wife of grocery shop owner Stefano. In my review of My Brilliant Friend I wrote that the final scene, their wedding breakfast, leaves us hanging. Stefano is meant to have broken with the feuding and gangsterism of the neighbourhood’s immediate past, but the presence of the Solaro brothers, Marcello and Michele implies that Stefano is beholden to them. As indeed the early chapters of the new book confirm. More, Stefano has given Michele Solaro the shoes designed for her shoemaker family by Lila.

The gentle Stefano Carracci, the grocer, who out of love had wanted to buy the first pair of shoes she had made, vowing that he would keep them forever. Ah, the wonderful moment when, at fifteen, she had felt herself a rich and elegant lady, on the arm of her fiancé, who, all because he loved her, had invested a lot of money in her father and brother’s shoe business: Cerullo shoes.

At 470pp this is not a small book, and at the story-telling level there is always a lot going on. From the very beginning, Lila is constantly at odds with Stefano, swinging wildly between seducing him and denying him sex, apparently defying both her husband and nature by not getting pregnant, and then when a son finally comes, claiming that Stefano is not the father.

Stefano builds a second, new, grocery within the neighbourhood and gets Lila to manage it, which she does unwillingly but well. And he goes into business with the Solaros, with a smart store in the city, which he largely prevents Lila from being involved in, though it is selling Cerullo shoes.

Lenu meanwhile makes her way through the middle and final years of high school. Though they’re often at odds, still Lila uses Stefano’s money to buy Lenu’s schoolbooks and Lenu is able to get a respite from the dreadful poverty of her own parents and younger siblings, by going each afternoon to study in the backroom of the new grocery.

There are a couple of summer interludes on Ischia, firstly with Lenu working as a governess, and then, later, paid by Lila to be with a party of young married neighbourhood women. On the island she runs into the Sarratore family, formerly from the neighbourhood, who have a small house there. Lenu has always had a crush on Nino Sarratore, a brilliant student, a couple of years ahead of her at school. He, it turns out is dating the daughter of her favourite teacher. Lenu thinks she can win him, but Lila is in the way …

Lenu completes high school so successfully that she is offered a scholarship to university in Genoa, and there she does well, gets herself a nice, upper middle class boyfriend, and writes a novel which may be My Brilliant Friend. (Though, unlike Miles Franklin and My Brilliant Career, the neighbours do not read it and do not get offended).

So, in the first place, all the drama in The Story of a New Name is Lila’s. Which Lenu purports to tell, almost first hand, using the clumsy device of Lila’s diaries which are entrusted to her and which she reads and destroys. The underlying story of course is Lenu’s own growth as a woman, as an educated Italian, and as a writer. Lenu is to some extent an ‘unreliable narrator’, at least of her own story, and it seems to me that she overrates Lila’s flashy brilliance, as she underrates herself, her attractiveness, her intelligence, as of course, most young women do.

The underlying, underlying story is of language. I have been fascinated in the past year or so by the Japanese/American An I-Novel, Minae Mizumura, and Jessica Gaitán Johannesson’s How We Are Translated, both about women moving backwards and forwards between languages. Lenu must do the same, between the dialect of the ‘neighbourhood’ – widely spoken throughout Naples – and the formal Italian of her education. When she goes to Genoa she finds she must navigate a third language, colloquial Italian, with which she has apparently had no prior experience. The translator does not attempt to reproduce this, and I wonder if Ferrante herself does.

I enjoyed this story at the relationship level, though I know a lot of you became exasperated with it, but at another level is a very good writer talking about/showing us developing her craft, and at this level it is fascinating.

.

Elena Ferrante, The Story of a New Name, first pub. 2012, this edition: Text, Melbourne, 2015. 470pp. Translated from the Italian by Ann Goldstein.

---

Coincidentally, as I finished writing this, a review appeared in Inside Story of the HBO series of My Brilliant Friend. Jane Godall writes at length about the fidelity of the filming to the story and to Naples, but of course, all the literary element is lost (here).

The Inseparables, Simone de Beauvoir

Simone de Beauvoir (1908-1986) and Jean-Paul Sartre (1905-1980) were themselves pretty well inseparable but Sartre at least is not who this short work of autofiction is about, but rather de Beauvoir and her childhood friend, Elisabeth ‘Zaza’ Lacoin, given here the names Sylvie and Andrée. I mention Sartre because I became a Sartre fan at university and it is only through him that I have had any interest in de Beauvoir, who was of course a feminist icon and the author of The Second Sex (1949).

The Inseperables was unpublished in de Beauvoir’s lifetime, presumably because she did not wish it to be, but was found later amongst her papers. It is a slight work, 123pp without all the accompanying material – Introduction, translator’s note, Afterword (by de Beauvoir’s adopted daughter and executor of her will), and ‘Archive Material’, threatening to overwhelm the text and which consequently I have not read.

The story begins with Sylvie aged 9 and Paris under threat from the Germans. I think Hitler, Sylvie’s grandfather thinks Bismark (1870-71), but it is of course WWI. She is a good Roman Catholic child, at a Roman Catholic girls school.

The students sat around an oval table covered in black moleskin, which would be presided over by our teacher; our mothers sat behind us and kept watch while knitting balaclavas. I went over to my stool and saw the one next to it was occupied by a hollow-cheeked little girl with brown hair

and so she meets Andrée, who had been “burned alive” and missed a year of school and now wished to catch up by borrowing the notebooks of the best student in the class, Sylvie of course.

This is an account of the two girls’ friendship, far more intense on Sylvie’s side than Andrée’s, over the next fifteen years, in which Roman Catholicism plays an important part – Sylvie contrasting the fading away of her own childhood faith with Andrée’s need to retain hers.

After their first summer apart, near the end of the War, they return to school –

… I suddenly understood, in a joyful stupor, that the empty feeling in my heart, the mournful quality of my days, had but one cause: Andrée’s absence. Life without her would be death.

Sadly for Sylvie, Andrée’s most important relationship is with her mother, who only grudgingly tolerates their friendship. Sylvie is always headed for an academic life. Andrée, though Sylvie’s equal in class as well as a gifted violinist, is headed only for marriage to ai suitable Roman Catholic boy.

When, at 13, Andrée forms a relationship with the boy next door to their country property she is fully aware of the carnality and sinfulness of their “innocent” kisses. The boy’s father is spoken to and he is taken out of harms way. Sylvie is reluctantly invited to spend the holidays, to divert Andrée, but she never fully understands. Even into her twenties Sylvie is largely impervious to sexual attraction.

At the Sorbonne, Sylvie takes philosophy and Andrée literature. Sylvie “continued to respect Christian morality” and is alarmed by the way her fellows talk and act. She becomes friends with a young man in her class, Pascal, an observant Catholic with “with impeccable manners and … beautiful angelic face.” She introduces Pascal to Andrée, and soon they are going out.

With her older sister married off, Andrée is the focus of all her mother’s attention. She wishes to marry Pascal but it becomes clear that Pascal is as locked in obedience to his father as she is to her mother. It all ends in tears.

This reminds me of those Evelyn Waugh novels where motivation may only be understood via the Byzantine ins and outs of Catholic reasoning. So, for instance Pascal agrees with Andrée’s mother that he should be kept apart from Andrée due to the inherently carnal nature of their attraction. But does it remind me of Sartre or indeed, of de Beauvoir?

Sartre is difficult to read, though I remember enjoying his war-time novels. He examines himself constantly, repeatedly, hoping to make a small progress each time. At the heart of his philosophy, and I think of de Beauvoir’s, is the demand that we be responsible for who we are.

On its face, this is a simply written text, an account of the difficulties Andrée’s faith leads her into, and Sylvie’s reaction. Perhaps the best I can say is that Andrée wants to be the person, the woman, God and her mother want her to be, and she finds this impossible to achieve.

.

Simone de Beauvoir, The Inseparables, Vintage Classics, 2020. Translated Lauren Elkin. Introduction, Deborah Levy. Afterword, Sylvie Le Bon de Beauvoir. 145pp

see also: Existentialism, Sartre (here)

---

From Hazel Rowley’s Foreword to de Beauvoir’s Memoirs of a Dutiful Daughter (here).

Jean-Paul Sartre was a guiding force and moral support for Beauvoir, just as she was for him. He encouraged her, in the true sense of the word; he brought out her courage. During their long years of literary apprenticeship—years in which they both produced draft after draft that would end up, like their other manuscripts, relegated to a drawer—Sartre saw that Beauvoir was at her best when she portrayed her own experience. “Look,” he told her one day, as they sat in a noisy, smoke-filled Paris café discussing their work, “why don’t you put yourself into your writing?” Beauvoir writes that she felt the blood rush to her cheeks. “I’d never dare to do that,” she said. “Screw up your courage,” Sartre said.*

  That conversation resulted in She Came to Stay (1943). Inspired by the amorous trio Beauvoir and Sartre had formed with a young woman, the novel skated so close to real life that it shocked even their friends …

Laura: A Journey into the Crystal, George Sand

No, I didn’t read it in French, I just preferred this French cover. Laura: A Journey into the Crystal (1864) is the 44th of Sand’s 60 odd novels/novellas. I have previously reviewed Sand’s The Devil’s Pool and Elizabeth Berg’s fictionalized and very readable bio, The Dream Lover, if you want more details of Sand’s life. In his 1910 biography, Rene Doumic writes, George Sand wrote for nearly half a century. For fifty times three hundred and sixty-five days, she never let a day pass by without covering more pages than other writers in a month. Her first books shocked people, her early opinions were greeted with storms. From that time forth she rushed head-long into everything new, she welcomed every chimera and passed it on to us with more force and passion in it. Hence the 60 books.

The book’s thesis is that the crystal interiors of geodes have “landscapes” mimicking those of the exterior/real world, and that the story’s narrator Alexis can be transported into these interior landscapes by his cousin Laura. Brona – who kindly sent me her copy of this work – asks is this Science Fiction or is it dreams? (here) The answer is probably that in the early days of SF the two were indistinguishable.

One clue is on p.30. Laura is describing to Alexis what they can see around them

Here is mad labradorite, the reflections from its facets by turn colourless and pearly, and adventurine with silver rain that displays its polished flanks, while the fires of red, warm almandine, whose praises were once sung by a seer called Hoffman, are concentrated around the centre of its austere mountain.

The Hoffman she refers to is ETA Hoffman (1776-1822), a German/Prussian author of fantastical stories (hence Tales of Hoffman). I have been, slowly/intermittently, reading his Master Flea thanks to Jonathon/Intermittencies of the Mind (here).

From Wikipedia I get: Historian Martin Willis argues that Hoffmann’s impact on science fiction has been overlooked, saying “his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries.” Willis points out that Hoffmann’s work is contemporary with Frankenstein (1818) and with “the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century.” His “interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. …Hoffmann’s work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic.

And further searching (how I wish I had some German) reveals the following

Down in the depths below, hidden in the chlorite and mica, lies the cherry-coloured sparkling almandine, on which the tablet of our lives is graven. I have to give it to you as a wedding present.

ETA Hoffman, The Mines of Falun

The Mines of Falun (Die Bergwerke zu Falun) “is one of the most complex stories of E.T.A. Hoffmann. Starting from an event recalled in old chronicles [the discovery of a perfectly preserved body in a crystal mine], the writer fantasizes on a story that shares only the ending with the documented one, which allows for an extraordinary incursion in other depths, those of the dreams, hallucinations and obsessions. The whole narration demands a reading from a symbolic perspective, where images constantly refer to what lies beyond the apparent.” Luis Montiel, Universidad Complutense de Madrid, 2014.

Ok, enough antecedents. Laura is early SF, following on from ETA Hoffman whom Sand had clearly read, and the Hoffman connection may explain why she chose a German setting rather than French. Alexis himself is unsure at times whether he is dreaming or undergoing ‘magic’ or spiritual experience. But that is equally true with ‘hard’ SF today – with concepts like worm holes, faster-than-light communications, telepathy and teleporting being sciency rather than scientific.

Alexis falls in love with Laura (of course) but it soon turns out she is promised to his supervisor whose prospects are more certain.

[Alexis] You laugh, I said, and I suffer; but that is all the same to you, you love neither Walter nor me; you love only marriage, the idea of calling yourself “Madame” and wearing feathers in your hat…

[Laura] Calm yourself, you silly great child! Didn’t I tell you that I love you? Don’t you know that our earthly life is only a vain fantasmagoria, and that we are forever united in the transparent, radiant world of the ideal?

[Note that there are no quotation marks to denote speech. There is no copy on Project Gutenberg so I cannot tell whether this is done by Sand or the translator].

Nasias, who claims to be Laura’s father who has been away many years, appears and wishes to take advantage of Alexis’ ability to materialize inside these crystal worlds. He promises not to marry Laura off and takes Alexis on a voyage – from Kiel in the Baltic, across the North Atlantic, and up the west coast of Greenland (map) – to where they may enter the underworld through a hole in the Arctic.

After months of sledding across ice through the winter dark, guided by the light from a strange diamond, they come to a warm sea and on its far side a volcanic island marking the north pole [Robert Peary’s explorations of north Greenland and the North Pole would not take place until four decades after this book was published].

Eventually the two ascend the mountain at the centre of the island and see beneath them the world’s crystal interior. Nasias plunges onwards, but Laura appears, to rescue Alexis and return him to home

[Laura] … but listen, my dear Alexis: as I leave the crystal world with you, I sense that I am leaving my glamour there. You have always seen me as tall, beautiful, eloquent, almost magical. In reality, you will find me as I am, small, simple, ignorant, a little middle-class, and singing the Ballad from Saul out of key.

A happy ending ensues, of course, and Sand implies a prosaic explanation for all that has gone before, but for 100 pages she has taken us on an imaginative, exciting adventure.

.

George Sand, Laura: A Journey into the Crystal, first pub. 1864. Translated by Sue Dyson, Pushkin Press, London, 2004, 2nd Ed. 2018. 126pp.

Rene Doumic, George Sand: Some Aspects of Her Life and Writings, first pub. 1910. Translated by Alys Hallard. Project Gutenberg (here)

3 Audiobooks

Journal: 067

Coming over this Easter, from Perth to Melbourne with detours to a mine in Western Australia, a station in western NSW and a farm on Wilsons Prom., I listened to the three novels the old fashioned way, on CD. Why? Because it’s still easy to get them like that from the local library. But I will start my next Audible book ‘soon’. I did try a couple of Borrowbox e-audiobooks but there was a problem with the download.

I wouldn’t have written up these books at all, probably, but there is a problem with my load and I’m held over till tomorrow (Thurs) morning, so I’ve a few hours to kill.

Waiting for Tomorrow (2015) is a novella by Mauritian/French author Natacha Appanah, original title: En attendant demain, translator: Geoffrey Strachan.

This is the first of the three I listened to, so some of my memory cells have been overwritten by subsequent events. Briefly, I enjoyed it. And the author expresses some anger at the treatment of POC, including the use of the term ‘people of colour’, by, in particular, progressive Parisians.

The story moves around a lot, and is told from the POV of all the main characters. Today, Adam is to be released after 5 years and x days in jail. Anita, his wife of Mauritian descent, is waiting for him. Their daughter might be in a coma. Adele is dead. We go back to Adam and Anita meeting, marrying, moving back to Adam’s home town in the provinces (on the Atlantic coast). Adam an architect and mediocre painter; Anita, with a novel in her bottom drawer, getting piecework on the local newspaper. Adam’s annoyance at her ‘wasting her talents’.

Laura is born. Adele enters the story. Another Mauritian, undocumented, working in a bar and as a nanny. She meets Anita, begins living with Anita and Adam. There’s some drama. Adele dies. The ending is suspenseful and satisfying.

Snare (2015) is apparently #1 in the Reykjavik noir trilogy. I’m not sure what its title is in Icelandic but the translator was Quentin Bates. In an Afterword author Lilja Sigurdardottir says that Icelandic is spoken by only 400,000 people and it is important that the language be preserved, but also that it is a privilege to have her work translated into English.

The protagonist of Snare, Sonia, is a mule for drug smugglers, bringing cocaine into Iceland from Denmark and England. The plot is a little fanciful and the action sequences annoying (I’m sure they’re done well, but I don’t like action).

The charm of the novel is in the characterisation. Sonia has left her husband, but has inexplicably put her divorce into the hands of a lawyer friend of her husband’s who puts her into a settlement that gives her no income, no family home, and only one weekend a fortnight access to their son. Sonia is in an on again off again lesbian relationship with Agla, a senior manager in a failing bank, and a workmate of Sonia’s husband.

The quantity of drugs Sonia is expected to transport increases exponentially, a customs officer begins to notice her frequent, short international trips. the son is kidnapped when it looks like Sonia is refusing to continue smuggling. It all comes to a very exciting head. But the personal situations would have been just as interesting without the ‘noir’.

After two similarly aged female protagonists – similar enough that I began to confuse Sonia’s backstory with Anita’s – A Gentleman in Moscow (2016) was a complete change.

A G in M is Russian historical fiction written by an American, Amor Towles, apparently a literary author of some reputation. It is well researched with very many allusions to the great Russian authors. But. Towles is an American and his biases show. Not least in his choice of an ending which of course involves a complete repudiation of the Revolution and of communist society.

Count Alexander Rostov, and aren’t Americans fascinated by titles, is about 20 at the time of the October Revolution (1917). His lands are lost and he narrowly avoids execution only to be condemned to indefinite house arrest in the attics of Moscow’s principal hotel, the Metropol.

Over the course of 40 or 50 years he becomes head waiter in the hotel’s main restaurant and gains a foster daughter, who shares his 10 ft by 10 ft bedroom throughout all her teenage years despite all the other rooms in the attic being unoccupied.

It’s an interesting, if overlong story, but it’s Hist.Fic. and it’s not by a Russian, so I don’t see any point for anyone not a long distance truck driver with endless hours to fill, reading it.

Nada, Carmen Laforet

Four years ago next month Milly and I met up with our daughter, Gee and grandchildren in Paris and travelled with them to Avignon where Gee had taken a house for a week. Milly was to stay and help with the kids but my Eurail pass was burning a hole in my pocket so after one night I caught the local train out to the mainline station. Choices! I could go north to Lyon, Paris, Frankfurt; south and east to Marseilles, Nice, Monaco and on into Italy (as we indeed all did at the end of the week); or south and west to Spain – Barcelona and Madrid.

I had already decided on the last, and was reading Orwell’s Homage to Catalonia in readiness. For some reason – I have no French and the ticket sellers had no English – I could only get a ticket to the Spanish border. I paid my €10, and at the border jumped off briefly to pay another €10 for a ticket to Barcelona (which is not how the system is meant to work, but no matter, I was happy).

A couple of more hours and I was there. And I did not want to be. There were thousands of people watching motorbike races in the plaza outside the station and thousands more queuing up all down the street to go into some exhibition or other. I walked around the motorcycle crowd to the ruins above them, back down again to the station and caught the next train to Madrid where I spent the night and a pleasant morning before making my way to Zaragoza and Huesca, on the edge of the country where Orwell saw action, and from there by local transport over the Pyrenees to Toulouse. Milly and I had hoped we might make a more successful visit to Barcelona this year, but it was not to be.

Orwell entered Spain, as I did, from the south of France, in 1936 to join the Trotskyite forces in the coalition fighting to save the left-leaning Second Spanish Republic from General Franco’s Fascist/Monarchist armed takeover. He found Barcelona in a state of Anarchist self-governance

It was a town in which the wealthy classes had ceased to exist… All this was queer and moving. There was much in it I did not understand, in some ways I did not even like it, but I recognized it immediately as as a state of affairs worth fighting for. Also I believed that things were as they appeared, that this was really a workers’ State …

Nada (1945) is set in Barcelona, in 1940, after the Civil War and with the rest of Europe in the early stages of WW II. A year in the life of Andrea, an orphan country girl who comes up to the city to stay with her once prosperous upper middle class relatives, and attend university. Andrea is largely oblivious of the Civil War which must have been fought all round her as she was growing up, and only mentions it in the context of her two uncles’ – Roman and Juan – uncertain allegiance to the Republican side and their now uncertain tempers.

The family home, a third floor apartment in an once ‘good’ street, is now decrepit and dirty and housing too many people – Grandma, pious Aunt Angustias, Juan and his beautiful lower class wife, Gloria and their baby, the maid and a dog. Roman lives some levels above them in the attic. Food is scarce, the family is almost entirely without income. Juan is a talentless artist. Gloria who must spend hours modelling for him, sells his paintings for their scrap value, and goes down to her sisters’s in the slums to play cards for money, at which she is successful and for which Juan beats her mercilessly and repeatedly. Roman is a fine musician and composer which talents he has always been too lazy to profit by and instead brings in a small income from smuggling. Andrea, when she gains control of her student allowance from her aunt, spends it all at once in the first days of the month then starves through the remaining weeks, Her bird-thin Grandma leaves out portions of her own meals for her for when she gets home, and as she slowly makes friends at university they too conspire to keep her fed. Only the dog eats well.

This is one of those brilliant novels played out entirely in the head of the first person protagonist. Roman attempts to persuade Andrea that the only life of any importance is that of the apartment, where he is the centre of all disruption – attacking Angustias for her ‘secret’ lover whom her father had forbidden her to marry but who was now rich (and married to someone else); attacking Juan for bringing Gloria into the household; and Gloria for her attraction to him (Roman) when he rescued her during the war.

Juan put Gloria in the bath and without taking off her clothes ran the icy shower over her. He brutally held her head so that if she opened her mouth she couldn’t help swallowing water. Meanwhile, turning to us, he shouted:
“All of you back to bed! Nobody has any business here!”
But we didn’t move. My grandmother pleaded:
“For your baby’s sake, for your baby! Calm down Juanito!”

Slowly, Andrea, poor and unfashionably dressed, an outsider at University, is befriended by the beautiful Ena and by some of the arty boys, all of course from well-off families. They come and go in the story over the course of the year as Andrea pays them attention, or not, and as they do other stuff. Ena, is clearly fascinated by Roman, and we live with all Andrea’s reactions to that as the reasons for Ena’s fascination slowly become clear.

I was interested in the Catalan (separatist) side to this, but very little is said. It becomes apparent that the family mostly speak Castillian Spanish and Catalan only to working people. Apparently it was better for Laforet to gloss over the Catalan problem to evade Franco’s censors.

Thank you Pam/Travellin’ Penguin for sending me this. I thoroughly enjoyed it.

.

Carmen Laforet, Nada, first pub.1945. translated by Edith Grossman. Edition read: Vintage 2008. 241pp

The Little Hotel, Christina Stead

AWW Gen 3 Week Part II 17-23 Jan, 2021

Christina Stead (1902-1983) is the greatest or second greatest Australian writer (depending how you rank Patrick White) of the inter-War and immediate post-War years. She was born in Sydney, went to London after school and one or two years of uni, and lived and wrote, often in poverty, in England, Europe and the USA, ignored and sometimes positively shunned in Australia , until the death of her husband, the Communist economist William Blake in 1968. She returned briefly to Australia then, on a fellowship to ANU, and permanently in 1974. (See my review of Chris Williams’ Christina Stead: A Life of Letters).

The Little Hotel (1973) is the stories of the proprietors and semi-permanent residents of a down-market hotel on the shores of Lake Geneva, in the late 1940s. As many of the residents are English it is relevant that England’s post-War Attlee Labour government had instituted a Socialist programme, with very high taxes on the well-off, austerity following the enormous expenditure on the War, and many important industries being nationalised. (The English/Australian novelist Neville Shute was just one of many who chose not to live there).

By the end of the War, Stead and Blake had been living in the USA for 9 or ten years, which proved the peak years for Stead as a novelist. But the rise of McCarthyism made it increasingly difficult for them to obtain script-writing jobs and at the end of 1946 they returned to Europe. Briefly to Belgium where Blake had hoped to get work, then London, back to Belgium, then in Oct. 1947 to –

Montreux at the Hôtel de Londres, a Swiss haven that became their home for a couple of years … she loved its charm, its quiet and its scenery, but not the English tourists whom she characterized so well in the novel, The Little Hotel.

Williams, 1989. (p. 172)

Knowing the way that Stead worked, with mss for a number of novels on the go at one time, it is probable that she began working on The Little Hotel in Montreux, while getting the last of her American books – A Little Tea, A Little Chat and The People with Dogs – ready for publication (I don’t think she began researching Cotters’ England until 1949). And then it finally surfaced when she needed a book, or felt the time was right. She had been making approaches to Australia for some time and maybe this book was gentle enough not to offend the delicate sensibilities of publishers Angus & Robertson, who had knocked her back repeatedly in the past.

I found The Little Hotel similar in its almost jaunty style and lack of theme to Stead’s first novel The Salzburg Tales, and nothing like my favourite Stead, Letty Fox: Her Luck, with its flood of words, which just preceded it by date of setting, nor the gritty Cotters’ England, which followed. The narrator, ostensibly is Mme Bonnard who with her husband Roger, runs the hotel, but in fact the POV which starts out first person, more and more slips over seamlessly to third person when Mme Bonnard is not in the room.

I am very firm. It is the only way to manage these disorderly people. They are just like spoiled children. It’s funny, isn’t it? Here I am, only twenty-six, and I am running men and women of forty, fifty, sixty and seventy, like schoolchildren. The secret is simple. You must have your own rules. We have another simple secret. Our hotel, the Swiss-Touring, which is near the station and near the esplanade, is the cheapest in town for visitors … No one ever mentions this fact, among our guests; but it is the thing that keeps them from boiling over.

The English, all of them retired or semi-retired, are living cheaply In Switzerland while they work out where to go next, and how to get their capital out of England (I think currency movements were severely restricted to prevent a run on the Pound). But there are also European and American guests. The big worry, for all of them, is the Russians who might overrun Switzerland at any time and steal all the gold hidden in the mountains on which the Swiss Franc depended to maintain its value.

Guests and staff are relatively constant, though of course with some turnover, and we get to know a great many of them. At the centre was –

Mrs Trollope and her cousin Mr Wilkins, English people from the East, who had been with us for over a year and who occupied two adjoining rooms. .. next to Mrs Trollope was Madame Blaise, who had been with us the whole winter. Next to her was the large corner room… which Dr Blaise occupied every second weekend when he came over from Basel.

Mrs Trollope’s mother was Javanese, which doesn’t seem to matter in the hotel, but does in wider society, particularly in England. Her marriage settlement with her previous husband has left her independently wealthy. As Mr Wilkins gets more and more control over Mrs Trollope’s fortune he pays her less and less attention. And it is the unveiling and resolution of their relationship which holds the book together.

Madame Blaise is also the wealthy one in that relationship, and it becomes apparent that Dr Blaise’s hold over her is drugs. One guest is starving herself to death, another, with plenty of money, declares himself to be the Mayor of Brussels and is eventually locked up after wandering around the town naked. It’s not a long book, and there is enough going on to maintain interest (isn’t that faint praise!).

In case you’re wondering, after I have forced a lot of theory on you in discussions on Gen 3, Christina Stead was one of the great Modernists, she clearly studied James Joyce and would have met him and many other writers at Sylvia Beach’s Shakespeare & Co in Paris in the 1930s. She was a communist, though not formally a member of the Party; she could not possibly have stood the restrictions of Socialist Realism. Perhaps the closest she got to Social Realism was Cotter’s England in the 1950s, just as that period was coming to an end (It’s a long time since I read Seven Poor Men of Sydney).

.

Christina Stead, The Little Hotel, Angus & Robertson, Sydney, 1973. 191pp

see also:
Lisa/ANZLL’s review (here)
My review of Chris Williams, Christina Stead: A Life of Letters (here)
ANZLitLovers’ Christina Stead page (here) which contains links to all our reviews.

The Farewell Party, Milan Kundera

Milan Kundera (1929-) is, I am sure, best known as the author of The Unbearable Lightness of Being which I have read, but a long time ago. The reason the cover of the copy I own, which I bought somewhere, second-hand, a long time ago, doesn’t say “By the author of” etc is that The Farewell Party, published in French and English in 1976, but not, interestingly in the author’s native Czech, is Kundera’s fourth novel and The Unbearable Lightness of Being (1984) is his sixth. As a side note, The Farewell Party is apparently now known as The Farewell Waltz.

The setting of The Farewell Party is a rural mountain spa in an unnamed country, presumably Czechoslovakia, and in time, between Dubcek’s Prague Spring of 1968 and the Velvet Revolution and the end of communism in 1989. Kundera went into exile in France in 1975, his Czechoslovak citizenship was revoked in 1979, and he was granted French citizenship in 1981.

So is the story a satire on communism, or indeed a criticism of Czechoslovakia? Maybe, but only very gently, and only if you read through the antics of Dr Skreta, the head of the spa, to a general criticism of Czech bureaucracy. The style of writing I find difficult to describe. It is spare and the author feels distant from his multiple pov protagonists. Reading Ivan Čapovski’s Miles Franklin last month I was reminded of Ana Kavan’s Ice – and that’s about all the ‘modern’ European reading I’ve done in the last few years – and The Farewell Party has the same feel, a sort of remoteness from the action.

During my searches I came across “[this] is Kundera’s most accessible novel”, not necessarily a recommendation, “a comedy in the form of a burlesque”, with apparently “multiple layers that explore themes of love, hatred, and fate”. I wouldn’t be a lit. student (again) for quids.

The story begins at a single point, nurse Ruzena is pregnant, and spirals out from there.

Ruzena had been born in the resort town, both of her parents still lived there, and she wondered whether she would ever manage to escape from that teeming nest of women.

Two months earlier she had slept with the trumpeter, Klima after he performed at the spa. Her workmates urge her to phone him. Klima takes the call during a rehearsal. He offers to ‘arrange’ things. “How do you mean ‘arranged’?” He was at a loss, not daring to call the thing by its real name ..

Ruzena is indignant. Klima is terrified. After years of womanizing this is the call he has always dreaded. His bandmates strategize. In the end they decide he should pretend to be in love with Ruzena. He will divorce his wife and Ruzena will terminate her pregnancy so they can start their lives together afresh. He organizes to drive back to the spa the next day …

… which is his wife’s birthday.

This beautiful lady was afraid of women, and saw them everywhere. She never missed a single one. She knew how to detect them from the tone of Klima’s voice when he greeted her at the door and even from the smell of his clothes.

So when he arrives home with a huge bunch of roses she understands immediately there’s a woman in the case. The damned bureaucrats have decided I’ll have to spend all day tomorrow at a stupid conference about the role of music in the building of socialism, he tells her. She goes along with him. They go to a movie, then home to bed. Finally, she is named: He lay next to Kamila. He knew that he loved her immensely. So ends the First Day.

Second Day. Klima arrives at the spa and goes straight to the rooms of Bartleff, a rich American undergoing the cure. They discuss women, they discuss Ruzena. They are sure that Dr Skreta will perform the abortion.

Dr Skreta has a wildly successful IVF practice. We are gradually made aware that the doctor is in all cases using his own semen. More and more women are having babies with Skreta’s prominent nose.

Days pass. The number of protagonists increases. Jakub, a dissident politician arrives with his ‘ward’. Skreta had some time ago given him a suicide pill in case he couldn’t stand imprisonment. Jakub is on his way to exile. His ‘ward’, Olga wishes to become his mistress.

Skreta persuades Klima to give a free performance with Skreta as his drummer.

Franta, a young local man is stalking Ruzena. It seems they had once been lovers. He believes they should now be married.

Franta was younger than Ruzena, and it was his misfortune to suffer from the inexperience of youth. When he grows up he will become aware of the transitory nature of the world and he will learn that no sooner does one woman disappear from the horizon than a galaxy of other women come into view.

Kamila comes up to the spa thinking to catch Klima out at his ‘free perfomance’, falls in with a film crew, and is almost seduced herself.

Somehow Jakub’s suicide pill gets mixed up with Ruzena’s sedatives.

Ok, perhaps it is a burlesque. A fun read and an interesting read.

.

Milan Kundera, The Farewell Party, King Penguin, London, 1976. 184pp. Translated from the Czech by Peter Kussi.

The Sorrow of Miles Franklin beneath Mount Kajmakčalan, Ivan Čapovski

That is an odd painting, on the cover, based on a well-known photograph of Miles Franklin in nurses uniform, in Macedonia during WWI, but then this is an odd book. And shockingly for me, it is the book I said the other day that I had begun to write. My first lines (for the nonce) go:

In 2020 I am an old man and Stella Maria Sarah Miles Franklin is of my great grand parents’ generation, separated from now by gulfs of time, gender and geography. Yet this is me telling her story, imperfectly of course, but if you know my defects perhaps you will recognise the defects in my story telling, will maybe make a clearer picture of Stella/Miles, because of course we all think of her as Miles, than my own words, unmediated can convey.

What are my defects? Well first of all and maybe last, I am as I say an old man, an old white Australian man, and what do old men know of young women, very little. Very little when they were young men, and just as little when they’re old. Though daughters help, and wives and girlfriends. When they’re not grimacing, turning away. Listen to them. You’ll be surprised. I was. And what do old men know of old women? Nothing at all, they’re too busy thinking of young women. Old women pass them by.

As I read, I realise that I know more about MF than does the author, but that he, a Macedonian is of course much better placed to situate Franklin – whom he calls Miles throughout and not Stella as she was almost certainly known – in the complex, indeed Byzantine, geopolitics of Macedonia where she for six months, between July 1917 and Feb. 1918, served as a volunteer with Scottish Women’s Hospitals at Ostrovo.

Čapovski (b. 1936) has Franklin as a nurse, almost at the frontlines of the war, where a bewildering array of Bulgarians, Serbs, Greeks and Macedonians are blood enemies from deep in their shared histories. But in fact the SWH unit, under the command of Australian Dr Mary De Garis, was well back from the conflict behind Serbian lines, and Franklin was an orderly, in Stores and assisting the matron (probably because she could type).

Franklin wrote about this period in the extended essay Ne Mari Ništa (It Matters Nothing): Six Months with the Serbs which I am yet to locate, and I wrote about her in Miles Franklin’s War for Anzac Day 2016. What Čapovski has read I can’t be sure. My concern in writing this fiction was how much research it would take. Čapovski seems to have a good if occasionally mistaken general knowledge of Franklin – and total familiarity with Macedonia’s geography and history – and has taken it from there.

You of course want to know how I reconcile my oft stated dislike of Historical Fiction, of WWI Hist.Fic in particular, and of authors with protagonists of the opposite gender, with my intention of writing just such a work. I make no excuses. My model was to have been Brian Matthews’ marvellous Louisa with all my defects, biases and failures of research out in the open for you all to see.

You might also ask how I can bear the errors in Čapovski’s account of Franklin’s life. The answer, I think, is that this Miles Franklin is a fiction just as the Sybylla’s were; just as Justine is in Justine Ettler’s The River Ophelia (both cases in which the authors gave up writing because they were so often conflated with their protagonists). Čapovski imagines a life for this 38 year old Australian single woman, and the things he gets ‘wrong’ – Franklin’s home being Talbingo, Linda (MF’s sister) dying before MF leaves for America, Franklin working on My Career Goes Bung (in fact the ms was lost until well after the War), and on Up the Country (not started until 1927) – these things don’t impinge on the story. Even Franklin being a frontline nurse instead of a behind the lines orderly is not particularly important. There were a number of Australian women in different roles at Ostrovo and any one of them could have been the protagonist. I’m just pleased that Macedonia remembers that ‘we’ were there.

The author discusses his decision to build his novel around Miles Franklin in an Afterword which I have chosen not to read until after this review is posted.

So what’s the story? In fact, is this a story, or just a cross-section of lives briefly intersecting near the end of the War? More the latter. Franklin arrives at the camp, makes friends with Lina a local girl whose fiancee has been conscripted not once but twice by the various powers vying to incorporate Macedonia. Two men, a poet and a photographer*, once friends, find themselves attached to opposing armies, save each other from death, move on, run into each other again, talk, shoot, end up in adjacent hospital beds. Macedonian villagers are enslaved by the Bulgarians in 1916, by the French and the Serbs in 1917. One young man kills a French officer in a futile attempt to protect his wife and baby, runs, hides, seeks refuge in the hospital at Ostrovo. The War goes on. In the Balkans the war is always going on. MF rests in the summer sun

What did poet EJ Brady who was in love with her, say to her back in 1904? To write about love .. To write about love. Love is like the snake: both conceal venom… She has never had anything against men. She has simply questioned their dominance.

I might have written an interesting novel about Miles Franklin aged 20-40 as I intended, but Čapovski does MF in Macedonia better than I could ever have hoped, because Macedonia and its history is his home territory. Don’t read this novel to learn more about Miles Franklin, but gloss over the minor errors in her back story, and read a fascinating account of a woman writer from the other side of the world observing, swept up in, one more iteration of the ancient conflicts which men have inflicted on each other in these mountains since before recorded history.

 

Ivan Čapovski, The Sorrow of Miles Franklin beneath Mount Kajmakčalan, Cadmus Press, Melbourne, 2020. 280pp. Published in Macedonia, 2004. Translated by Paul Filev. Cover art by Aleksandar Stankoski. (website).

Further reading:
Miles Franklin page (here)
Lisa/ANZLL’s review (here)
Dianne Bell, Miles Franklin and the Serbs still matter (here)
Australians Working with Scottish Women’s Hospitals, Debbie Robson
The Scottish Women’s Hospitals and Australians talk, Debbie Robson

---

*The photographer, Jasen Krstanov, says that he is inspired by the Australian writer and war correspondent AG Hales (1860-1936)

Normal People, Sally Rooney

Normal People (2018) is one of those books that ‘everyone’ has read and reviewed. So of course I am late to yet another party, a party I wouldn’t have attended at all except I picked up a copy for $1 at the Red Cross where Milly volunteers. I started reading, and I was hooked.

January 2011 Marianne answers the door when Connell rings the bell. She’s still wearing her school uniform, but she’s taken off the sweater, so it’s just the blouse and skirt, and she has no shoes on, only tights
Oh, hey, he says.
Come on in.

So from the start, which this is, we see how Rooney means to go on. The principal characters are Marianne and Connell, classmates in the final year of high school – in a smallish town in western Ireland, hillbilly country if you’re from Dublin, though this doesn’t come up for 2 or 3 chapters – outsiders, in different ways, but clearly the two top students. A few lines down we meet Lorraine, Connell’s mother, who cleans for Marianne’s mother a couple of days a week. We see the detail, in this case exactly what items of clothing Marianne is and isn’t wearing, which Kimbofo in her review found obtrusive but which I thought allowed us time to pay proper attention to the action; and of course the absence of quotation marks which I might not have noticed at all except Kim pointed it out. The writing is all in the third person, alternatively from Connell’s POV then from Marianne’s.

The starting position is that Marianne is a bit weird, holds herself aloof from her classmates, doesn’t wear make up, has never been with a boy. While Connell is ‘normal’, captains the school soccer team, hangs with his mates Eric and Rob, has had sex (which he didn’t enjoy), gets hit on by Miss Neary their Economics teacher. Connell, as we have seen, is often at Marianne’s, to drive his mother home, and although they never speak at school, they are friends at least in that small space.

Soon, and almost without preamble they are sleeping together.

The following year when they go up to Trinity College Dublin, Marianne is the ‘normal’ one, outgoing and popular while Connell subsides into loneliness.

Then, a few years later Connell is in a normal relationship with a Helen, a med student, while Marianne is in increasingly abusive relationships with her friend Peggy and Jamie a chinless merchant banker type.

All through, they struggle to maintain their special friendship.

My feeling as a guy reading, and loving, this story was that this was Marianne’s story. Connell, not always but often, felt like a cardboard cutout around which Marianne rose and fell as her backstory was slowly unveiled. I know it’s expected of me to say stuff like this, but Rooney, a woman, is much more perceptive about girls than she is about boys. She knows viscerally the social hierarchy of popularity of girls at schools, but fails to understand the similar hierarchy for boys which flows directly from football, and which the top boys carry forward with them into their real life, as confidence, and often entitlement. A confidence which Connell at Trinity strangely lacks, even allowing for for his rural, working class background.

From the point of that first sex we are rooting, to coin a phrase, for Marianne and Connell to form a permanent relationship. At times they come close then Connell makes a mis-step and Marianne is on her own again. During those intense final months of high school Connell says he loves Marianne but takes the popular girl, Rachel to the end of year Debs. They don’t see each other again until well into term 1 at Trinity. And hook up and break up. And so it goes.

It seems they pretend to each other that they are friends with benefits, and it mostly seems to us that Connell is never sure of Marianne’s feelings for him, and that Marianne would commit if only Connell would.

But all through there is a brittleness to Marianne which we are given clues about, her bullying by her older brother, what she tells Connell about her late father, and then, towards the end of their undergraduate years, her unsuitable relationships, with Jamie who Connell finally sees off, and then Lukas who ..

tells her bad things about herself. It’s hard to know whether Marianne likes to hear those things; she desires to hear them, but she’s conscious by now of being able to desire in some sense what she does not want. The quality of gratification is thin and hard, arriving too quickly and then leaving her sick and shivery. You’re worthless, Lukas likes to tell her. You’re nothing. And she feels like nothing, an absence to be forcibly filled in.

 To put it bluntly, when Marianne is not with Connell she goes out with sadists.

The resolution of this problem, and I think it is resolved, takes all the second half of this fascinating, deeply satisfying and beautifully well written book. I’ve read it twice now, to get this review done, and still I can only hint at how deep it goes in laying out and developing Marianne’s character in particular, but also Connell’s. What I can say is I loved it as much the second time as the first.

 

Sally Rooney, Normal People, Faber & Faber, London, 2018

Other Reviews:
Kim,  Reading Matters (here)
Kate, Booksaremyfavouriteandbest (here)