One day in tenth grade, our physical science teacher was out with the flu, and being ahead in his lesson plan, instructed our hapless...more
A new favorite!
One day in tenth grade, our physical science teacher was out with the flu, and being ahead in his lesson plan, instructed our hapless student teacher to put *Bladerunner* in the VCR for us. We were to write an essay on the scientific themes of the movie for homework. (it would be a year later, at my after school job, that an older colleague, in her late twenties, would come into the lounge raving about the image quality of this new 'DVD' player her husband had just bought. It was the first I'd heard the term.) I remember little, busy as I was, during the film, writing my essay on the scientific themes in *Bladerunner*, but what little I do remember hardly conforms to this tale.
I read *Do Androids Dream of Electric Sheep?* in tandem with P.K.Dick's *Man in the High Castle*, and the two complement each other nicely. In each, Dick explorers the nature of authenticity and where the line between 'is x' and 'is not x' can be drawn, only to reveal that the line is a fuzzy one. He investigates the origins of things and at what point does the synthetic - be it a synthetic 'authentic American civil war revolver' or a Nexus 6 Android, both of which require a battery of analyses to distinguish them from that from which they are copied - become so like the authentic that it fails to matter anymore? And why is it that, if the two are indistinguishable except by a battery of tests that only an expert can perform and interpret, do we still value that which is 'authentic', that which has historical meaning or is not man-made? Is the meaning of authenticity all in our minds? I think Dick is saying yes, but that doesn't make it any less meaningful.
This should absolutely be read in tandem with *Man in the High Castle*. I'm planning to work my way though the entire P.K. Dick oeuvre in the next year or so, and can't wait to see what else he has to offer.
Suite Française debuted in English in 2006,and i was immediately drawn to the tragedy of the author's story: Irene Nemirovsky, a talented and prolific author, editor and mover/shaker of the Parisian literary world, was murdered at Auschwitz before finishing her magnum opus. I was so drawn by this tragedy, by the historical import, by the romance of the manuscript discovered in a trunk sixty years after the authors death that bears witness to her remarkable life, that I was sure that it couldn't actually be a good book.
I was wrong. Suite Française is not only a good book it is amazing, all the more so for being a first and incomplete draft.
The first quality of the novel apparent was Nemirovsky's ability to convey the environment. The first movement of the novel, "A Storm in June", details the exodus from Paris that occured immediately prior to the arrival of the German army. Many different families are portrayed so as to give a cross section of the Parisian society fleeing the bombings. This act of the novel is not driven by characters or their development, but their movement and their stasis during the evacuation: to a village, where there are no rooms to stay, to the train station, which is locked, walking down dusty roads, driving until their cars break down, and the reader is there with them. Nemirovsky was able to sustain this illusion by offering contrasting details: "you sometimes hear the whole orchestra, sometimes the violin."
Much of the writing here reminds me of the opening of George Eliot's The Mill on the Floss in that I could not only 'see' the surroundings but feel them. Many authors write moving depictions of color and light and scent, many can lay out a landscape, but few can make you feel the air on your skin the way Eliot does in this passage:
The stream is brim full now, and lies high in this little withy plantation, and half drowns the grassy fringe of the croft in front of the house. As I look at the full stream, the vivid grass, the delicate bright-green powder softening the outline of the great trunks and branches that gleam from under the bare purple boughs, I am in love with moistness, and envy the white ducks that are dipping their heads far into the water here among the withes - unmindful of the awkward appearance they make in the drier world above.(The Mill on the Floss, "Outside Dorlcote Mill", pg. 54.
And here is Nemirovsky, in the bit that brought Eliot to mind:
The windows and shutters were both open. The moon lit up the rooftops in the village; the tiles glistened like the scales on a fish. The garden was fragrant, peaceful, and the silvery light seemed to shimmer like clear water, gently rising and falling over the fruit trees. . . The short June night was fading. The stars grew paler, he air smelled of milk and moist grass; now, half-hidden behind the forest, only the pink tip of the moon could be seen, growing dimmer and dimmer in the mist. Suite Francaise, pg.98
"What interests me here is the history of the world," Nemirovsky wrote in her journal while composing Suite Française, and most of "Storm in June" is not typical of the opening act of a novel: this is fiction for the sake of posterity. Nemirovsky captures the moods of the evacuees: fear, certainly, but also vicious self-preservation, indifference, greed, and exhaustion. These 'moods' are developed further in the characters of the Angelliers and Sabaries and the German officers who billet with them in 'Dolce', the second and last completed movement. One mood that stood out to me, possibly because of my interest in the Great War (more so than the Second World War), and possibly because of the recent death of Florence Green, the last surviving veteran of the Great War (and also possibly because of the influence of Downton Abbey), is the sense of betrayal by fate so many of them feel and express. There is a sense of determinism in their response: as though this war could not have been prevented by men, that somehow their plight was a overdose of bad luck. Here is Lucille Angellier:
The individual or society? she thought. Well, Good Lord! Nothing new there, they hardly invented that idea. Our two million dead in the last war were also sacrificed to the "spirit of the hive." They died . . .and twenty-five years later . . What trickery! What vanity! There are laws that regulate the fate of beehives and of people that's all there is to it. (pg. 263)
This two-fifths of a novel was not only beautifully written but provides essential insight and first-hand observation of the German invasion of France and the occupation, as well as bearing witness to the struggles of an occupied people.
This is the secondthird [holy cow!] FOURTH novel I've read recently by authors who lived through the second world war as civilians and wrote to bear witness to it: Every Man Dies Alone by Hans Fallada, a fictionalized account of the true story of a German couple who made protest against the war; All Our Yesterdays by Natalia Ginzburg, which told the story of an Italian family who loses their paterfamilias just as Italy allies itself with Hitler, and The Path to the Spiders' Nests by Italo Calvino, about a young boy who joins the partisans in their war against the Nazis set in the mountains of Northern Italy were the others. I'm looking for more novels written from first-hand perspectives of this war (or other wars, for that matter. ) Suite Française is highly recommended. If you have any other recommendations in this arena, please let me know!
I found this book when I ordered another book by the same name through inter-library loan [[book:Strange Fruit: Why Both Sides are Wrong in the Race D...moreI found this book when I ordered another book by the same name through inter-library loan [[book:Strange Fruit: Why Both Sides are Wrong in the Race Debate|3496693] by Kenan Malik] and this came instead. It was, to say the least, a fortuitous mistake. I want to say we should shelve To Kill a Mockingbird and teach this instead. Like Harper Lee, Lillian Smith was a white southern woman who grew up observing the atrocities of the Jim Crow south. Unlike Harper Lee, she was worldly and political.
To Kill A Mockingbird tells a tragic story and bears an important message about the evil of legally and culturally-sanctioned racism. But it lies, also. Most towns didn't have an Atticus Finch. When mobs showed up at the jailhouse to lynch a prisoner, there usually wasn't a precocious child to step in and shame a man in front of a crowd and halt a murder.
The Maxwell, Georgia of Strange Fruit doesn't have a Finch family among its white population. Tom Harris is the closest that they have, and though he'll step in to stop a lynching, he'll shrug his shoulders and soldier on if he fails. Vulnerable black children and women are left the prey of white teenagers and men seeking sexual satisfaction and dominance, and their wives and mothers, clergy and law enforcement bemoan it and look the other way, as though speaking about it were the worse sin. Maxwell's white residents, poor and uneducated for the most part, hold steadfast to their particular supremacist view of both Christianity and American history.
At the center of this story are the Andersons, an educated black family, who for all of their college degrees, work the only jobs they can find in Maxwell - as servants. Ed Anderson has moved on to bigger and better things in Washington and now works for the government, but Bess and Nonnie are still at home in Maxwell, Bess as a cook and Nonnie as a nanny. Ed is in town for a visit and having trouble adjusting to life in the south again, anxious and angry. His eyes have been opened in Washington to the injustice he and his family were dealt in Maxwell, and he's desperately trying to get Bess and Nonnie out. Bess is smart, careful and nervous, and Nonnie is beautiful and otherworldly, and men can't help looking at her - which is where the trouble starts. She's two months pregnant with the child of the son of the town's white doctor, and he's all but engaged to another girl. Brother Dunwoodie has just arrived in town to bring Maxwell's souls to Jesus with a revival and it is damned hot outside. . .
I can't recommend this book enough - to anyone and everyone. For a portrait of the Jim Crow South and a good description of the troubles that faced African Americans fleeing it with the first waves of the great migration. 10 stars. You'll never look at To Kill A Mockingbird the same again. (less)