Novella a Day in May 2019 #22

The Cat – Colette (1933, trans. Antonia White, 1953) 96 pages

Back in January when I wasn’t sure I’d manage NADIM this year (I’m still not sure – 9 posts to go!) I did a week of novellas by Colette. I loved immersing myself in her writing that week so I couldn’t resist including another of her novellas this month.

The Cat is familiar Colette territory: a young, slightly feckless couple failing to communicate. The difference is that there are three beings in this marriage: Alain, Camille, and Alain’s Russian Blue cat Saha.

Alain is from old money that is rapidly dwindling; Camille is new money that is much more abundant.

“Alain listened to her, not bored, but not indulgent either. He had known her for several years and classified her as a typical modern girl. He knew the way she drove a car, a little to fast and a little too well; her eye alert and her scarlet mouth always ready to swear violently at a taxi driver. He knew that she lied unblushingly”

They desire one another but they don’t communicate in any meaningful way. Alain almost seems to despise Camille at times – finding her tacky and invasive – unlike his pedigree cat, whom he adores. The three of them move temporarily to a friend’s flat while their home is being refurbished:

“He was incessantly and increasingly aware of his repugnance at the idea of making a place for this young woman, this outsider, in his own home. He nursed this resentment and fed it with secret soliloquies and the sullen contemplation of their new dwelling.”

For Camille, the resentments and disappointments which begin to build in their marriage become focussed towards Saha. As she points out, it is worse than another woman. Saha isn’t a competitor, but Alain loves her unconditionally and has an easy sensual relationship with his cat, whereas his sexual relationship with Camille is complicated by his feelings of contempt.

“As soon as he turned out the light, the cat began to trample delicately on her friend’s chest. Each time she pressed down her feet, one single claw pierced the silk of the pyjamas, catching the skin just enough for Alain to feel an uneasy pleasure.”

Spoiler alert: I must admit I did what I never do and skipped to the end of this story before reading very far, to check the cat wasn’t killed. I couldn’t face a story where that happened. But thankfully Colette is more subtle than that. Saha doesn’t die, which means the failures in the human relationship occur not in the rage of grief, but in something more subdued and sadder. Saha is a focus for the confused, antagonistic feelings the young couple have for one another. The cat brings these feelings to the surface more quickly than perhaps they would have done without her, but there is no doubt they would have occurred at some point.

You don’t need to be a cat lover to enjoy this story. It is a study of a young, naïve, selfish couple and the unthinking damage they do to one another, while professing their love. This being Colette, alongside the psychological insights, there are beautiful descriptions of the natural world:

“High in the sky a hazy moon held court, looking larger than usual through the mist of the first warm days. A single tree – a poplar with newly opened glossy leaves – caught the moonlight and trickled with as many sparkles as a waterfall. A silver shadow leapt out of a clump of bushes and glided like a fish against Alain’s ankles.

‘Ah! There you are Saha! I was looking for you. Why didn’t you appear at table tonight?’”

To end, here’s the lady herself with a couple of her beloved pets:

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Novella a Day in May 2019 #13

Scars on the Soul – Francoise Sagan (1972 trans. Joanna Kilmartin 1974) 124 pages

This is a strange novella. It’s a story of a Swedish brother and sister living in France, and an extended reflection on Sagan’s writing life: a direct address to the reader.

“It isn’t literature, it isn’t a true confession, it’s someone tapping away at her typewriter because she’s afraid of herself and the typewriter and the mornings and the evenings and everything else.”

Sagan tells the story of Sebastian and Eleanor van Milhelm who are entirely feckless and devoted to one another.

“Life without her, drink without her, were like lukewarm water, Not a bad thing, all said and done, to have one’s life circumscribed to that extent by someone who – whatever she might say – was as much his slave as he was hers.”

While they are not quite incestuous, they certainly have an unhealthy attachment to one another. They move around living off their looks, finding benefactors who will pay for their lifestyle so that neither have to get jobs.

“ ‘Someone’ being that providential person who, because of their charm, their wit, their luck, would act as temporary provider for brother and sister. This person so far had never failed to materialise and was usually discovered by Sebastian, Eleanor, as in this case, being too lazy to go out.”

Yet the van Milhelms are not despicable. They are not malicious or even particularly manipulative; there is the sense that those they live off share an understanding whereby everyone knows what the deal is. There is a sense of ennui as their lives are essentially empty, yet it’s a sad story rather than a depressing one.

Scars on the Soul is certainly a post-modern novella, drawing attention to the art of Sagan as a writer and the artifice of the novel.

“There are moments when I’m on the point of writing ‘But I digress,’ an old-fashioned courtesy to the reader, but pointless in this case, since my purpose is to digress. Nevertheless, this blow-by-blow account of eroticism has irritated me. I’m returning to my van Milhelms ‘who frequently indulge in that sort of thing but never talk about it.’”

I think this novella wouldn’t be for everyone, as it is neither one thing nor the other – not fiction or non-fiction, not short story or essay. Yet I found it satisfying. I was invested in the van Milhelms story and I enjoyed Sagan’s witty reflections on writing and her fame after many years (this was written in her late 30s after the success of Bonjour Tristesse at the prodigiously young age of 18). It’s not something to read when you want a meaty, plot-driven story but Sagan is a hugely talented, skilled writer and there is much of interest here both in the fiction and in the portrait of one writer’s life.

Novella a Day in May 2019 #5

Breaking Away – Anna Gavalda (2009, trans. Alison Anderson 2011) 143 pages

Breaking Away is a simply plotted novella which appears deceptively straightforward in its storytelling, but builds towards a meaningful resolution.

Garance is in her late twenties and cadges a lift to a wedding with her brother Simon and annoying sister in law Carine. The characterisation of Carine starts the novella off on an enjoyably bitchy note as the chaotic Garance, who has stayed up all night playing poker and is waxing her legs on the backseat, offends beauty pharmacist Carine’s sensibilities.

“Carine is utterly perplexed. She consoles herself by stirring sugarless sugar into a coffee without caffeine.”

They stop and pick up another sibling, Lola, who likes to conspire with Garance to wind up Carine. At which point I began to feel for Carine – maybe she wouldn’t be such a nightmare if the siblings weren’t so cliquey and excluding. At this point though, the portrait of Carine does modify slightly.

“She may be a first class pain but she does like to please others. Credit where credit is due.

And she really doesn’t like to leave pores in a state of shock. It breaks her heart.”

Their fourth sibling, Vincent, isn’t at the wedding, so the three of them leave Carine and bunk off to go and collect him. Garance reflects on her various siblings’ trials and tribulations and how their upbringing has influenced who they are. She decides her parents are culpable:

 “Because they’re the ones who taught us about books and music. Who talked to us about other things and forced us to see things in a different light. To aim higher and further. But they also forgot to give us confidence, because they thought that would come naturally. That we had a special gift for life, and compliments might spoil our egos.

They got it wrong.

The confidence never came.

So here we are. Sublime losers.”

But the humour in the novella stops it being self-pitying. In fact, the four of them are doing OK. They’re just enjoying taking a rare moment to spend time together.

Breaking Away captures a moment in time for the four siblings, and has an elegiac quality, for time past and relationships that must inevitably change. The tone isn’t sad however, more resolute; it’s about how love endures beyond all the external changes.

“What we were experiencing at that moment – something all four of us were aware of – was a windfall. Borrowed time, an interlude, a moment of grace. A few hours stolen from other people.”

To end, plenty of songs are name-checked in Breaking Away, including this one which “taught us more English than all our teachers put together”:

Novella a Day in May 2019 #2

The Reader on the 6.27 – Jean-Paul Didierlaurent (2014, trans. Ros Schwartz 2015) 194 pages

Easily the worst part of my day is my commute. If London rush hour had existed in fourteenth century Italy, I’m sure Dante would have made it one of his circles of hell.

But if Guylain Vignolles was on my morning tube, I’m sure things would be vastly improved. This titular hero is thirty-six years old and lives alone save for a goldfish named Rouget de Lisle V. He finds people difficult and so he has become something of a loner.

“His aim was to be neither good-looking nor ugly, neither fat nor thin. Just a vague shape hovering on the edge of people’s field of vision. To blend into his surroundings until he negated himself, remaining a remote place never visited.”

However, there is one point in his day when he does not blend into his surroundings. On his morning commuter train he reads the passengers excerpts from random books. They are pages he has rescued from his job at a book-pulping plant, a job he hates. Stealing the pages away from under the surveillance cameras of his horrible boss and disturbingly enthusiastic colleague is an act of rebellion, of resistance against the disregard shown to the books and all they contain.

“When the train pulled out of the station and the passengers alighted, an outside observer would have had no trouble noticing how Guylain’s listeners stood out from the rest of the commuters. Their faces did not wear that off-putting mask of indifference. They all had the contented look of an infant that has drunk its fill of milk.”

Despite his odd manner and social reluctance, Guylain does have friends. There is the security guard who only speaks in a very particular poetic style:

“The day he discovered the alexandrine, Yvon Grimbert had fallen head over heels in love. Faithfully serving the twelve-syllable line had become his sole mission on earth.”

There is also his ex-boss, who had a terrible accident at work:

“Giuseppe Carminetti, former chief operator of the TERN treatment and recycling company, ex-alcoholic and ex-biped, was going to do his utmost to recover the books that contained what was left of his pins.”

Yes, you read that correctly. Giuseppe’s legs were pulped along with some books and subsequently turned into paper. He is now fixated on hunting down all the books that were printed on such paper, thereby reclaiming his legs.

You may have realised by now that you need a pretty high tolerance for whimsy when reading The Reader on the 6.27. I have a high threshold and so I really enjoyed this novella. The idiosyncratic characters are still believable, and their relationships touching. The power of the spoken word and of literature in all its forms is comically evoked – particularly when Guylain gets recruited to read at a retirement home – but is still a powerful message.

Guylain’s reading matter changes when he finds a memory stick in his usual seat which contains the diary of Julie. While it’s undoubtedly intrusive that he reads the diary its believable that he is trying to do so in order to return the stick to its owner.

Unlike with whimsy, my tolerance for male protagonists falling in love with objectified female fantasy figures is rock-bottom. For me, Didierlaurent got the balance for this part of the story right, and Julie has strong, authentic female voice.

There’s no sense at any time that this sweet story isn’t going to play out in a truly cockle-warming way so it’s not a surprising read, but then it’s not trying to be. A tale of outsiders who, though they would never realise it, are absolutely charming.

Colette Week: Day 7 – The Last of Cheri (1926)

I thought it would be apt to finish Colette Week with a novel concerned with endings: The Last of Cheri (La Fin de Cheri). Here’s a reminder of my decidedly kitsch edition because it’s just so bad:

Thankfully I’m not quite so shallow as to let a hideous cover affect my enjoyment of Colette’s glorious writing (almost shallow enough, but not quite). The Last of Cheri is set 6 years later than Cheri, just after the end of World War I. He is no longer quite the callow youth he was: his affair with Lea and his experience of fighting in the trenches have left him cynical and damaged.

“he had come to scorn the truth ever since the day when, years ago, it had suddenly fallen from his mouth like a belch, to spatter and wound one whom he had loved.”

But, as the French wisely say, plus ça change, plus c’est la même chose. Cheri is still directionless, still without anything to live for beyond himself. Meanwhile his mother and wife have found purpose in war. Edmee is a nurse and consumed by her work at the hospital and extra-marital affairs, which Cheri agrees to.

“Cheri pulled out the small flat key on the end of its thin gold chain. ‘Here we go. In for another carefully measured dose of love. …’”

Cheri’s old friend Desmond is here too, still reprehensible, but like the women in Cheri’s life, having found purpose, setting up a popular nightclub where people try and forget what they and France have been through:

“They danced at Desmond’s, night and day, as people dance after war: the men, young and old, free from the burden of thinking and being frightened — empty-minded, innocent; the women, given over to a pleasure far greater than any more definite sensual delight, to the company of men: that is to say, to physical contact with them, their smell, their tonic sweat, the certain proof of which tingled in every inch of their bodies — the certainty of being the prey of a man wholly alive and vital, and of succumbing in his arms to rhythms as personal, as intimate, as those of sleep.”

If Cheri was told primarily from Lea’s perspective, The Last of Cheri is from Cheri’s perspective and Colette captures this wonderfully. Given that Cheri is so lost and directionless, the novella never appears so. The writing is insightful without being heavy-handedly psychological, and although set in town, Colette’s feel for the natural world remains:

“He noticed that the rosy tints of the sky were wonderfully reflected in the rain-filled gutters and on the blue backs of the low- skimming swallows. And now, because the evening was fresh, and because all the impressions he was bringing away with him were slipping back perfidiously into the recesses of his mind – there to assume their final shape and intensity — he came to believe that he had forgotten all about them, and he felt happy.”

This feeling of happiness is brief though, and occurs after a distressing meeting with Lea, so the reader knows Cheri is deluding himself. Like everyone else, Lea has moved on and is in a very different place, happy and fulfilled.

Poor Cheri. He is utterly lost and ricochets around without any idea as to how to remedy his emptiness. The crisis of meaning of a rich, good-looking playboy could test the reader’s patience, but Colette’s writing meant I had real sympathy for him. His life from the start meant he didn’t stand much of a chance:

“His childhood as a bastard, his long adolescence as a ward, had taught him that his world, though people thought of it as reckless, was governed by a code almost as narrow-minded as middle-class prejudice. In it, Cheri had learned that love is a question of money, infidelity, betrayals, and cowardly resignation. But now he was well on the way to forgetting the rules he had been taught, and to be repelled by acts of silent condescension.”

So, that’s the end of Colette week on the blog. I’ve really enjoyed submerging myself in her writing this week and I hope I’ve managed to convey just a tiny bit of how good she is. She has a deep understanding of people and a wonderful sympathy with the natural world. I find her evocative and capable of great artistry but with a real lightness of touch. Plus she wrote a lot of novellas, which always gets my vote 😊 She was a prolific writer so there’s plenty more to explore, which I’m really looking forward to.

Image from here

Colette Week: Day 6 – Cheri (1920)

I’m ending the week with Colette’s two novels about a beautiful young man, Cheri and The Last of Cheri (tomorrow). Before we go on, look at this awful book cover:

It’s the nearest I’ve come to being embarrassed to read a book in public (I still did it though 😀 )

My aesthetic qualms aside, let’s get back to Cheri. It’s a beautifully written, minutely observed novel and so the quotes are lengthy, as I inadequately attempt to give a sense of Colette’s mastery.

Fred Peloux, known to most as Cheri, is in his mid-twenties and his lover, Lea, is nearing 50.

“At the age of forty-nine, Leonie Vallon, called Lea de Lonval, was nearing the end of a successful career as a richly kept courtesan. She was a good creature, and life had spared her the more flattering catastrophes and exalted sufferings. She made a secret of the date of her birth; but willingly admitted — with a look of voluptuous condescension for Cheri’s special benefit — that she was approaching the age when she could indulge in a few creature comforts. She liked order, fine linen, wines in their prime, and carefully planned meals at home. From an idolised young blonde she had become a rich middle-aged demi-mondaine without ever attracting any outrageous publicity.”

They have been together for six years, since Cheri was 19. His mother, Charlotte, was also a courtesan and Cheri’s paternity is unknown. His beauty is astonishing but his personality is lacking.

‘Why is he so ugly when he laughs? — he who’s the very picture of beauty!’ She thought for a moment, then finished aloud: “It’s because you look so ill-natured when you’re joking. You never laugh except unkindly — at people, and that makes you ugly. You’re often ugly.”

Charlotte is determined to get Cheri married, and Lea claims she is at ease with this; she never anticipated her relationship with Cheri would be a long one. Charlotte and Lea have an antagonistic relationship but one of mutual understanding.

“They had known each other for twenty-five years. Theirs was the hostile intimacy of light women, enriched and then cast aside by one man, ruined by another: the tetchy affection of rivals stalking one another’s first wrinkle or white hair. Theirs was the friendship of two practical women of the world, both adepts at the money game; but one of them a miser, and the other a sybarite. These bonds count. Rather late in their day, a stronger bond had come to link them more closely: Cheri.”

Cheri marries a young woman named Edmée, but it is not a love match. He ends up listless and unhappy, disappearing for 3 months to live in Paris with his friend/hanger-on Desmond, denying his jealousy regarding the rumour that Lea has left the city with a new lover. It is an existence entirely empty and wholly unsatisfying to him. Cheri is worshipped for his looks and youthful energy but he is a deeply inadequate human being. His is an unexamined life, without purpose or meaning.

“For a moment he gave way to self-pity and self-contempt. How many good things had he missed by leading such a pointless life — a young man with lots of money and little heart! Then he stopped thinking for a moment, or possibly for an hour. Next, he persuaded himself there was nothing in the world he wanted, not even to go and see Lea.”

In this short novel Colette documents the evolving relationship between Lea and Cheri, and its sad conclusion. It is an insightful character study of the main protagonists, and an unblinking dissection of a relationship that is doomed to failure despite the deep love between Cheri and Lea. It will not survive societal pressures, nor the lack of humanity and compassion within Cheri.

“An undecipherable thought appeared in the depths of his eyes; their shape, their dark wallflower hue, their harsh or languorous glint, were used only to win love, never to reveal his mind. From sheets crumpled as though by a storm, rose his naked body, broad- shouldered, slim-waisted; and his whole being breathed forth the melancholy of perfect works of art.”

Cheri has been adapted quite a few times (hence my awful book cover). Here’s the trailer for the 2009 film directed by Stephen Frears:

Colette Week: Day 5 – Ripening Seed (1923)

I’ve a stinking cold Reader, please bear with me if this post is even more rambling and incoherent than usual…

Ripening Seed (original title: Le Ble en Herbe trans. Roger Senhouse 1955) has a subtitle on my old orange Penguin edition ‘An idyllic tale of a modern Daphnis and Chloe’, which I think is misleading. I didn’t find the tale idyllic; Colette is far too psychologically astute for that. So although its about a young couple discovering themselves and their love for each other over a long hot summer, its about pain as well as joys, and how the two can be hard to disentangle. It has similarities to Daphnis and Chloe, but departs from that story too.

Vinca “the Periwinkle, with eyes the colour of April showers” and Philippe who “radiated intolerance and a sort of traditional despair…for the period when body and soul are like buds ready to burst into flower” have known each other for years as their families holiday together in Brittany each year. Now Vinca is 15 and Philippe is 16, their feelings are starting to change toward one another. So far, theirs is a chaste romance, full of high adolescent feeling but without physical expression.

I’m not really in the market for teen romance – even Romeo and Juliet tries my patience – but Colette held me with this. Her evocative depictions of nature are to the fore as she captures a hot coastal summer:

“An offshore breeze wafted the scent of the new-mown after-crop, farmyard smells, and fragrance of bruised mint: little by little, along the level of the sea, a dusty pink was usurping the domain of blue unchallenged since the early morning […] the bleat of a goat and the tinkle of the cracked bell round its neck were enough to make the corners of his mouth quiver with anguish and his eyes fill with tears of pleasure. He did not let his eyes linger on the rocks where Vinca was roaming”

I also didn’t mind Vinca and Philippe’s contrariness towards one another. It seemed very believable for two young people who don’t know what to do with their feelings.

“There were still times when they could forget their love, despite the force that daily increased its tentacle hold and slowly but surely sapped their mutual trust and gentleness; and despite their very love itself, though it was changing the essence of their tender affection as coloured water changes the complexion of the rose that drinks it.”

Philippe is seduced by the older Mme Dalleray and so for the latter half of the novel the reader is waiting for the fallout from this sexual awakening away from Vinca. The title in French is from the phrase ‘manger son blé en herbe’/’to eat the wheat that has just sprouted’. In other words, people who are impatient end up denying themselves the benefit of a situation they should have let develop. As I mentioned at the start of this post, this is a story that deals with the pain of love as much as the joys…

Ripening Seed is a novella (122 pages in my edition) focused on building atmosphere and capturing a moment in time for two young protagonists. It’s beautifully written and Colette drew me into Vinca and Philippe’s world from the start.

Le Ble en Herbe has been adapted for the screen a few times (of course it has, young good-looking people in love a cinematic mainstay). Here’s a clip from the 1954 version: