7 April 2019

Richard Brautigan: The Abortion (1973)

Richard Brautigan has this kind of casual, digressive way of writing that makes you want to follow him. The cover is black and a sort of silver with a multi-colored title and author name but no coffee stain. Oh, and it mentions that he's the author of Trout Fishing in America.

I'd better stick to short paragraphs in keeping with Brautigan's style, but that last book is alluded to by the narrator. See, the narrator is the librarian at the unpublished books library in San Francisco, where people go when they've written books that won't be published. And the librarian says a Richard Brautigan has deposited three or four books there, the first one being something to do with America.

He works from nine in the morning to nine at night, although some people come at any time and the librarian (who isn't given a name ) is only too willing to receive unwanted books which are cherished even if not read.

One such donor is the elderly Mrs Charles Fine Adams, who gifts her 'Growing Flowers by Candle Light in Hotel Rooms' at three in the morning. As she's walked such a long way to get to the library, the librarian gives her a coffee and some cookies. That's the kind of guy he is: he lives at the library and has been there for three years, oblivious of the goings on in the outside world.

He's probably not had sex for three years either, until Vida happens to walk into his life with a book on the horrors of beauty, and she should know because she's unbelivably beautiful, although the librarian – can we now call him Honey as that's what Vida comes to call him?  feels uncomfortable about getting naked with someone he doesn't know.

And she stays, at least until she has to have an abortion, which means taking a trip to Tijuana because it was illegal in the States. So Honey slightly reluctantly leaves his only work associate to mind his precious library. Honey, as the narrator, is as self-deprecating as ever as he tries to describe what Vida is wearing:

'Vida put on a simple but quite attractive white blouse with a short blue skirt – you could see easily above her knees – and a little half-sweater thing on over the blouse. I've never been able to describe clothes so that anyone knows what I'm talking about.'

Two main events, or rather chains of events happen on the way to Tijuana and back: Vida arrests the attention of every male (including young boys) she comes across, even to the point of causing minor accidents. And Honey has great problems adjusting to a world he's forsaken for what Vida describes as a 'monastery'.

Also on the way, Vida starts thinking of what Honey can do for a proper job. But that's really another story, or another life.

Famously (if we can use such a word for a writer people were beginning to forget), Brautigan blew his brains out in 1984 at the age of 49. But his wish to have a library for unpublished books has florished as the Brautigan Library, and unlike the library in the novel, anyone can read the newer .pdfs online.

3 April 2019

Christine de Rivoyre: Reine-Mère (1985)

Last month my partner Penny left several large books in the boîte à lire in the park of the Hôtel de ville in Épernay. This is one of the books I picked up in exchange as it looked interesting, which I suppose it is in a way, but.

La Reine-Mère is called so not because she's a queen mother but because her name is Reine, and she's the mother of three more or less grown kids: Viviane who's a shrink with (to Reine at first, and then almost to the whole family) an awful husband lawyer Thierry; a younger son Vincent, a painter who's shacked up with a scatty philo student Linda, who's not interested in their son Clovis, no more than she's interested in tidying up or doing the washing; and finally the militant (and almost violent) animal welfarist Camille, who changes boyfriends very regularly.

So we have a family story, although not really a greatly disfunctional one. Apart, that is, from Diego, Reine's loutish former husband who's disappeared from the scene (except in brief flashbacks) a long time before the book starts, and the orgy-loving Thierry who disappears from the book about halfway in after Viviane discovers pornographic photos of him in action. Oh, and Linda runs off too, but then that was to be foreseen, and she was hardly a member of the family anyway.

No, this isn't a disfunctional family, it's a family in which the members care for each other, especially for Reine towards the beginning when she stabs a yob in the solar plexis with her keys near the Saint-Michel fountain at five in the morning, when Reine's dog l'Oiseau (as a small puppy, he looked like a blackbird when she picked him up from SPA) decides he wants to go walkies.

The yob of course survived, but here an element of France in the 1980s is clearly brought to light: along with the motor-bikes parked around the fountain at Saint-Michel, this is where drug addicts are plainly visible, where – as her progeny keep telling Reine in their morbid stories of muggings and casual murder, etc – modern life is dangerous, frightening, full of menace around every corner. But Viviane, Vincent and Camille all rally round, protecting her.

So we have a novel of the ups and downs of family life and the horrors that the outside world holds. We also have sympathetic friends, frequent slap-up meals, and beautifully sketched characters. So, a successful book then. Er, no.

As a novel it is highly enjoyable half of the time, but about halfway in I wondered where it was leading, what I was expecting. In fact, the book could have ended there and I wouldn't have missed anything. It just seems to go nowhere, only the characters hold it together, there's no momentum. A very odd book.

Christine de Rivoyre died on 3 January 2019. I saw a two-minute clip of a very young newscaster announcing her death, saying that many young people wouldn't remember her. At 97, Christine de Rivoyre had a long life, but it seems a relatively short literary one.

2 April 2019

Alexandre Vialatte: Pas de H pour Natalie (2019)

Greatly enthused by Marie-Hélène Lafon's inclusion in Le Pays d'en haut of an article by Alexandre Vialatte (1901-71 (the dates are revealing)), I opened his collection of many articles (chiefly from La Montagne) and prepared for the fun. Alas, there wasn't any, as I scarcely knew what Vialatte was talking about: the digressive articles, most of between four and six pages each, mostly speak of other people, but unfortunately people who were known in Vialatte's day, but who now are mainly forgotten.

However, I don't give in easily, and although it's far beyond me to take in so much detail of unknown people at one go, I shall continue to dip into this book, and no doubt discover many interesting characters. One such person has been the cartoonist Chaval (1915-68), whose real name was Yvan Francis Le Louarn, and who killed himself a few months after his wife killed herself after he'd told her of his numerous infidelities. His cartoons are odd, often without words, and often (to me at least) impenetrable. Vialatte felt the same, particularly the one of three chemists fleeing from a storm. They could be anyone, but what is comical about this? It provides Vialatte with much fodder for thought. As I'm sure this book will provide me with when I pick it up again.

29 March 2019

Marie-Hélène Lafon: Le Pays d'en haut : entretiens avec Fabrice Lardreau (2019)

'Versant intime' is a series of books, directed by Fabrice Lardreau, in which figures from the world of literature, the arts, sciences and travel speak about mountains, nature in general, their travels, and their relationship with the fragile beauty of the world: Lardreau himself is a journalist with La Montagne et Alpinisme along with being the author of ten novels and works of non-fiction. Here, in about the first two thirds of the book, Lardreau asks Marie-Hélène Lafon a number of questions.

Lafon was brought up on an isolated farm in the north of Cantal, her parents being peasant farmers who expected her to move away from the land because they realised that it was the end of the peasant farming industry. She describes her early life and her contact with the mountains and nature, and even though she is a transfuge, a former member of the peasant class now become an academic and a notable novelist, her previous experiences have moulded her, being something unforgettable: her novels have evident autobiographical elements, and she describes some of these.

She also describes her cultural experiences, the books and songs that shaped her life. Following the interviewing, Lafon includes a number of influential 'mountain' readings: Jean Ferrat's song La Montagne about people leaving the mountains, a song she saw as old-fashioned in her early teens, a song her mother liked, but which had an effect on her too; Julien Gracq's experiences of walking in the mountains near to where she lived; Jean Giono in the Auvergne rather than Provence; etc.

The most fascinating extract Lafon gives us here is from a collection called Vialatte à la montagne (published in 2011) in which Alexandre Vialatte (1901-71) speaks about Puy-de-Dôme. Lafon's parents used to buy the daily local paper La Montagne, which Lafon didn't read. Vialatte had a weekly column in the paper in which he may have written about mountains, or anything which took his fancy to write about. But even if he was writing about mountains, they may well have just been an excuse for him to digress. In the article Vialatte, in a remarkably amusing excuse for exaggerating the truth about the height of the Puy-de-Dôme, moves on to the Larousse encyclopaedia's mentioning Saint-Ferréol-sur-Arzon having a population of 2001. Vialatte points out that while the count was being made, Larousse forgot that the baker's wife had run off to Paris with the postman's brother-in-law, the butcher's wife had had twins, the sexton had died of cold, and the police sergeant had been eaten by a wolf. (Needless to say, Saint-Ferréol-sur-Arzon doesn't exist, but the reader gets a strong idea of Vialatte's humour.)

And the reader gets a strong idea of Marie-Hélène Lafon's psychology in this highly readable book. I shall be reading more of her work, although the Vialatte excerpt reminds me that I have a book of his his which contains many of his writings from La Montagne: I shall read that first.

26 March 2019

Jean-Baptiste Godin and Utopia, Guise, Aisne (02)

Utopian socialist, industrialist and writer Jean-Baptiste André Godin was born in Esquéhéries in Aisne in 1817 to a locksmith father. In 1840, now a locksmith himself, Godin took out a patent on cast iron stoves. Two years later he discovered the socialist ideas of Charles Fourier. He moved his business in domestic appliances to Guise in 1846 and, between 1859-1884, he constructed his Familistère there.

At La Familistère the workers joined in the management and decision-making process, becoming owners of the factory and the central dwelling: Le Pavillon, or Palais social. Godin was driven by the ideas of Fourier mainly, and also those of Saint-Simon, Étienne Cabet and Robert Owen. La Familistère housed 2000 people, and for thirty years, with his partner and later wife Marie Moret, dedicated himself to the community in Guise.

Godin died in 1888, although the cooperative continued until 1968, when La Familistère became a capitalist concern. The buildings were declared historical monuments in 1991 and between 2006 and 2014 they were opened as a museum.

An external view of Le Pavillon Central, or Palais central.

And here, an internal view of the superb Pavillon Central. Formerly the rooms were all apartments, although now many are display rooms giving information on the apartments, the history of La Familistère, different utopias, Godin stoves, etc.



A Cuisiniére No. 1080 'Pot-au-Fer', 1930


Cuisiniére No. 956, 1914.

There are several reconstructions of the apartments, this representing the 1950s.

And this the 1960s. Apartments were quite spacious, having several rooms.

The impressive view from the top of the stairs.


The statue of Godin in front of the Pavillon Central, with a 'map' of the Familistère on one of the sides of the base.

A plate, one of a series, in Godin's former apartment where he lived with Marie Moret. The scene is called 'La Propriété c'est le vol' ('Property is theft'), and is a satire on the anarchist Proudhon's famous quotation.

Bust in bronze of Godin by Tony-Noël, c. 1881.

Bust in marble of Marie Moret, again by Tony-Noël in 1881.

The buanderie, or laundry.

The swimming pool at the side of the laundry.



Next to the buildings there is a jardin d'agrément at the side of the River Oise, the upper part of which ends in the mausoleum where Jean-Baptiste André Godin and Marie Moret lie.

In 1938, the 150th anniverary of Godin's death, members of the Association 'Travailleurs et Pensionnés' of Guise and Brussels had erected this monument to Godin at the side of the mausoleum.

25 March 2019

Arthur Rimbaud quotations, Place de la gare, Charleville-Mézières, Ardennes (08)

Around part of the paved area of the Place de la Gare (also called Square de la Gare)  in Charleville-Mézières are stones set into the pavement containing some of the words of the poems of Arthur Rimbaud. I show these below, with the name of the work in brackets.

'On n'est pas sérieux, quand on a dix-sept ans' ('Roman').

'[...] la grande route par tous les temps [...] je m'évade' ('L'Impossible')

The lines here don't follow on, and aren't even in the order Rimbaud wrote them.

'Les Fleuves m'ont laissé descendre où je voulais'

'J'ai rêvé la nuit verte aux neiges éblouies'

'Et j'ai vu quelque fois ce que l'homme a cru voir !'

'J'ai heurté, savez-vous, d'incroyables Florides'

'J'ai vu des archipels sidéraux !'

'Ô que ma quille éclate ! Ô que j'aille à la mer !

'Glaciers, soleils d'argent, flots nacreux, cieux de braises !'

('Le Bateau ivre')

'Par les soirs bleus d'été, j'irai dans les sentiers'
[...]
'Et j'irai loin, bien loin, [comme un bohémien]'

('Sensation')

'Départ dans l'affection et le bruit neufs !'

('Départ')

'Ô fécondité de l'esprit et immensité de l'univers !'

('Génie')

'J'ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes d'or d'étoile à étoile, et je danse.'

'Je ne pourrai jamais envoyer l'Amour par la fenêtre'

('Phrase')

'Qu'il vienne, qu'il vienne
Le temps dont on s'éprenne'

('Chanson')

'Le chant des cieux, la marche des peuples ! Esclaves ne maudissons pas la vie.'

('Matin')

'des piliers d'acajou supportant un dôme d'émeraudes'

('Fleur')

'Elle est retrouvée.
Quoi ? — L'Éternité.
C'est la mer allée
Avec le soleil'

('L'Éternité')

Again, this is a bit of an odd mixture of pieces from 'Adieu'.
'nous entrerons aux splendides villes'

'J'ai créé toutes les fêtes, tous les triomphes, tous les drames.'

'Il faut être absolument moderne.'

'Un grand vaisseau d'or, au-dessus de moi, agite ses pavillons multicolores sous les brises du matin.'

('Adieu')


And finally, this monument, depicting Rimbaud's head, stands close to the entrance to the station. On the other side is another quotation from 'Adieu': 'je suis rendu au sol avec un devoir à chercher'. Some sites say Michel Gillet sculpted this for the centenary of Rimbaud's death, but then it appears that Gillet died in his eighties in 1991, so the truth seems unclear.

24 March 2019

Arthur Rimbaud memorial, Place de la gare, Charleville-Mézières, Ardennes (08)


The original bust of Arthur Rimbaud in the Place de la gare in Charleville-Mézières was placed there by Rimbaud's brother-in-law Paterne Berrichon (Pierre-Eugène Dufour), the poet, painter and sculptor. It was destroyed in World War I. In 1927 Alphonse Colle replaced the bust, although it too was melted down during the Vichy régime. The third bust by Dumont, seen here and modelled on Colle's, replaced the second bust in 1954.

23 March 2019

Arthur Rimbaud and Hervé Tonglet in Charleville-Mézières, Ardennes (08)

The 1997 sculpture of Rimbaud by Hervé Tonglet, a sculptor from Ardennes, is in the Place Jacques Félix in Charleville-Mézières, right in front of a school named after him.



21 March 2019

Arthur Rimbaud 'chair-poems' in Charleville-Mézières, Ardennes (08)

Alchimie des Ailleurs, by Michel Goulet (2011)

This artwork is a result of a number of organisations working together, and was revealed in October 2011. 

Michel Goulet, the sculptor from Québec, made these eighteen 'chair-poems' in stainless steel as a link between the Musée Arthur Rimbaud and the Maison d'Ailleurs. Here, there are eighteen extracts from Rimbaud's works, each one followed by an unpublished poem by a contemproary Francophone writer. I show each chair, plus the name and nationality of the poet.

Mathieu BROSSEAU (France)

Liliane WOUTERS (Belgium)

Denise DESAUTELS (Québec)

Jean-Pierre VERHEGGEN (Belgium)

NIMROD (Chad)

Samira NEGROUCHES (Algeria)

Marie-Claire BANCOUART (France)

Ferdando d'ALMEIDA (Cameroon)

Vénus KHOURY-GHATA (Lebanon)

Linda Maria BAROS (Rumania)

Michel A. THÉRIEN (Canada)

Alise KOLTZ (Luxembourg)

Jean-Marc DESGENT (Québec)

Amadou Lamine SALL (Senegal)

Christien PRIGENT (France)

Éric BROGNIET (Belgium)

Jean-Paul DAOUST (Québec)

Pierre-Alain TÂCHE (Switzerland)

Michel Goulet also created the literary chairs in Montréal, also (all) viewable on my blog here.