A Fascination with Vichy

Monday, June 28th, 2010

massie Today’s guest blogger, Allan Massie, will be speaking at the Library on Wednesday, 30 June at 19h30.

More years ago than I care to think I was having breakfast one morning in a café in Cambridge. It was a Friday; so I was reading The Spectator. There was a review by that distinguished historian of France and the USA, D W Brogan, of a new book about Vichy. “It was difficult,”  he wrote, “for us in 1940 to see that there was a case for Vichy; there was even a case for Laval.”

That sentence startled me. Last most of my generation in Britain, I had been reared in the belief that the French had let us down in 1940, that Vichy was contemptible, Marshal Petain a vain old dotard, and Laval a twister and Quisling. It had never occurred to me that many French people believed that the British had abandoned the Battle of France before it was truly lost, that many honourable men had served Vichy believing that this was in the best interests of France, and that the aged Marshal and Laval were both in their way French patriots.

I date my fascination with these dark years of French history from the day I read that review, but it was almost thirty years later (1989) that I published a novel, “A Question of Loyalties”, which explores the complications and moral dilemmas of wartime France, my narrator’s father being a good and honourable man who becomes a junior minister in the Vichy Government. That novel won prizes in Britain, but it was not translated into French for many years. As it happened, my friend , that very good novelist Piers Paul Read, also published a novel, “The Free Frenchman”, the same year. His hero was a Gaullist and his book was immediately translated. I could not avoid the thought that its political stance was more acceptable. Eventually my admirable publisher, Bernard de Fallois (Editions de Fallois), brought out my novel in 2004, with the title “L’Honneur d’un homme”, in an excellent translation by Jean Bourdier.

The subject would not leave me however, and I began collecting material for a non-fiction book on the continuing influence of Vichy and the wartime years on French public life. This will be published, as “The Spectre of Vichy”, by Jonathan Cape sometime next year.
Meanwhile I had long wanted to write a crime novel, partly because of the pleasure I have got from crime fiction, and especially the novels of Simenon, partly because I agree with that fine novelist Nicolas Freeling who insisted that “in prose fiction, crime is the pre-eminent and often predominant theme. Where better, I thought , than wartime France to set my story?

I had visited Bordeaux for a book event publicising another of my novels, “Les Ombres de l’Empire” and in the few days I spent there was struck by the haunting but elusive character of the city, this doubtless enhanced by my memories of the novels of Francois Mauriac. It seemed a good setting for my crime novel, all the more so because in 1940 it became part of the Occupied Zone and my hero, a senior policeman, would have to deal with the German authorities as well as his own superiors.

“Death in Bordeaux” breaks some of the conventions of crime fiction. To this extent it may be unsatisfactory as a pure roman policier, even while, being also that, it may be unsatisfactory as a straight novel. If I don’t think so myself, this may in part be attributed to a natural protective attitude to my own work. More seriously however I have long thought that the barriers separating what is called “genre fiction” from the literary novel are out-of-date, and should be demolished.

Anyway, whether it works as crime novel or straight novel, or as both or neither, is for readers to decide. Meanwhile I am happily at work on the second book in the trilogy which will take Superintendent Lannes through the darkest years of the war and the epuration  (purge) of suspected collaborators after the Liberation.

–Allan Massie

Mr. Darcy, you smell so good

Monday, June 21st, 2010

“The pheromone that attracts female mice to the odour mrdarcyof a particular male has been identified. Named ‘darcin’ by researchers writing in the open access journal BMC Biology (after Darcy, the attractive hero in Jane Austen’s novel “Pride and Prejudice”), this unusual protein in a male’s urine attracts females and is responsible for learned preference for specific males.” Read more about this breakthrough in Science Daily.

Secrets of screenwriters

Monday, June 21st, 2010

screenwriter

Today’s guest blogger, screenwriter Diane Lake, will be speaking on the art of writing for the silver screen at the Library on Wednesday 23 June at 19h30.

“You’re a WHAT?!

When you tell someone you’re a screenwriter, they often don’t know exactly what that is. Some people assume that means you write the storyline of a film but the director does everything else. Some people assume you write the dialogue but the director does everything else. I’ve even run into people who think the actors make up their own dialogue after the screenwriter ‘sets the scene’ or something.

Ernest Lehman, screenwriter of films like Sabrina and The Sound of Music liked to tell the story of his experience writing North by Northwest when this question of what a screenwriter does came up. In that film there’s a famous scene—the crop dusting scene—where Cary Grant, left in the middle of the barren Illinois countryside, is pursued by a small plane. Grant dodges the plane and the lethal gas it’s putting out by running into the nearby cornfields and hiding. He’s eventually able to outsmart the plane and cause its demise. This series of scenes was hailed as brilliant by several critics and Hitchcook’s ‘masterful’ direction was again and again touted as ‘genius’ for the tight way those scenes were shot.

Lehman, who loved working with Hitchcock and begrudged him none of his praise for being such a fine director on the film, was clearly miffed, though, that all the credit for the success of that scene always went to Hitchcock. “It’s all there, in the script,” Lehman said to an audience at the Writer’s Guild of America one night not too many years ago. “Every turn Grant made, every shot—it’s all in the script.”

Generally speaking, it’s usually all in the script. While a director certainly does more than point the camera and say action, the entire scene that an audience sees on the screen was meticulously created by the screenwriter—word for word, action for action.

If film is the art form of our time, why is it we don’t know the people who create that art form? Everyone can name their favorite novelists—how many people can name their favorite screenwriters? While most people know their favorite directors how many people even know the names of the screenwriters who created their favorite films?

When I was moving houses in Los Angeles a few years ago, I was purging everything. As a writer, my life is full of paper and I decided it was ridiculous to keep carting around all the versions of scripts I had written for various studios that never got made. I have file cabinets full of not just the scripts themselves but all the research that went into writing those scripts. But as I was about to dump much of this material a friend of mine who’s a film archivist for Warner Brothers said I couldn’t. He said that all that material would be of great import if the film ever got made, that film scholars would want it preserved and it was my responsibility to hold onto that material. He was so passionate on the subject he made me feel like the keeper of the flame or something.

But the more I think about it, the more I think he may be right. At some point in the future, those who study film will want to know where the ideas for the film came from and how it was constructed. That’s when people will begin to wonder, “Hey, who wrote that anyway?”

–Diane Lake

Letterheady

Sunday, June 20th, 2010

The weird stationery of Mussolini, Ian Fleming, Charles Atlas, Dr. Seuss, Marlene Dietrich, and more … all collected by Letterheady.  According to the rubric, “Letterheady is an online homage to offline correspondence; specifically letters. However, here at Letterheady we don’t care about the letter’s content. Just its design.”

Shelf talk

Saturday, June 19th, 2010

One of the most admirable and inventive and current library blogs around comes from the Seattle Public Library. Its Shelf Talk blog is a trove of ideas and informaiton that keeps coming and sets an example for library blogs everywhere. Recent trolling by our own tireless remote researcher, Andrea Delumeau, turned up some excellent summer reading tips for tweens, a nice item on Shakespeare authenticity questions, news of a new service for downloading audio books onto MP3 players at the Seattle Public Library (we’ll work on it), and a piece on book titles that overreach. Check the links above or go to the main Shelf Talk site.

Andrea Delumeau, by the way, bookmarks everything she finds here and Browser can barely keep up with it. Have a look.

Tradition and the individual bookseller

Monday, June 14th, 2010

beach Today’s guest blogger, Keri Walsh, is the editor of The Letters of Sylvia Beach, a collection of the Shakespeare & Co. doyenne’s correspondence. She’ll be speaking about the book at the Library on Wednesday, June 16 at 19h30.

Sylvia Beach (1887-1962) was the owner of the English-language bookstore Shakespeare and Company on the Left Bank, and the first publisher of James Joyce’s Ulysses (1922).  She grew up Princeton, New Jersey, the daughter of a Presbyterian minister, and after spending the First World War as a volunteer agricultural worker in France and a member of the Red Cross staff in Belgrade, she came to Paris to found her legendary bookstore.   At the center of Parisian literary modernism, Beach developed relationships with Ernest Hemingway, James Joyce, Gertrude Stein, H.D., and Richard Wright, among many others, and left us with a rich trove of correspondence.

One of these letters, written in 1940 to French bookstore-owner Adrienne Monnier, shows Beach championing American writers to French readers.  One such writer was T.S. Eliot, whom she called “the most fascinating and interesting personality at the present moment,” and whose works, we might be surprised to learn, were not at this point widely available in French translation.  “Want something new?” she asks an imaginary patron of her bookshop, “Fresh arrival” the “Nonsense” poems of T.S. Eliot and his “Practical Cats.  All these cats have a name by which they’re known, a name that they only know, but they never confess, this name.”  Of course, Beach was referring to Eliot’s Old Possum’s Book of Practical Cats, published in 1939 with an illustration by Eliot himself on the cover.  Beach never would have guessed that four decades later, Andrew Lloyd Webber would immortalize Eliot’s feline protagonists in one of the longest-running musicals of all time.  Together, Beach and Monnier translated Eliot’s “Love Song of J. Alfred Prufrock.” When it was published in Monnier’s literary journal Le Navire d’Argent, it was the first of Eliot’s major works to appear in French.

Reflecting on Eliot’s importance at the beginning of the Second World War, Beach wrote “Why, oh why not translate absolutely all the prose of T.S. Eliot?” Beach’s supportive relationships with the major figures of modernism were often mutual.  When her business was threatened by the economic crises of the 1930s, Eliot came to Paris and gave a fund-raising reading at Shakespeare and Company, helping Beach to keep her hub of literary life afloat.

–Keri Walsh

Martin Gardner, R. I. P.

Sunday, June 13th, 2010

A few weeks ago the world lost one of its most original and unusual intellects, Martin Gardner, polymath and prankster and puzzler, the “Mathematical Games” columnist of Scientific American for 25 years, the annotator of “Alice in Wonderland,” the debunker of superstitions masquerading as science, and a demigod to many.

Gardner was beloved of Auden and Nabokov, Stephen Jay Gould and Douglas Hofstadter. The latter mathematician, writing in homage in Scientific American, said his early discovery of Gardner “was probably the first time I had realized that systematic and critical thinking could extend beyond such precise domains as math and physics, and could demolish ideas in far hazier fields with great power. It was also the first time I had realized how very many crazy belief systems there are out there in the world, and how important it is to recognize this fact and to combat them.”

The New York Times has an exceptionally lovely obituary of Gardner, by Douglas Martin, in which this Gardner stumper is posed, with an unexpectedly nonmathematical solution:  What is special about the number 8,549,176,320?

Boring, and skewering

Thursday, June 10th, 2010

For some reason Browser can’t get enough of these withering remarks made by one author about another: Gore Vidal on John Updike: “Just another boring little middle-class boy hustling his way to the top if he can do it.”

D. H. Lawrence on Herman Melville: “Nobody can be more clownish, more clumsy and sententiously in bad taste.” James Dickey on Robert Frost: “A sententious, holding-forth old bore.” Henry James on Edgar Allan Poe: “An enthusiasm for Poe is the mark of a decidedly primitive stage of reflection.”

Martin Amis on Cervantes: “an indefinite visit from your most impossible senior relative.” Anatole France on Emile Zola: “One of those unhappy beings of whom one can say that it would be better had he never been born.”

If you can’t get enough either, here’s 25 good ones and then 25 more good ones.

Radio drama

Wednesday, June 9th, 2010

radioBefore the TV mini-series, there was the radio play. Happily, despite the advent of flat-screens, DVDs, DVRs and other innovations we don’t really understand, this form of entertainment has endured, particularly in the U.K., where radio plays are popular and broadcast regularly.

On Friday, June 11, we’ll be tuning in to hear a new radio play, written by Hollywood screenwriter — and Library member — Diane Lake. Called The Casebook of Violet Strange: The Inseparables, the story was inspired by the work of Katherine Anne Green, one of the first mystery writers in Canada and the US in the late 1800s.

“It tells the story of Violet Strange, 18, who becomes a detective in post-WWI London to uncover the culprit in a string of thefts,” says Diane. “Three young society women, calling themselves The Inseparables, always seem to be nearby when things disappear–so Violet, being their age and able to infiltrate their crowd–is put on the case…despite the fact that she is…a woman!–such a thing being seen as a bit unseemly for the ‘fair sex’ in those days.”

The play will stream live, via the internet, between 10:00am & 11:00am EST.  I-Tunes or Realplayer are required listen–both can be downloaded from the link above.

We’re especially delighted to hear a performance of Diane’s work as she’ll be speaking here at the Library on 23 June about the art of writing for the silver screen. Perhaps she’ll throw in some behind-the-scenes tidbits about sound effects and radio actors as well!

Stella!

Monday, June 7th, 2010

You may not think you would like to hear the following paragraph spoken aloud 1,300 times, or even once, but read on to change your mind:

“Please call Stella. Ask her to bring these things with her from the store: six spoons of fresh snow peas, five thick slabs of blue cheese, and maybe a snack for her brother Bob. We also need a small plastic snake and a big toy frog for the kids. She can scoop these things into three red bags, and we will go meet her Wednesday at the train station.”

The Speech Accent Archive at George Mason University in Virginia has collected all those samples to create a map of accents of native and non-native English speakers, and not just in the United States. The archive people might have chosen a passage a bit more … uplifting for the template, but that’s their linguistic business. You can go straight to the archive, pick your region, and listen to the varieties of human speech. And you can read it yourself and submit your sample to the archive. But first, please call Stella about the snow peas.