Book Review: Mission to Paris by Alan Furst

Mission to ParisMission to Paris by Alan Furst

My rating: 3 of 5 stars

Jeepers, what a tough review to write. It’s that 3-star curse: “I liked it just fine, thank you, Ma’am.” My literary passions were neither inflamed nor offended, but I was happily entertained. And sometimes that’s all I need from a read: an escape.

And if it comes in a package of sublimely crafted settings that conjure from history’s clouds the darkening heart of 1938-39 Europe, with characters rendered as precisely as wood-block prints (“He was about fifty, Stahl guessed, with the thickening body of a former athlete and a heavy boyish face. He might be cast as a guest at one of Jay Gatsby’s parties, scotch in hand, flirting with a debutante.”) and a quietly simmering plot, well, Bob’s your uncle and I’m your girl.

My hesitation to wax more enthusiastic is that I’ve been gobsmacked by Alan Furst’s novels. The characters smoldered, the plots stole the breath, the thriller in “historical thriller” sent the spine a-tingle. It feels as if Furst approached Mission to Paris with tenderness and affection, both for his beloved City of Lights and for his Cary Grant-inspired leading man, Frederic Stahl. The soft-focus lighting on the characters and setting may have smoothed the sharp edge of tension found in his earlier works.

This is cinema-ready, just like its colorful characters and picture-postcard settings. Settle in with a big bowl of buttered popcorn and enjoy the show.

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Book Review: The Journal of Hélène Berr by Hélène Berr

The Journal of Hélène BerrThe Journal of Hélène Berr by Hélène Berr

My rating: 5 of 5 stars

“…I have a duty to write because other people must know. Every hour of every day there is another painful realization that other folk do not know, do not even imagine, the suffering of other men, the evil that some of them inflict. And I am still trying to make the painful effort to tell the story.

Hélène Berr writes these words on October 10, 1943, a year and a half after the opening entry of The Journal of Hélène Berr. This entry marks a profound change in the emotional and intellectual life of a compassionate, smart, sophisticated but sheltered young woman.

Hélène Berr is one of five children of an upper-middle class Parisian family. Although raised by an Ashkenazi Jewish father and Sephardic Jewish mother, religion plays far less a role in her life than secular education. She is a graduate of the Sorbonne, seeking an advanced degree as her journal begins. She is an accomplished musician, linguist and scholar of Western literature. Hélène is curious, articulate and like many young women in the bloom of their early twenties, she loves the attention of men, she adores her many female friends; she lives for the pleasure of weekends in the country and discussing literature in Parisian cafés.

But she is a Jew. It is Occupied Paris, 1942. And this remarkable account by a young woman living through the nightmare of Nazi occupation and French collusion is a unique treasure: rarely are we able to hold in our hands, heart and mind the real-time thoughts and actions of a life in drastic transition.

The obvious comparison to Hélène’s journal is The Diary of Anne Frank. The difference is that Hélène is free as she writes, she is able to move about her beloved Paris, she has means and a degree of social freedom. For the reader, this holds a particular pain: we know this spirited woman is doomed, yet we rejoice with her as she gathers flowers at the family’s country home in Aubergenville, as she contemplates her future with one of two men who may love her, as she practices Bach and trembles at Keats. Reading, I ache to push her south to Spain, west to England. I whisper “Run, run, Hélène, run while there is still time.”

Hélène’s journal from April – November 1942 is a slow progression from anecdotes about the impact of war on daily life in Paris to growing indignation and fear at the vulnerability of her Jewish family and friends. The most unspeakable happens – her father is arrested in June 1942 and sent to Drancy, a prison camp just outside the city. Amazingly, he is released a few months later and shortly after that Hélène falls silent, for nearly a year.

It is when she resumes her journal again, in October 1943, that the pretty, flighty girl has become an analytical, hardened woman. The compassion and the appreciation of beauty remain, but Hélène seems resigned to her fate. I found this passage so profound. Who among us has not asked how the German people allowed the Holocaust to happen? Could the soldiers of the Occupation all have been monsters? Hélène writes:

‘So why do the German soldiers I pass on the street not slap or insult me? Why do they quite often hold the metro door open for me and say “Excuse me, miss” when they pass in front? Why? Because those people do not know, or rather, they have stopped thinking; they just want to obey orders. So they do not even see the incomprehensible illogicality of opening a door for me one day and perhaps deporting me the next day: yet I would still be the same person. They have forgotten the principle of causality.
There is also the possibility that they do not know everything. The atrocious characteristic of this regime is its hypocrisy. They do not know all the horrible details of the persecutions, because there is only a small group of torturers involved, alongside the Gestapo.

Hélène and her parents are arrested in their home in March 1944. Hélène perishes at Bergen-Belsen in November 1944, five days before the camp is liberated by the British.

Hélène regularly gave pages of her journal to a family employee; a surviving family member in turn gave the journal to Hélène’s true love, Jean Morawiecki. The translator, David Bellos, shepherded the work to publication in France in 2008 to enormous acclaim. The original manuscript now resides at the beautiful and haunting Mémorial de la Shoah in Paris’s Marais district.

Hélène is an extraordinary writer - she has the soul of a poet and the vocabulary of a scholar. Her words are a gift to her readers, her life a sacrifice without sense. By reading what Hélène saw and experienced, we honor her hope: that we will never forget
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Book Review: A Moveable Feast by Ernest Hemingway

A Moveable FeastA Moveable Feast by Ernest Hemingway

My rating: 5 of 5 stars

If you haven’t been to Paris, you just won’t get A Moveable Feast
If you aren’t already a fan of Hemingway, don’t bother reading A Moveable Feast

Look, I’m struggling to get a start on this review and those were the first two statements that popped into my head. I don’t know if they are true. I don’t know if they are fair. What I do know it that this work – fiction, memoir, sketches, a polished diary – whichever of these it may be – wouldn’t exist without Paris. Obviously, right? No, that’s not what I mean. I mean Paris is to writers as Burgundy is to Pinot Noir. It’s all about terroir – that sense of place, climate, geography, culture that shape the flavor and texture of a thing. You can make great wine out of pinot grown in Oregon, New Zealand, Chile – but it will never, ever approximate the glory of Burgundy. Writers can write with greatness anywhere in the world, but a writer in Paris – and goodness, a writer in the vintage years of the early-mid 1920′s – is a singularly-blessed creature who may pour forth with words that change the world.

Hyperbole? Ah, well, I guess you’ve never been to Paris.

I bought a cheap, paperback copy of A Moveable Feast at Shakespeare and Company last winter. I’d spent the day retracing the steps of the Lost Generation through the 5eme and 6eme Arrondissements: the Luxembourg Gardens, Saint-Germain-des-Prés, Rue Mouffetard, Rue du Cardinal Lemoine, La Place Contrescarpe, Rue Descartes, Quai des Grands-Augustins — the haunts of Hemingway, Scott Fitzgerald, Picasso, Gertrude Stein, Ezra Pound, Ford Maddox Ford as they drank and smoked and wrote their way between the wars. Other than the now-phony tourist traps of Les Deux Magots and Café de Flore and the relocated Shakespeare and Company bookshop (opened in its current location at 37 rue de la Bûcherie in 1951 after the original shop closed in 1941 during the Occupation of Paris), much is as I imagined it was in 1924. The light shines golden and bittersweet in the narrow streets, landlocked Parisians flock to chaises longues in the Luxembourg Gardens to soak up an unseasonably warm February sun, students at the Sorbonne crowd the coffee shops in between classes, smoking, flirting and speaking in a rapid-fire Parisian slang that I was hopeless to comprehend.

My paperback copy of A Moveable Feast is now dreadfully dog-eared. I have marked passage upon passage in which Hemingway talks about writing – he was so disciplined and therefore so productive – that weakened my knees: “I would stand and look out over the rooftops of Paris and think, “Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence, and go on from there.”

or about Paris: “You expected to be sad in the fall. Part of you died each year when the leaves fell from the trees and their branches were bare against the wind and the cold, wintry light. But you knew there would always be spring, as you knew the river would flow again after it was frozen.”

or about wine “In Europe then we thought of wine as something as healthy and normal as food and also as a great giver of happiness and well-being and delight. Drinking wine was not a snobbism nor a sign of sophistication nor a cult; it was as natural as eating and to me as necessary… “

This is a collection of sketches of a writer as he remembers his happiest, purest days spent healing from the injuries and horrors of World War I, in love with a devoted wife and a round, sweet baby, being discovered by artists of influence and nurturing others through their own addictions and afflictions. Of course we know that Hemingway’s own story does not end well. As he pens what will become the final paragraphs of A Moveable Feast many years later, he recognizes how fragile and temporary were those years: “But we were not invulnerable and that was the end of the first part of Paris, and Paris was never to be the same again although it was always Paris and you changed as it changed…. this is how Paris was in the early days when we were very poor and very happy.”

Perhaps the one true condition of enjoying this memoir is that one must be an incurable romantic. An affliction I bear with pride.

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Me and Mon Ombre

It’s been a while since I’ve travelled alone. In another lifetime, domestic and international travel was integral to my job. It was a groove of frequent flyer miles, hotel points, car rental upgrades; a suitcase that was always half-packed with the essentials, just waiting for the next journey. Being home was the exception, the interlude between dashes to the airport.

I’ve never regretted giving up the hassles of travel, particularly the post-9/11 frantic harassment of airport security and the dismal state of airline service. Happily my travels these days are mostly for holiday, on flights bound for Europe, hand-in-hand with the only person I can suffer to see me through turbulence and jet lag. Brendan and I are viaggiatori simpatici. We dream of the same destinations, push ahead with equal energy levels, become tired and hungry in tandem and bicker over maps and directions without really caring who’s right. We always find our way.

But I cannot deny the certain bliss of traveling alone. Undertaking a solo journey abroad is like dumping 1,000 pieces of a jigsaw puzzle on dining room table. It begins as a mission of intoxicating near-impossibility, but as you organize patterns and fit those first pieces together, you covet your independence and encircle your puzzle with protective arms, not wanting anyone to interfere with your reverie.

Red bicycle. Place des Vosges, Paris

For a reverie it is. Traveling alone means slipping into a dream state, where anything is possible. With each encounter, snafu and discovery, the surroundings reflect you in a mirror that only you can see. This solitary state makes you vulnerable to the world and somehow floating above it. At any given moment, no one really knows where you are, what you are doing, tasting, hearing, seeing. The delightful and the disconcerting occur. During the private journey you rejoice and suffer alone.

Being a solo traveler is sitting in silence at a café on the Île Saint-Louis, sipping a chocolat chaud and watching the sun set Notre Dame aglow.

It is falling to my knees in the crypt of the Shoah Memorial before the tomb of the unknown Jewish martyr and crying alone in that vast, dark space.

It’s being asked for directions to the Censier-Daubenton métro stop by a panicked looking Parisian elementary school teacher who has a gaggle of five-year-olds attached to him by a long strap; then being stopped a few minutes later on Rue Mouffetard by a grandmother, looking for the church where a funeral is about to begin.

It’s lugging my suitcase up six flights of a stairs that curl like the inside of a sea snail shell, because I can’t fathom squeezing myself into the tiny lift.

It’s ordering a second glass of Minervois at a restaurant deep in the Marais, wondering if I’ll remember the route back to the hotel in the dark.

It’s running at dawn on the beach at Cannes with no one to keep watch over my shoes and socks while I wade in the Mediterranean.

It’s meeting a vignernon and thinking how my husband would love this kind, gentle man who makes the most wonderful Armagnac I’ve ever tasted. And thinking, we’ll meet again, and Brendan will be with me…

I fell into a deep sleep on the high-speed train carrying me from Charles de Gaulle airport in Paris to Cannes on the Côte d’Azur. There was one change of trains, long into the journey. I awoke with a jolt when my iPod slipped from my lap and fell to the floor, jerking away the earpiece. I caught the tail end of the conductor’s announcement of our arrival. In my jet lagged haze, I grabbed my bag and stumbled down the steps of my two-tiered car, knowing I had but a few minutes to make my connection. I climbed a set of stairs and crossed to the main terminal, looking for the departure quay. Then it dawned on me. This compact, bright, calm hall was not the hurly-burly Saint-Charles station in Marseilles. I had disembarked in the idyll of Aix-en-Provence. And my train – the one on which I should have remained – had just left the station.

Likely this wouldn’t have happened had I not been alone. Then again, I wouldn’t have the memory of those moments with the stationmaster, chatting about hunting wild boar in the vineyards of the Rhône, before being deposited on the next TGV that whisked me away to Cannes.

Hello Panic, My Old Friend. You’ve Come To Fly With Me Again.

It starts with a red-hot ball at the bottom of my rib cage and shoots on a wire up my chest, to the back of my throat, and flares in a starburst of electricity that flushes my cheeks. My lungs clench and the red-hot ball drops into my bowels, where it run molten through the twists of my intestines. My legs tremble, my feet tingle, my fingers turn to ice. In my brain the screaming begins. I can’t. I can’t. I can’t. The plane rolls forward and I know it’s my last chance. If I scream aloud, they’ll stop the plane. They’ll let me out, into the open air. I won’t spend the next ten hours trapped inside a titanium tube, hurtling across an ocean, unable to step outside, unable to breathe. It’s my last chance before an ascent into madness.

I pull the wire-bound collection of The New York Times Sunday crossword puzzles from the seat pocket in front of my knees. I direct my remaining bright spots of rational thought to the first clue of puzzle #24: Fly with a long proboscis. My hand shakes as I write “Tsetse” into the squares. My body presses back into the seat at the plane tilts toward the sky. It is too late. My next breath of fresh air is ten hours away.

Julie, you can’t recall a time when you weren’t claustrophobic, can you? Remember that Hootenanny in a barn on a dairy farm on the Olympic Peninsula? Hot apple cider, fiddlers, and a maze made of hay bales. You crawled in the dark, through the musty bales, bumping nose to tail with giggling grade-schoolers, searching for the exit. You got about twenty feet in and began screaming in terror, scratching and crawling your way out, to emerge choking on wails and hay dust. You would have been about five or six.

Or that show of silly bravado when you were twenty-one and descended into the gurgling bowels of Paris to gawk at piles of bones in the creepy half-light that reflected off weeping stones. You came to your senses just as they began to take leave of you. Fortunately, your companion was a Paris beat cop who had a crush on you. Bruno whisked out his flashlight, his badge, and you held onto the back of his leather jacket as he pushed back through the line and up the spiral staircase, shouting “Step Aside! Emergency” You emerged in a December downpour that ran with the tears you couldn’t help as your heart unclenched and you gulped the air.

Elevators? Oh yeah. All about elevators. Was it San Diego State? UCLA? Some shiny-hot campus where you had to deliver a presentation to a class of International Business students. The classroom was on the twentieth floor and you walked it, didn’t you? Damn straight. You’re the one walking through four levels of the parking garage to reach street level without taking the elevator, the one whose husband curbed her enthusiasm about registering for the Big Climb Seattle - a charity run up the stairs of the Columbia Tower - by reminding her she’d have to take the elevator down.

And there are elevators that simply cannot be avoided (Hello, Swedish Women’s Clinic on the 14th floor of the Nordstrom Building). So you’ll wait at the bank of elevators, letting cars load up until everyone disappears so you can take one alone. Should even that be unavoidable, you will hover next to the control panel, helpfully punching in everyone’s floors, just to be certain no one fucks around with the buttons and somehow stalls the car. Because then it would be over.

But flying was never a problem.  After my first transoceanic flight in 1990, I flew around the world- to Asia, to Africa, back and forth to Europe. Then, one warm spring day in 1999, I sat on the tarmac of Willard Airport, outside Urbana, IL, in an idling American Eagle turboprop. I was headed for a connecting flight in Indianapolis, then onto Denver for a conference. We sat on that tarmac with the doors closed, as the central Illinois heat turned our little plane into a stalled rotisserie. That’s when my first on-board panic attack took flight. Just as my mind began to pull free from its hinges the plane rolled forward and the air conditioning whooshed icy relief into our cramped compartment. Somehow I got to Denver and back again.

Since that day, I haven’t flown without spending at least a few shaky moments in the grip of claustrophobic anxiety. But I’ve kept flying. I have no qualms about crashing into the ocean in a fiery ball of wreckage. Not a bad way to go considering the many alternatives. I just don’t like being trapped. What deep, dark corners of my childhood hide my need for control, for space, for cool, fresh air? Exorcising those ghosts on the tarmac of Atlanta Hartsfield really isn’t opportune. So, I turn fight the lack of control with deeper, darker forces of anger and determination. I can’t not travel. Being forever trapped on one continent is worse than a few hours in the air.

Crazy, lovely irony has kept my wings aloft. I spent many years as a study abroad coordinator - travel is in the job description. To Australia and Spain, to Japan and Belgium, off I went my with my heart in my toes and my stomach roiling. One job kept me traveling nine months a year, several times a month, through a territory that spanned Seattle to San Diego, Phoenix to Portland, with staff meetings in London and Atlanta every six months.  I built up frequent flyer miles galore, and what else is there to do with frequent flyer miles but to fly someplace? My husband and I even moved to New Zealand, which is nearly as far as you can fly non-stop. Fourteen hours. In a 757.

So this is where I tell you that yes, I did seek help. I’d gone to a behavioral therapist years before, as a high school student. There I learned a trick or two, something to do with cognitive dissonance, about telling myself to panic just as I began to panic – my brain wouldn’t be able to manage the conflict between forced panic and the avoidance thereof. That sounds pretty good in a textbook, but I reckon the therapist who led me through the mental image exercises understood as much about my phobia as I did about Geometry. Which would be for shit, since I failed Geometry. My own therapy is New York Times crossword puzzles. Cognitive dissonance via wordsmithing. It’s hard to panic when you are trying to remember who won the 1962 World Series (Seven letters: Yankees).

But I’m no martyr to my cause. A few weeks before a major trip I present myself to my understanding physician and renew my prescription for an anti-anxiety medication. It takes off the raw edge of panic – a chill-pill for an over-active brain – but I can tackle a crossword without chewing my lips bloody. Several years ago, I forgot to take my pills out of the bag that I checked through on the non-stop flight from Paris to Seattle. I didn’t realize the little orange vial was beyond my reach until I was on the jetway, fumbling through my carry-on. I was alone and my meltdown was invisible from the outside. I flirted with walking away from the flight, but realized my bags would travel without me. I could stay in Paris forever. Or I could take the QE II across the Atlantic and hitch a ride from New York Harbor. Or I could stop being ridiculous and muscle through the panic. I thought of the poor sods on my flight who might suffer from a fear of crashing and realized that they might need my steady hand if we started to go down. I’d be calm for them, just in case. We all survived that flight, I’m happy to report.

So here I am, packing my bags for another flight across the Atlantic. I am doing something ridiculously cool: attending two wine-tasting conferences in the South of France, followed by a few days on my own wandering in Paris. Hours and hours on a plane where I can read to my heart’s content, fall asleep watching whatever pointless Katherine Heigl movie is showing on the “romantic-comedy” movie stream, and relax, which isn’t something I do very often. We forget that in traveling, it’s not just the destination that matters. It’s the journey that offers us the opportunity to challenge who we think we are.

I just hope the hotels have stairs.

Book Review: Lunch in Paris: A Love Story, with Recipes, Elizabeth Bard

Lunch in Paris: A Love Story, with RecipesLunch in Paris: A Love Story, with Recipes by Elizabeth Bard
My rating: 4 of 5 stars

It would be easy to begrudge Elizabeth Bard her lovely life. As New Yorker living in London in the early 2000′s, she met a nice French man at a conference in Paris. They had lunch and fell in love. Ten years on, she is married to that French man and they split their time between a Parisian pied-a-terre and a home in the south of France. In between, Bard became fluent in the French language and French cookery, penned a best-selling memoir/cookbook, her husband launched a successful digital film company, and they have a beautiful young son. Her blog is rainbow of food porn, lit by Provençal sunshine and Parisian lights. Scroll past vivid photos of heirloom tomatoes, fresh figs, haricots verts, cheeses weeping from their casements and naked beasts ready for roasting and you will be seduced by a life that seems the stuff of dreams. Envy as green as those fresh beans would be perfectly understandable.

But instead you just want to curl up on a sofa with Elizabeth to share a pot of tea, nibble her chocolate chip cookies, and giggle like schoolgirls over the photos of Daniel Craig in Le Figaro: Madame. She writes with unselfconscious charm and honesty that makes Lunch in Paris pure pleasure. It is like reading a series of letters from a dear friend.

This is not always a light-hearted memoir, though Bard’s breezy style often belies the very serious nature of her acculturation to France, the challenge of a cross-cultural marriage, and the loneliness of living in a city without friends or gainful employment. I have a sense that she made a deliberate decision to put the most positive “atta girl” spin on her period of solitude as she learned her way around the French language and culture and said goodbye to the career of her dreams for the man of her heart. She allows sparks of frustration and anger to glow brightly when she writes of the diagnoses and treatment of her father-in-law’s cancer and of her determination to see her husband succeed in his business venture.

There are a few jangly notes, mostly around the issue of money. Although Bard takes pains to show that the advantages she enjoyed in childhood were the result of a resourceful mother, she has the means to attend graduate school in London, then to travel every weekend from London to Paris in the year before she moves to Paris for good. Her mother and stepfather visit frequently from New York and she to see them. At one point, she withdraws around $20k from an ATM (Her stash? Her parents?) to make a down payment on an apartment in the 10eme arrondissement. It’s a bit of perspective that sets her apart from your average late 20s/early 30s-something single gal.

Bard centers her memoir around the theme of food and cooking as a means of discovering and falling in love with a place -  hardly new ground, particularly when the country in question is France. But Bard’s bright writing keeps this well free of cliché territory. Bard does a lovely job of addressing her attitudes toward eating and body image, in a land where women maintain slim physiques on petite frames well into middle age. She uses gentle but candid humor and relates some painful stories of fitting her curves into French expectations. I have since read an essay Bard wrote for Harper’s magazine about her struggles with her weight and emotional eating, a struggle that seemed to dissipate in a culture that regards food and mealtimes with reverence.

The recipes at the end of each chapter will make this book a permanent part of my cookbook library. She offers up an array of French home cooking, culled from her imagination, from meals at favorite restaurants and from French friends and in-laws who readily shared their culinary traditions.

I am now addicted to Elizabeth Bard’s blog. Seeing her happy life unfold in living color makes my own dreams seem full of possibility.

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Book Review: Sarah’s Key, Tatiana de Rosnay

Sarah's KeySarah’s Key by Tatiana de Rosnay

My rating: 3 of 5 stars

Is it possible that two different writers penned this novel? It’s not the shift back and forth with each chapter between 1942 and modern-day Paris that is jarring. It’s that one story is told with such grace and honesty; the other with droning melodrama.

The novel’s title character, Sarah, is ten years old when she and her parents are taken by French police to the Vélodrome d’Hiver, or Vel d’Hiv’, in central Paris. It is July 1942 and French Jews are awakening in the living nightmare of the Holocaust. The tragedy of Vel d’Hiv’, a mass arrest ordered by Nazis but carried out by French authorities, would become France’s greatest shame of a generation. Thousands of Jews, mostly women and children, were arrested and sent to this large indoor cycling arena during a two-day period in mid-summer. There they spent days without food, little water, and no sanitation before being deported to one of several internment camps in eastern France. The internment camps were temporary stops to sort and separate families. These French citizens were eventually sent to Auschwitz, where nearly all were slaughtered.

Left behind, hidden in a closet in Sarah’s apartment in the Marais district, is Sarah’s little brother. The central story of Sarah’s Key is Sarah’s Odyssey of survival and search for her brother. It is beautifully told, with heartbreaking passion and commitment to the truth. It is a story that brings to life this horrible act of complicity and cowardice that France only officially recognized in 1995, when former French president Jacques Chirac offered a formal apology.

Alternating with Sarah’s story is that of Julia’s, which is set in present-day Paris. Julia is an expatriate American, married to – wait for it- a gorgeous, philandering French man with whom she has great sex and a charming daughter.

Here’s just one example of Julia’s exasperating narrative:

“I had always put up with Bertrand’s provocative, sometimes downright nasty sense of humor. It had never hurt me. It had never bothered me.”

Then in the next paragraph:

“I had put up with it because he made it up to me every time he realized he had hurt me, he showered me with gifts, flowers, and passionate sex. In bed was probably the only place Bertrand and I communicated, the only place where nobody dominated the other.”

So, A) Were you hurt, or not? B) Was there an editor assigned to this novel, or not? 3) Can I barf now, or what?

We know where this is going. And we don’t care, because it is so nauseatingly cliché. Randy, brooding French man, fish-out-of-water American (who has lived in France for 20+ years), snooty French in-laws, and sub-plots detract from the importance of the principal story.

Julia’s role is to uncover the truth of Sarah’s life and what happened to her and her family after their arrest on July 16, 1942. Weaving the past and present is an excellent idea and I admire how Julia’s character represents the reader, most likely as ignorant of Vel’ d’Hiv’ as she. The connection between Sarah and Julia is clever and gives this plot a sense of urgency. The very real ambivalence of modern France toward its Jewish population is also well done. It’s unfortunate that Julia’s own story is mired in maudlin romance and her character inconsistent and superficial.

Terry Gross, host of public radio’s Fresh Air, recently interviewed actress Kristin Scott Thomas, who plays Julia in the movie adaptation of Sarah’s Key. Kristin’s connection to the story and how she learned of the Vel d’Hiv’ tragedy is fascinating. Well worth a listen:

http://www.npr.org/2011/07/26/138554535/…

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Book Review: La Séduction: How The French Play The Game of Life, Elaine Sciolino

La Seduction: How the French Play the Game of LifeLa Seduction: How the French Play the Game of Life by Elaine Sciolino

My rating: 2 of 5 stars

“Le plaisir…it is something so much more definite and more evocative than what we mean when we speak of pleasure…To the French it is part of the general fearless and joyful contact with life. –Edith Wharton

I adore France. Adore it with complete abandonment. It’s a love affair that began in September 1990 when I boarded an Air France flight in Chicago as a 21-year old college student, embarking upon a year abroad. Each time my husband – also a Francophile who spent a year with Cognac-producing family -and I return we feel a quiet sense of homecoming and belonging in this superlatively seductive place. After our most recent trip to the Languedoc and Paris this past spring, we vowed that someday- even if it means waiting another 25 years until we retire- we will make a home in France again, together.

Yet, for all the love of France and affection for the French, I do not delude myself that I could become French, or even more French-like. Living in France, I would embrace my inherent inelegance, native naïveté, and congenital clumsiness as part of my foreign charm; even if I mastered a Béarnaise sauce and the imperfect subjunctive, bought fresh flowers daily and took care of my cuticles, I could never achieve the effortless style of the French.

What makes the French that tantalizing combination of raffish and refined, how they achieve a quality of life that is more gracious and passionate than any I have known remains a mystery to me. So Elaine Sciolino’s book La Seduction: How The French Play The Game Of Life piqued my curiosity. For years, I have enjoyed Ms. Sciolino’s stories in The New York Times and her tremendous book, Persian Mirrors: The Elusive Face of Iran  moved me. But La Seduction was a tremendous disappointment.

This is not a book about France and the French way of life. It is a book about the Parisian intellectual elite, a narrow class of French citizens born into wealth and privilege. It is about a very particular way of life, limited to certain residents who can afford to partake fully of a beautiful city that is the emblem of all things sensual, elegant, urbane, and exclusive. As another expatriate living in Paris states “…much of the book is as representative of France as the Hamptons and Martha’s Vineyard are of the United States” (Stephen Clark, The New York Times, 6/15/11).

Ms. Sciolino portrays herself as the American ingenue, stumbling her way into encounters with Paris’s political and cultural elite. In reality, she has lived in Paris for many years as a well-regarded journalist, along with her husband- the only American attorney in a Parisian law firm. She likely had little difficulty arranging interviews with Paris’s version of Hollywood’s A-list, from celebrity-philosopher Bernard-Henri Levy to celebrity-first lady Carla Bruni-Sarkozy. I have no doubt of the charismatic power of these intellectuals and artists- their fame is dependent upon their ability to seduce readers, voters, viewers, and diners. But are they representative of modern France?

In her attempt to define what makes French culture so alluring and enchanting, Ms. Sciolino knocks the life out of the very joie de vivre that she seeks to explains. She promulgates the stereotype of the wandering lover by highlighting French politicians’ philandering. She devotes incongruous and perfunctory chapters to French gastronomy, fashion, and perfume. She paints French women in a singular color of siren red, focused solely on attracting and holding the attention of men.

Ms. Sciolino understands, and posits early on, that the French way of life is focused on taking pleasure in the process, not the outcome. The French are enamored of hierarchies, procedures, classifications, systems, echelons. Their love of how over what does explain their love of debate, of long meals, of romance, of gardening, of movies without discernible plots, of bureaucracy, of cycling, of museums, of trains, of wine, of history, of cradle-to-grave social security. It also explains why they look to the past for direction and regard the future with wry scepticism.

But she misses the most seductive quality of all: confidence. The most appealing women and men I know are those who are completely comfortable in their skin. France is like a beautiful woman who develops and refines her seductive qualities for her pleasure alone. Their cultural pride is not “We’re #1!” American bravado or Japan’s hidden mistrust of anything not Japanese. It is an internal ardor. The French cherish France and take very good, jealous care of her.

The theme of the seductive power of French culture is fascinating and relevant to anyone who has fallen under its spell. But one does not need to rub elbows on the Champs-Élysées with cognoscenti from Sciences-Po, dress in Hervé Leger or dab Guerlain behind one’s ears to discover the magical art de vivre. Simply get out and engage with these warm, kind, funny, determined people and explore this gorgeous place that is thick with history. Easy to do on pristine highways or high-speed trains, from the seat of a wobbly bicycle or in hiking boots. Just don’t think you’ll understand it better after reading Elaine Sciolino’s book.

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Book Review: Enough About Love, Hervé Le Tellier

Enough About LoveEnough About Love by Hervé Le Tellier
My rating: 4 of 5 stars

To appreciate this novel is to recognize that it is written with Gallic sense and sensibility. That is to say, it is not a linear story with a predictable arc that reaches a climax and culminates in a resolution. In substance and style it is a novel of process, of conversation, of debate. It is, like the culture which it represents, maddening, thoughtful, intriguing, and seductive.

To enjoy this novel is to not expect a romance or a comedy- for it is not- but to delight in the romantic or comedic moments when they occur.

To read this novel is to be reminded that none of us truly knows another’s marriage, even that of a close friend, a sibling, or a colleague with whom you spend more time than your own spouse.

Enough About Love is a perfect title. It sound like a command, as in “Enough, already!” or “Let’s not talk about it anymore!” It could be the plea of psychoanalyst Thomas Le Gall, who pays off a small villa in Italy by listening to the angst-ridden memories and confessions of his patients. It could be the irritated and guilty brush off by stunning Anna Stein, a just-forty psychiatrist and mother of two, of her husband, the devoted Stanislaus. It could be the impatient demand of lithe Louise Blum, hot-shot attorney, as she instructs her husband, biologist Romain Vidal, on the fine art of speech delivery. It could be the jaded sigh of esoteric writer Yves Janvier, disagreeing with the suggestion that his next novel should have “love” in the title, to attract more readers.

These characters’ lives intersect; whether in a therapist’s office, in a café, on a sidewalk, or in a bed, the smallest ripples of chance force waves of change. By meeting, they are each compelled to examine their belief in love and where it diverges from passion or converges on friendship.

Le Tellier manages to make you care about characters whose lives are vastly removed from most. These are exceptionally attractive, successful, well-read, well-bred Parisians- conditions determined by birth into France’s upper-middle class, largely unavailable even to the hardest-working. The women live up to the impossible French notion of the ideal woman: she who brings home the bacon, fries it up in pan, and never lets Monsieur forget he’s a man. The men are allowed more diversity: a paunch in the belly, a thinning pate, weaker of character and of heart. For this I fault the male and the French in Le Tellier and the American in me. Perhaps his French readers expect no less; I weary of female characters whose physical perfection turns them into caricatures.

Le Tellier, through his intellectual-elite characters, also brings out the question of Jewish identity and French remorse and guilt about the treatment of Jews in France during the Second World War. At times it is poignant, at times shocking how contemporary France embraces and rejects its Jewish past and present.

Considering the style of Enough About Love: there is enough conventional novel structure to seduce you into a story of love and infidelity. But anticipate being walked through a maze of literary flourishes: a chapter that is one long inventory of Anna’s clothing purchases; a speech and an internal dialogue that run simultaneously for several pages, mirroring a game of Abkhazian Dominos -  a game that takes on a life of its own within the story; a love sonnet composed of forty distinct memories. An anonymous and omniscient narrator is so close to the characters’ innermost identities his or her revelations border on the more intimate second person narrative.

This is a quick read, but it is not light. There is a beautiful economy of words that is so quintessentially French – I commend the translator Adriana Hunter for the conveying the precision and clarity of the French language in the rich and muddled mess of English.

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Book Review: The Chateau, William Maxwell

The ChateauThe Chateau by William Maxwell

My rating: 5 of 5 stars

This is a rare gem of a book. It is so perfect in its depiction of traveling and falling in love with another country that, not only would I not change a word, I found section after section I wanted to absorb into my skin. Although written sixty years ago and set just after World War II, the interactions and reactions of a young American couple with the French and in France remain relevant, painful, hilarious, and true.

Its peaceful pace belies the profound transformation of its principal characters, Harold and Barbara, and of the painful recent history from which the French were so eager to shake loose in the fragile years of the late 1940’s. It is counter to French nature to turn away from history and move on with assertive hope; Barbara and Harold arrive at the border just as France accepts that breaking the habit of reflection and debate and marching in concert with their European neighbors- including Germany- is the only way out of the post-war depression.

Whether or not it was the writer’s intention, Maxwell’s characters personify specific national characteristics or conditions that were present in France during this tender and uncertain time.

Mme Viénot is the face of dignity. She endeavors to preserve the gentility of the rapidly disappearing class of landed gentry. Hers is the eponymous château, which suffers the indignities of no hot water, no heat, and a larder limited by ration coupons. She is wily, a survivor, one foot trailing in the France’s past, the rest of her thrust forward, ready to grasp what she can to keep her home and legacy intact.

Eugène Boisgaillard encapsulates a nation emasculated by war, and its co-conspirators helplessness, guilt, and frustration. He runs hot and cold- a character you don’t trust and but somehow you come to understand. He is surely suffering some sort of post-traumatic stress disorder, a condition not spoken of in a nation that had lost so many of its young men to war. He resents the vitality and hope of the American naïfs as he comes to terms with the loss of his gracious pre-war lifestyle.

Mme Straus-Muguet is a reminder that all is not as good as it seems in the land of your dreams. Pulling back the curtain of Emerald City to see an insignificant blunderbuss at the controls is a keen disappointment. But once you accept the flaws and the ordinariness of it all, you also begin to feel more at home.

Her awkward social status is also a painful but unspoken reminder that, although united during the war by hunger, fear, resistance, or mere survival, the different social classes would sort themselves out in peacetime. Peace means never having to say “I’m sorry,” to someone beneath your standing.

Sabine and Alix are the face of the new France: young, strong, independent women. Sabine is blazing her career path without the help of her connected family or a paramour; Alix is a busy mother in a passionate but difficult marriage with the mercurial Eugène. These women realize there is no time to stop and reflect on all that was lost in two generations of war; their lives are rich and full, the demands on their intelligence and heart too great to tarry.

It often feels that Harold and Barbara are more conduits than characters, particularly the winsome and vague Barbara. Harold works so hard to understand and to be understood, to fit in, get along, adapt; he wants desperately to be French, but understands that he is the quintessential American. The passages showing Harold falling helplessly in love with France, encountering the inexplicable and the maddening, and finally, saying goodbye to Paris are heart-wrenching to any one who has known and loved that beautiful, proud, contrary, gracious country.

The Château is a love letter to France, and an homage to the baffling, intoxicating experience of traveling abroad. It is also an astute portrayal of post World War II Europe, of a country that was on the losing side of the victorious.

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