If I could live anywhere in Paris, and money were no object, I would choose Montmartre, despite the tourist hordes. The endless steps and steep roads would keep me fit, and there are still many quiet picturesque corners if you know where to look. Plus oh, the historical artistic associations! Of course, in the 19th century Montmartre was anything but posh and expensive: it was a scrappy little suburb full of rebellious smallholders (marking the start of the revolutionary Paris Commune in 1871), poor working class people, bars and cabarets. Artists flocked there because it was cheap and provided an excellent spot for people-spotting.
After four months of #EU27Project, I have to admit I have not been the hardest- working reviewer. I have only linked to six books in total (and two of those are from the same country, France, while the rest are : Germany, Czechia, Ireland and the Netherlands), so in reality only 5 of the 27 countries have been represented in 4 months. At this rate, I have little chance of finishing this project this year – but, unlike some politicians, I never thought it was going to be an easy and quick process, so I’m allowing myself time to continue this project next year.
However, I’m pleased to say that other book bloggers have been far busier than me, so, since my last update in March, we have moved from 16 reviews to 41.
France is the biggest mover, from 0 in the first batch to 6 reviews in the current one. Susan Osborne reviews two very different types of books: Marie Suzan’s poignant Her Father’s Daughter and the lighter French Rhapsody by Antoine Laurain. Kate Jackson reviews a book by Sebastian Japrisot, one of my favourite French crime writers, while Karen from Booker Talk considers a contemporary crime novel Hell’s Gate by Laurent Gaudé. I have also reviewed two French books, the not quite satisfactory Men by Marie Darrieussecq and the dark but very funny and musical Les harmoniques by Marcus Malte.
Austria is also a popular choice for us book bloggers (a trend which I heartily approve!). It already featured in the first batch and has notched up an additional five reviews, although, to be fair, three of those are for short stories or novellas by Arthur Schnitzler by Jonathan: Late Fame, The Spring Sonata and A Confirmed Bachelor. Like Chekhov, Schnitzler was a doctor as well as a writer, and very much concerned with the human psyche. He describes perfectly the darkness in the Viennese soul at the turn of the 20th century (and not only then). Kate reviews a book set in the same period, Leo Perutz’ The Master of the Day of Judgement, Susan reviews one of my favourite recent reads, Robert Seethaler’s The Tobacconist, with a guest appearance from Sigmund Freud.
Reviews from the Netherlands continue to trickle in. Karen attempts The Evenings, but does she like it any more than Lizzy did in the first two months of the project? Meanwhile, Susan found The Boy by Wytske Versteeg deeply unsettling. Ireland also features with two new reviews, a new one for The Glorious Heresies, which makes it the most popular book so far (3 reviews in total), and Anne Enright’s The Green Road.
The remaining countries featured in the selection of March and April have been: Norway, represented by Anne Holt – Norway is not in the EU, but we will leave that link there anyway; Denmark with Dorthe Nors’ Mirror Shoulder Signal, Poland with Swallowing Mercury by Wioletta Greg, Czech Republic or Czechia with Bohumil Hrabal’s Closely Observed Trains. The French might take exception with Marguerite Yourcenar representing Belgium rather than France, but that was Jonathan’s choice and that country is rather under-represented.
After a strong start in the first batch of reviews, Germany only managed one review in this round, a lesser-known Heinrich Böll oeuvre.
So what will the next two months bring? Personally, I intend to read more in this category. Perhaps two or three in May? I am currently reading the road-trip book by Andrzej Stasiuk (Poland), and will move on to poems from Malta and Pessoa’s pseudo-diary The Book of Disquiet (Portugal). But, as we all know, my plans for reading don’t always work out and I get easily side-tracked.
Special thanks and celebrations for Susan Osborne, Kate Jackson, Jonathan from Intermittencies of the Mind and Karen from Booker Talk, who have been the most prolific reviewers over these past two months, but thank you to everyone who has contributed, read, tweeted about this project.
The original title in French Il faut beaucoup aimer les hommes is from a famous quote by Marguerite Duras:
Il faut beaucoup aimer les hommes. Beaucoup les aimer pour les aimer. Sans cela, ce n’est pas possible on ne peut pas les supporter.
[You have to love men a lot, love them so much in order to love them. Otherwise, it’s almost impossible to put up with them.]
So that gives you a clue that this is not necessarily going to be a feminist treatise. Yet, although readers seem to find the first person narrator, French film star Solange, irritating, she strikes me as quite an independent, strong woman, who just happens to become smitten with a younger man. It’s a bit more complex than that, though, because her paramour, Kouhouesso, is a black man who has ambitions to direct a revamped version of The Heart of Darkness on the river Congo. All the clichés about l’amour fou (crazy love), gender and race are examined, although Solange herself seems unaware of the facile assumptions she makes.
I’m not sure why this book has received so much critical dissent. Yes, the first part of the book is all Hollywood froth, very easy to read on the surface, a bit like the gossip magazines. This serves to make the contrast or gap between Lalaland and the African jungle all the wider. Solange has all the reactions one might expect to the ‘natives’, the insects, the primitive accommodation, although she so badly wants to make this work. Underneath the apparently banal interracial love story, there is a lot lurking: objectification, the attraction of ‘otherness’, construction of identity through gender, race and passion. Fascination with the other yet ultimately a lack of genuine curiosity and desire to embark upon the interior journey (on both sides). It is indeed a modern answer to The Heart of Darkness, written from a woman’s perspective.
There is an excellent review of the book by Compulsive Reader, but I can understand why many people found the story not very original or the characters at all likable. I flip-flopped a lot in my opinion as well: it is a hair’s breadth away from being silly, but I think it just stayed within the realm of the painfully dissecting scalpel.
The reason I chose it for my #EU27Project to represent France (although I will probably read and review other French authors as well) is because I think it says something about the way the EU countries view ‘the others’, the refugees spilling over the borders. Lip service to liberalism and humanity, rhetoric about helping and supporting, but beneath all of that: a lot of fear, stereotypes and excuses. (Incidentally, the English language cover could be said to be objectifying black men somewhat…)
This is something I wrote a long time ago, on a very different blog.
My whole life seems to consist of being really happy in some wonderful places – and then having to tear myself away from them. I love exploring new places but I also like settling in, making those places my own, getting that intimate connection with them that can only come from repetition and routine. When it’s time to move on, I am excited about the new adventures I will have, but I am also sad to leave a certain part of myself behind. With each encounter with a different country and culture, I become richer in experience, but somehow also poorer when I leave.
It’s difficult to explain – but it’s like my soul has been bereft to a certain extent. I keep the experience locked up somewhere tight within and remember it with such delight from time to time. But the experience is unrepeatable. Even if I go back to that country, it will never feel the same again. If you go back as a tourist to a country where you were once resident, it can be exhilarating as long as you don’t think about it too closely. Or you can feel shut out, a stranger once more. It will certainly never again feel like home.
Last week, I had the opportunity to return to our village in France and took some pictures to try and describe the charm of the location (bearing in mind that these pictures do not cover all the seasons, only a sunny day in February).
Christmas is also about the comfort of favourite authors, who are not going to let you down, no matter what. I turned to two ‘reliables’, each of whom I discovered at a different stage in my life: Simenon in secondary school, Ian Rankin when I first moved to the UK.
Maigret is humouring a paranoid matriarch in his office, when a man calls his direct line, in great fear for his life. Not entirely convinced by the man’s confusing story, the good inspector does send one of his men over to the bar where the man claims to be calling from. Alas, too late, the bird has flown. He calls again from somewhere else, and as Maigret and the reader follow the man from bar to café to bar, we start to wonder just what kind of a set-up this is. Then the man is found dead. Who was he and what was he afraid of?
Maigret sets the investigation in motion from his sick-bed initially, so we get to see more of his fellow officers, the prosecuting judge and the other police force that is so typical of the intricate French system. We also get to see a lot more of the patient, protective and discreet Madame Maigret. Above all, however, we are privy to the musings and gut instinct of Maigret himself, although the author does not always play fair. He withholds vital pieces of information and springs them upon us during the interrogation of suspects. It’s more complex and longer than the usual Maigret novels (which are usually of novella size) and there are hints of Simenon’s darker non-Maigret novels in the atmosphere.
The recent TV adaptation makes the links between the Picardie farm murders and the hunted person much clearer from the start, but loses a little in the psychological depth of the Slovakian criminal gang and Maigret’s handling of them.
This is a new translation of the novel, in the highly covetable remastered Penguin Classics edition. It sounds quite modern, without being jarring, and is perhaps slightly less word-for-word faithful than the 1950s translation by Jean Stewart.
Rebus is getting restless in his retirement: merely walking the dog and worrying about his health, even being in a relationship with forensic scientist Deborah Quant, is not quite enough to occupy his time. He reopens a cold case and talks about it to a former police officer who had been investigating it a few years back. When that man is found dead, Rebus becomes convinced that the case is somehow linked to the very current criminal gang turf wars and money-laundering cases that Siobhan Clarke and Malcolm Fox are investigating.
This is an entertaining read, with the usual tussles between Siobhan and her former boss, plenty of laconic humour, and an uneasy sort of truce with Ger Cafferty, Rebus’s former nemesis. Fox also emerges as a more complete and haunted character than I had previously given him credit for. The case is reasonably tangled and then untangled. However, there is one major reservation I have. If you can ignore the way in which Rebus (and his colleagues too) seem to ignore proper procedure and commit all sorts of illegalities (such as impersonating a police officer, walking off with case files and photocopying them etc. – all the unlikely scenarios which annoyed me about TV series such as ‘Marcella’, for instance), you will enjoy it. It is a suspension of disbelief too far for me: fun enough for a one-off, but I don’t think it will be plausible to see Rebus in a next outing.
However, the writing is as sharp and economical as usual. It’s just enough amount of detail to really convey the landscape, society and characters populating Edinburgh and Glasgow. A master class in crime writing, just like Simenon.
You know how quickly I devour crime fiction and that my preference is for the subversive, disturbing and relentlessly noir. However, quite a few my recent reads have been of a gentler persuasion, almost an old-fashioned feel. In descending order of ‘gentility’, may I introduce you to…
Margot is such a supportive, knowledgeable member of the crime-writing and reading community, plus I have a soft spot for novels with an academic setting, so I’d been planning to get this one for ages. Not easy to order outside the US, but I eventually got my paws on it (and am now waiting to meet Margot in person, so she can sign it for me).
Serena Brinkman is a talented violinist at Tilton University, a small but prestigious college on the East Coast. She truly seems to be the golden girl who has it all – but then death strikes on the night of a major music competition. A former detective, now professor of criminal justice at Tilton University, is asked to investigate the apparently accidental death a little further. We are firmly in Golden Age detective era type of fiction here, although there are all the modern accoutrements of student life nowadays (including PDAs and online gambling). What struck me was how very polite and nice all the characters seem – genteel, in other words (although, obviously, they can’t all be, since one of them at least is a murderer). Even the flawed ones, even when misunderstandings occur. It’s a book for readers who like a puzzle and a minimum of gore.
Dard was one of the most prolific crime writers in France (and that’s saying something, given that Simenon was also writing there). Best-known for his nearly 180 San-Antonio novels (think a more satirical and realistic Bond), he has also written over 100 standalone novels and shorter series, many of them under various pseudonyms (clearly, the publishers couldn’t keep up with him!).
This is a bittersweet novel with a perfect 1950s setting, which reminded me a little of Pascal Garnier. Albert returns to his old neighbourhood in Paris after his mother’s death (having spent several years in prison) and is captivated by a beautiful woman and her young child, whom he sees eating alone in a restaurant on Christmas Eve. He becomes involved in a very complicated and dubious story with the woman, her husband and the Midnight Mass for Christmas. A clever puzzle and a rather quiet, gentle man who is clearly being manipulated, although we are not quite sure how.
I was struck at once by how similar this novel is to Bird in a Cage in terms of premise and feel (rather than style or plot). A professional fixer (with some moral scruples) is asked to ‘fix’ the wife of his boss, but starts to feel sorry for her. Falls a little in love. This is a much more brutal story, far less ambiguous than Dard, and Olav is not as genteel or well-spoken as Albert, but it is a quieter book, with an old-fashioned atmosphere which we’ve not hitherto experienced with Nesbø. Bet you weren’t expecting him to come smack-bang in the middle of this post!
Another Pushkin Vertigo release, I had high hopes for this one, set in a boarding-house in Milan in 1919, written in the 1930s and filled to the brim with unreliable characters with a dodgy past. However, I found there were just too many characters, all lying with no compunction and very little concern about plausibility. There were just too many things happening, insufficient clarity and psychological motivation. This was gentility of the cold-nosed, snobbish variety, not even a smidgen of warmth or attempt to make me care about any of the characters. And, as for those creepy china dolls…!
This is not the Botswana of endless cups of Redbush tea and astute yet gentle musings of Alexander McCall Smith. But it remains, nevertheless, a polite, traditional society with respect for rank and the elderly, even though we are dealing with some pretty horrible realities. Under the ‘quaint’ umbrella of traditional African medicine, muti, we find a profoundly disturbing superstition and increasing use of human body parts. As young girls go missing and the communities are too scared to talk, our beloved rotund Detective Kubu supports his feisty new recruit, Samantha Khama, who wants to find out just what is going on. Politics, traditions, family ties, AIDS victims and reactions to HIV-infected children, plus strong characterisation all form a delightful and far more believable alternative narrative of modern Africa. The authors scratch beneath the surface of the beauty, charm and nostalgia that the British Empire still has for Africa, yet carefully avoid making the country or its people the villain of the piece. One of my favourite series set in Africa.