So hooked by audio that I have to read books aloud. *If my reviews help, please let me know.
I love/hate Umberto Eco. "Do I contradict myself? Very well then I contradict myself..." There are very few authors as complex and knowledgeable; there are even fewer that can challenge and inspire as Umberto Eco. I have re-read, cross referenced, and researched, as much while reading his books as when writing my dissertation--but isn't that what great writers do for us? They expand us. And, while I always feel a bit obtuse reading Eco, I always come away enlightened. His mind is an encyclopedia, all-encompassing, his wit is delightful and at the same time biting and hilarious.
Prague Cemetery's plot is intricate to say the least--19th century European espionage, conspiracy theories, Freemasons, Jesuits, Illuminati, Hitler, Dumas, Hugo, "Froide", Satanists, the New World Order and the Elders of Zion. All the more fascinating because of Eco's background in Semiotics, and the VERY interesting "A Note From the Author" wherein Eco personally explains the characters actually existed! [*see Amazon.com site to read this letter to the 'Dear Amazon Readers']. The story is told by a vitriolic schizo character with "a soul so dark as to cast a shadow in hell'; he could easily be a monster straight out of Eco's On Ugliness. Within 30 min. the mystery narrator ("pleased to meet you, hope you guess my name, woo woo.") offends, criticizes, disgusts, and outrages every race, nationality, ethnicity, sex, and religion--his only complimentary words used to describe the gourmet dishes he savors. Perhaps my only complaint: with such powerful elements and such an engrossing storyline, I'd have appreciated less venom--but I hope Eco never conforms to my personal predilections! (And wouldn't a recipe companion be too fabulous!)
Undeniably a difficult read (for me at least), and not meant for people that tend to be easily personally insulted. It's meant to be disturbing, it's meant to agitate some brain cells. Kirkus review probably summed it up best with this one word: HUMDINGER. While The Name of the Rose remains my favorite Eco novel, I found Prague Cemetery absolutely fascinating and will enjoy the personal prerequisite second, possible third, listen. George Guidall does a lovely job of narrating the translation, as if you are reading beautiful Italian with your English brain.
Persevere; I think of my mother saying to me, "Sit down and practice that piano! One day you'll thank me!" Read Eco and you'll thank yourself.
****?Are all Audible productions of this book created equally? If they are, and you listen to the same recording I did, you are going into this novel without some fascinating information --Ripley Believe It or Not, Guinness Book of World Record fascinating -- provided by the author in a letter to the reader/listener at the beginning of the book. Francine Prose writes about an actual black and white photo she saw at an exhibition that served as the inspiration for this novel: "Lesbian Couple at Le Monocle, 1932" by famous Hungarian photographer Brassaï, taken at club Le Monocle in Montmartre, Paris. The provocative photo shows a pair of female lovers sharing a table, one dressed as a male in a tuxedo. Captivated by the image (*which you can Google easily) Prose began researching the photo, finding out about the subjects, the Le Monocle, the patrons, and the period of frivolity that seemed to be driven to excesses by the darkening threat of WW II. The provenance of the photo alone is riveting, but for a author with a such creative mind, the eyes looking out from that B&W must have demanded more from her.
The cross-dresser in Brassaï's photo is the infamous Violette Morris; a French athlete that excelled in all athletic events from boxing to track and field. When she began competing in motorcycle and sports car races she had a double mastectomy to make it easier for her to slide behind the steering wheel. Some of her records still stand and were earned competing against men as well as women, even in heavy-weight boxing (Violette was a 5'5" and 150 lbs. wolverine). She was the only female to ever make the all-male French National Water Polo Team. Eventually, Violette was banned from competing in any athletics, (because of her cross-dressing and lesbianism) including the 1928 Olympics, which she dreamed of and worked for. She became a mechanic, then drove an ambulance on the front lines for her country. Her lustrous career waned, then darkened completely when she was recruited by a Nazi spy, and invited personally by Hitler to participate in the 1936 Berlin Olympics (where she won 2 gold, 1 silver, medals). In an act most likely of revenge, Violette quickly moved through the ranks to become one of Hitler's most notorious operatives, known as "The Hyena of the Gestapo" for her ability to uncover those involved in the Resistance, and her enthusiastic torture of her former countrymen. She was ambushed while on a drive in one of her sports cars, the car completely riddled with machine gun fire, the British and French Resistance the suspected executioners. Her body was never claimed; she was buried in a common grave. **** whew! now on to my review...
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Prose has combined the intriguing history with an original concept, reconstructing it into a seductive fictional story written with force and beauty. Without compromising the integrity of the facts or moralizing, she creates a mystery that is just as much a parable, with profound moral questions that are never far from the surface. As a reader you are transported to the exotic left bank of the Seine, and through the streets that Henry Miller described as "capable of transforming the negativity of reality of life into the substantial and significant outlines of art," "surrounded by the men and women of Matisse." A secret password, 'Police! Open up!' throws open the doors to the fictional Chameleon Club and the patrons seeking refuge from society's imposed gender barriers. Alive with flamboyant color, the club is a decadent haven for *glorious peacocks,* women dressed like men, 'bankers and diplomats whose wives might not know they like to go out and dance in heels,' (and where perhaps Josephine Baker's infamous diamond-collared cheetah may have terrorized the orchestra). Ensconced into a leather booth, tucked against a sleek modern beauty, sits the tuxedo-clad Louisianne *Lou* Villars (Violette Morris).
Prose's characters are alive and vibrant, which they actual were in their historical incarnation, and as a skilled author, she inhabits them completely without overlapping any personal nuances. The owner of the Chameleon Club is an Hungarian blonde beauty, always dressed in red, known as Yvonne. A throaty voiced chanteuse with a penchant for sailors, and a large pet chameleon named Louis, that lives in a terrarium in her room -- she is the master of ceremonies to the menagerie of colorful characters that gather at her club and lend their voices to the alternating narratives: the Hungarian photographer Gabor Tsenyl (Brassaï); his American friend/writer/womanizer Lionel Maine (Henry Miller); the wealthy patron of the artists, a French Baroness by-way-of-Hollywood, Baroness Lily de Rossignol; her husband Baron Rossignol, owner of the Rossignol automobile dynasty, a gay man that prefers Swedish boys to his lovely wife; and an assorted artistically advantaged ensemble not seen since Woody Allen's Midnight in Paris. Looking back at the events from current time, and writing the biography of Lou Villars, is Nathalie Dunois, a neutrotic distant relative of photograper Gabor's wife. From their letters and narratives the reader must solve the mystery of Lou's evolution. Each has their own experience of Lou, their own perspective. With differing versions, the reader is faced with deciding whether any of these inherently limited truths account for a totality of truth about Lou and her transformation from Catholic schoolgirl to Hitler's favorite Gestapo operative.
I was conflicted about a rating. Prose is definitely one of the finest contemporary writers I've read, but the introduction of these characters is detailed, a long demanding portion of the book (almost half). The intoxication of 30's Paris, the pandemonium in the club, the luminous characters and their complex stories, all make for some tricky footwork just to keep pace. This is not text you just ingest -- you have to chew on it, digest it. You don't just easily slide in and ride along. So I battled with that 5* rating...then looked back at the Nabokov quote the author uses as her lead-in to this novel...
❝Between the wolf in the tall grass and the wolf in the tall story there is a shimmering go-between.❞ [That go-between, that prism, is the art of literature." from Nabokov's Lectures on Literature.] He continues ..."a wise reader reads the book of genius not with his heart, not so much with his brain, but with his spine. It is there that occurs the telltale tingle..."
You could say that 5th star was a victim of the telltale tingle. Lover's at the Chameleon Club is a book of tingly genius; just imagining Montparnasse during the early twentieth century -- this crossroads of artistic revolution, with Stravinsky, Copland, Picasso, Duchamp, Chagall, Diaghilev, Hemingway -- French intellectuals Proust, Sartre...I was already primed with a tingle. Absolutely, Prose created a prismatic and hypnotic novel, but a grand portion of that colorful magic was provided by history, and a black and white photo...and that is where I place my fifth star. Beyond the story, or within the story, I felt Prose incorporated a parable that provides some eternal wisdom: the parable implies that even though one's subjective experiences can be true, theirs doesn't account for other truths, or the totality of truth. There is some relativism to truths, or 'an inexpressible nature of truth,' a deficit that requires communicate and respect for different perspectives. History (and sometimes fiction) is a great teacher, and Lovers at the Chameleon Club a great book.
Highly recommend with the suggestions to persevere, and to look up Violette Morris (if you have any time left after this reading this looong review.) I appreciate your time and hope you enjoy this book as much as I did.
The Chaperone simultaneously depicts the changing social culture during the 1920's, as well as the feminist self-awakening of small town Wichitan, Cora Carlisle. The author uses actual historical events, places, and people to shuffle us through this momentous era - almost Forest Gump style - with recognizable period icons gliding along in Cora's backdrop like pictures in a scrapbook of her life, (flapper girls, bathtub gin, the Jazz age, racism and the KKK, women's suffrage, birth control, etc.). These fascinating images embellish Cora's recollections; they are recognizable, relatable, and immediately draw in the listener. The most exciting vehicle in Cora's transforming journey is the famous silent film star Louise Brooks, who is used more as a catalyst for the stoic Cora's introspection, and a representative image (and result) of rebellion, than a co-star in the book.
This book is immediately enchanting and breezy with nicely shaped characters, that coincidentally represent different personal pathways in this changing time (almost allegorical); sometimes appearing a little too convenient, a little too token--but understandably necessary to carry this story in its evolution. The pacing was a little bothersome...initially, I enjoyed being able, while I listened, to compare where we are now with our social mores, how we are still struggling with some of the same issues and restrictions; later, the story seemed to jump ahead, speed up, step back, and skip over important details. Moriarty so skillfully lays out the images and feelings of the era, the vivid streets of New York, the tumultuous social clashes, and I would have liked for her to use that talent to tell us more about the war, the depression, the Dust Bowl (which would have made a book double the size - but would have been all right with me; call me selfish).
I can't end without mentioning one of the most important underlying issues; the sexual abuse of Louise. I haven't read Louise's own account of her childhood, or testimonies to the 15 yr. old's psychological maturity, but, I know that being routinely sexually abused from the age of 9 yrs. old would not create a 15 yr. old girl that is cool, savvy, and spunky--as Louise was portrayed. The author hints at the self-destruction, and the reader follows the logic that she was a self-driven, uncannily beautiful woman, at ease with her sexuality and ahead of her times, when in reality, a background of such extreme abuse would sadly play itself out throughout a victimized person's life--and that was what was so heartbreaking about, and destructive to, Louise.
A touching and entertaining read I highly recommend. Elizabeth McGovern does a beautiful job, giving each character the emotional depth and individuality needed to do justice to such a huge story. You can't go wrong picking this one; a classic in the making.
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Elizabeth Street reminded me a lot of The Shoemaker's Wife by Adriana Trigiani however I enjoyed Elizabeth Street so much more!
Both stories follow Italian immigrants as they settle down in New York in the early 1900s, and if you’ve read them both then perhaps you’ll agree with me:
The Shoemaker's Wife just floated along, nothing really happened and no particular events or story lines really stood out. Overall to me, the story was not that memorable.
In comparison Elizabeth Street was really absorbing. Things happened in this book! The plot was intriguing, the people were interesting, the story was suspenseful, there was action, drama, intrigue … really, no contest between the two books. Elizabeth Street wins hands down. I liked it very much, it was a great read!