Showing posts with label we'll never have paris. Show all posts
Showing posts with label we'll never have paris. Show all posts

14 Jul 2021

We'll Never Have Paris: une critique pour le 14 julliet

Repeater Books, 2019
 
 
I don't want to quibble over a back cover blurb designed to big-up the seventy-nine authors contained in the five-hundred and eighty-three pages of this book, edited by Andrew Gallix, but if they all deserve to be named among the 'most talented and adventurous writers' in the English-speaking word today then je suis l'oncle d'un singe
 
However, once you remove from the menu of this moveable feast some of the more bland offerings and half-baked items, then you're left with many things to savour [1] and it's unfortunate that what could have been an excellent slim little book has become (in places) bloated and boring. 
 
The minimalist maxim, less is more, should always determine a project of this kind and every editor should keep a working model of a guillotine on their desk, because, to paraphrase Robespierre, editing is nothing but a form of prompt, severe, inflexible justice; it is therefore an emanation of virtue

I suppose, like General de Gaulle in his helicopter, one of the things I was looking for was a greater level of cohesion. There were too many times when reading this book that I felt like saying: Gallix, remettez-moi un peu d'ordre dans ce bordel! [2] The idea that a chaos of writers and ideas will automatically result in a work of great beauty (or even great interest) is, sadly, mistaken.   

I also couldn't help feeling that Lee Rourke reveals something crucial with the title of his piece. For this book is ultimately a jigsaw picture of a Paris already imagined, rather than an exciting new vision [3]
 
Thus it is, that all the usual suspects - as well as all the usual street names, monuments and myths - appear in this book over and over again, until even the most ardent francophile begins to roll their eyes and look for a way to exit the twentieth century, so that they might concern themselves only with those moments when life shatters the glaciation of literary nostalgia and allows us to enter a Paris to come ... [4] 
  
 
Notes
 
[1] For the record, the pieces I admired most in We'll Never Have Paris are: 
 
Paris at 24 Frames a Second, by Richard Kovitch, pp. 182-190.
The Past is a Foreign City, by David Collard, pp. 191-196. 
Waiting for Godard, by Jeremy Allen, pp. 197-203.
City Not Paris, by Anna Aslanyan, pp. 276-282.
Manna in Mid-Wilderness, by Natalie Ferris, pp. 283-288.
Waiting for Nothing to Happen, by Andrew Gallix, pp. 294-299.
Donut, by Will Ashon, 300-302.
The Arraignment of Paris, by Stuart Walton, 332-336.
Paris Perdu, by Tom McCarthy, pp. 342-344.
Ten Fragments of an Idea of Paris Already Imagined by You, by Lee Rourke, pp. 350-356.
Terminus Nord, by Adam Roberts, pp. 367-377.
Poisson Soluble, by Lauren Elkin, pp. 378-387.
Paris, Isidore Isou, and Me, by Andrew Hussey, pp. 448- 454.  
Anchovies - Brian Dillon, pp. 538-543.

I suppose I should also mention Flogging a Dead Clothes Horse, by Thom Cuell, pp. 255-263, which discusses the influence of Paris on Malcolm McLaren's political and artistic imagination, though, again, it simply rehearsed a lot of the same old ideas.
 
[2] I'm grateful to Richard Kovitch who writes of de Gaulle's lament whilst flying high above Paris; see Paris at 24 Frames a Second, We'll Never Have Paris, p. 184.  

[3] Lee Rourke, Ten Fragments of an Idea of Paris Already Imagined by You, We'll Never Have Paris, pp. 350-356. 

[4] I'm paraphrasing from Leaving the 20th Century, (Free Fall Publications, 1974), a collection of Situationist writings ed. and translated by Chris Gray.   


8 Jul 2021

That City of Dreadful Night: D. H. Lawrence's Letters from Paris

Paris est toujours une bonne idée
 
 
I. 
 
I'm currently reading a big fat book of essays, short stories, and poems by over seventy authors, edited by Andrew Gallix [1], exploring the fascination that writers from the English-speaking world have for the French capital - although, as becomes clear, they are mostly enchanted by a myth of their own invention, rather than by Paris as a place that can be located on a map.       
 
Of course, not all English writers have been enamoured with the City of Lights. D. H. Lawrence, for example, famously wrote in 1919: "Paris is a nasty city, and the French are not sympathetic to me." [2] 
 
Five years later, however, Lawrence had changed his tune: "Paris isn't so bad - to me much nicer than London - so agreeably soulless" [3]
 
Indeed, in almost every letter and postcard sent to friends at the beginning of 1924 from Le Grand Hotel de Versailles (on the Boulevard Montparnasse), Lawrence was saying much the same thing: "Paris looking rather lovely in sunshine and frost - rather quiet, but really a beautiful city" [4]. He even cheerfully informed his mother-in-law that the Parisians were very friendly [5]

But of course, Lawrence being Lawrence, there were sudden (and frequent) mood changes during his short stay in Paris, as this letter written to Catherine Carswell illustrates:
 
"Today it is dark and raining, and very like London. There really isn't much point in coming here. It's the same thing with a small difference. And not really worth taking the journey. Don't you come just now: it would only disappoint you. Myself, I'm just going to sleep a good bit, and let the days go by [...] Paris has great beauty - but all like a museum. And when one looks out of the Louvre windows, one wonders whether the museum is more inside or outside - whether all Paris, with its rue de la Paix and its Champs Elysée isn't also all just a sort of museum." [6]   

Several days later, and Lawrence is still lying low in Paris (whilst Frieda buys some new clothes), but feeling a little more positive about the city and its residents:
 
"Paris is rather nice - the French aren't at all villain, as far as I see them. I must say I like them. They are simpatico. I feel much better since I am here and away from London." [7]
 
And so, despite informing one correspondent that the city was far from gay, Lawrence mostly enjoyed his short stay: "Paris has been quite entertaining for the two weeks: good food and wine, and everything very cheap." [8]  
 

II.
 
In 1929, Lawrence returned to Paris where he oversaw publication of a new (inexpensive) edition of Lady Chatterley's Lover to try and stop the pirated editions then in circulation. If, five years earlier, he had been mostly positive in his response to the city, now he was as hostile to it as he was to most (if not all) large cities:
 
"I don't a bit like Paris. It is nowadays incredibly crowded, incredibly noisy, the air is dirty and simply stinks of petrol, and all the life has gone out of the people. They seem so tired." [9]   
 
Sadly, of course, it was Lawrence himself that the life had almost entirely gone out of; he was to die eleven months after writing this, aged 44, in Vence (428 miles south of Paris, as the crow flies).           
 
 
 
 
Notes
 
[1] Andrew Gallix (ed.), We'll Never Have Paris, (Repeater Books, 2019). If I ever manage to work my way through the book's 560+ pages, then I'll doubtless post some kind of review of the work here on Torpedo the Ark.  
 
[2] D. H. Lawrence, letter to Lady Cynthia Asquith, 18 November 1919, in The Letters of D. H. Lawrence, Vol. III, ed. James T. Boulton and Andrew Robertson, (Cambridge University Press, 1984), p. 417. It should be noted that Lawrence hadn't at the time of writing this letter actually been to Paris and wasn't to make his first trip there until January 1924.

[3] D. H. Lawrence, letter to Mark Gertler, [2 February 1924], in The Letters of D. H. Lawrence, Vol. IV, ed. Warren Roberts, James T. Boulton and Elzabeth Mansfield, (Cambridge University Press 1987), p. 567. 

[4] D. H. Lawrence, letter to Catherine Carswell, [24 January 1924], in Letters IV, p. 561. 

[5] D. H. Lawrence, letter to Baroness Anna von Richthofen, 24 January 1924, in Letters IV, p. 561. In the original German, Lawrence wrote: "Paris ist doch netter wie London, nicht so dunkel-grau. Die Leute sind ganz freundlich."

[6] D. H. Lawrence, letter to Catherine Carswell, [25 January 1924], in Letters IV, p. 563. 
      This letter has parallels with a short essay written at the same time in which Lawrence asserts that whilst Paris is still monumental and handsome, it has lost its true splendour, and become "like an old, weary peacock that sports a bunch of dirty twigs at its rump, where it used to have a tail". He blames this sorry state of affairs on: (i) modern democracy; (ii) too much bare flesh on display in French works of art;  (iii) an overly rich diet; and (iv) the dead weight of history and its architecture.
      See: 'Paris Letter', in Mornings in Mexico and Other Essays, ed. Virginia Crosswhite Hyde, (Cambridge University Press, 2009), pp. 141-146. The line quoted is on p. 143.
      As for the idea of Paris disappointing: 
      "Disappointment, according to Stuart Walton, is actually a 'constitutive factor' in English speakers' experience of France, and its capital in particular: 'It is at least as important to the British, for example, that Paris should fall short of what they expect of it as it is to the Parisians that les Anglais have never really understood it' (p. 332)." 
      See Andrew Gallix's Introduction to We'll Never Have Paris, p. 29. And see also the TTA post 'On Disappointment' (24 May 2020) in which I discuss (amongst other things) le Syndrome de Paris: click here.  
        
[7] D. H. Lawrence, letter to S. S. Koteliansky, [31 January 1924], in Letters IV, p. 565. 

[8] D. H. Lawrence, letter to Hon. Dorothy Brett, [4 February 1924], in Letters, IV, p. 568. The fact that Paris was, at one time, cheap to live in, was absolutely crucial:
      "Hemingway described Paris in the 1920s as a place 'where there was a way of living well and working, no matter how poor you were', adding that this was 'like having a great treasure given to you'. That treasured lifestyle was swept away by the onset of the Depression in the 1930s. As Will Ashon remarks, artists thrive where there is 'affordable, preferably semi-derelict, real estate. Which is to say, you can't be an artist in Paris, anymore, or in London either' (p. 301)." 
      See Andrew Gallix, Introduction to We'll Never Have Paris, p. 24.   
 
[9] D. H. Lawrence, letter to Lady Ottoline Morrell, 3 April 1929, in The Letters of D. H. Lawrence, Vol. VII, ed. Keith Sagar and James T. Boulton, (Cambridge University Press, 1993), p. 234. 

Those interested in knowing more about Lawrence's 1929 visit to Paris - and how his stay at 66, Boulevard de Montparnasse has now been officially commememorated with a plaque - might like to read Catherine Brown's blog post of 29 May 2019, available on her website: click here.     
 
And those interested in Lawrence's wider relationship with French culture, might like to read the following essay by Ginette Katz-Roy: 'D. H. Lawrence and "That Beastly France"', in The D. H. Lawrence Review, Vol. 23, No. 2/3, (1991), pp. 143-156. This essay is available to download or read online via JSTOR: click here 
 
 
Musical bonus: the debut single from Adam and the Ants, Young Parisians (Decca, 1978): click here