A Sultry Month by Alethea Hayter

August 12, 2019 at 7:48 pm (Anglophilia, Art, London, Poetry)

  One of my favorite books from the past few years is a nonfiction work entitled: A Sultry Month: Scenes of London Literary Life in 1846.

To begin with, Alethea Hayter’s powers of description are  formidable. They are shown in full spate in this passage, in which she brings the Duke of Wellington’s annual Waterloo Banquet to vivid life:

The low sunset light of that fiercely hot day came in through the six westward-facing windows of the Waterloo Gallery, competing with the light of the serried candles in the candelabra of the huge silver-gilt Portuguese Service, crowded with dancing nymphs, allegorical  figures of the Continents, camels, horses, scorpions, which stretched the whole length of the table. The colors were all fierce and bright–scarlet uniforms, shining white tablecloth, harsh yellow damask on the walls staring out between the crowded frames of the pictures captured in Joseph Bonaparte’s carriage at the Battle of Vittoria.

There was gold and sheen everywhere–gilding on the doors and ceiling, shutters lines with looking-glass, epaulettes, decanters, medals, picture frames, chandeliers, everything glared and glittered….

A Sultry Month has a wonderful cast of characters: Robert Browning and Elizabeth Barrett, poets who against all odds made their love triumphant; John Keats, whose brief stay on Earth left us with much memorable verse; the Carlyles, Jane and Thomas, William Wordsworth, Charles Lamb and Mary Lamb – the list goes on. But perhaps the most memorable among them is a painter of whom I had not previously heard. His name is Benjamin Robert Haydon.

There is a genre of painting  called history painting. The term refers not only to depictions of historical events but also to scenes from mythology and religion.  The works were usually large, colorful, and action-packed. The Abduction of the Sabine Women (1635-1640) by Peter Paul Rubens is a good example:

By the nineteenth century, this type of subject matter was increasingly deemed outmoded, especially in England, where it had never really taken hold to begin with. But Benjamin Robert Haydon believed passionately in its relevance and its rightness. He worked steadily and, some would say, stubbornly to embody the best aspects of history painting in his own art.

In 1817, Haydon gave a dinner party which, over the years has achieved a unique sort of fame. In attendance at this gathering were all of the luminaries mentioned above: Keats, Wordsworth, the Lambs brother and sister, the Carlyles, and others. Haydon had two purposes in presenting this entertainment. He wanted to introduce young Keats to the venerable Wordsworth, and he wanted all the guests to see his rather fabulous, if somewhat bizarre, canvas entitled Christ Entering Jerusalem.

The bizarre aspect stems from the fact that Haydon has included small portraits of his present day friends in this work. If you look closely at the three men at the extreme right, you can see Wordsworth, Charles Lamb, and Keats. (I’m pretty sure that the figure with the slightly bowed head is Wordsworth.) Apparently other of Haydon’s friends and acquaintances are also represented therein. Few of these individuals were particularly religious.

The occasion was a great success, at least in the eyes of the host. This is what he wrote about it later in his autobiography:

It was indeed an immortal evening. Wordsworth’s fine intonation as he quoted Milton and Virgil, Keats’ eager inspired look, Lamb’s quaint sparkle of lambent humour, so speeded the stream of conversation, that in my life I never passed a more delightful time. All our fun was within bounds. Not a word passed that an apostle might not have listened to. It was a night worthy of the Elizabethan age, and my solemn Jerusalem flashing up by the flame of the fire, with Christ hanging over us like a vision, all made up a picture which will long glow upon

“that inward eye

Which is the bliss of solitude.”

Haydon began writing his autobiography in 1839. He was still working on it at the time of his death in 1846. I think it quite marvelous that he quotes from “I Wandered Lonely as a Cloud,” also known as “Daffodils,” a poem written by his  friend Wordsworth in 1804.

Portrait of Wordsworth by Benjamin Robert Haydon, 1842


Manuscript copy of “Daffodils,” held at the British Museum

There are at least two other books about Haydon’s “Immortal Dinner:” The Immortal Evening: A Legendary Dinner with Keats, Wordsworth, and Lamb by Stanley Plumly (2014), and The Immortal Dinner: A Famous Evening of Genius and Laughter in Literary London, 1817, by Penelope Hughes-Hallett (2002).

[A footnote, but an interesting one: Charles Lamb was a distinguished essayist. He is probably best remembered today for Tales of Shakespeare, on which he collaborated with his sister Mary. Mary was mentally unstable; in 1796, while experiencing a severe breakdown – what today we would probably call a psychotic break – she stabbed her mother to death with a kitchen knife. Charles remained devoted to his sister until his death in 1834. Peter Ackroyd’s novel The Lambs of London vividly recreates the turbulent events surrounding this calamity.]

I was completely spellbound by A Sultry Month; I look forward to reading it again.

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Mystery news and views: the Dagger Award nominations

August 5, 2019 at 8:46 pm (Book review, books, Mystery fiction, True crime)

Here are the shortlisted nominees for the 2019 Dagger Award, given by the Crime Writers Association of Great Britain:

Diamond Dagger Recipient: Robert Goddard

CWA Gold Dagger:
All the Hidden Truths, by Claire Askew (Hodder & Stoughton)
The Puppet Show, by M.W. Craven: (Constable)
What We Did, by Christobel Kent (Sphere)
Unto Us a Son Is Given, by Donna Leon (Heinemann)
American by Day, by Derek B Miller (Doubleday)
A Station on the Path to Somewhere Better, by Benjamin Wood (Scribner)

CWA John Creasey (New Blood):
All the Hidden Truths, by Claire Askew (Hodder & Stoughton)
The Boy at the Door, by Alex Dahl (Head of Zeus)
Scrublands, by Chris Hammer (Wildfire)
Turn a Blind Eye, by Vicky Newham (HQ)
Blood & Sugar, by Laura Shepherd-Robinson (Mantle)
Overkill, by Vanda Symon (Orenda)

CWA ALCS Gold Dagger for Non-fiction:
All That Remains: A Life in Death, by Sue Black (Doubleday)
Murder by the Book: A Sensational Chapter in Victorian Crime,
by Claire Harman (Viking)
The Feather Thief: Beauty, Obsession, and the Natural History Heist of the Century, by Kirk Wallace Johnson (Hutchinson)
 An Unexplained Death: The True Story of a Body at the Belvedere,
by Mikita Brottman (Viking)
The Five: The Untold Lives of the Women Killed by Jack the Ripper, by Hallie Rubenhold (Doubleday)
The Spy and the Traitor: The Greatest Espionage Story of the Cold War, by Ben Macintyre (Viking)

CWA Ian Fleming Steel Dagger:
Give Me Your Hand, by Megan Abbott (Picador)
Safe Houses, by Dan Fesperman (Head of Zeus)
Killing Eve: No Tomorrow, by Luke Jennings (John Murray)
Lives Laid Away, by Stephen Mack Jones (Soho Crime)
To the Lions, by Holly Watt (Bloomsbury)
Memo from Turner, by Tim Willocks (Jonathan Cape)

CWA Sapere Books Historical Dagger:
The Quaker, by Liam McIlvanney (Harper Fiction)
Destroying Angel, by S.G. MacLean: (Quercus)
Smoke and Ashes, by Abir Mukherjee (Harvill Secker)
The House on Half Moon Street, by Alex Reeve (Raven)
Tombland, by C.J. Sansom: (Mantle)
Blood & Sugar, by Laura Shepherd-Robinson (Mantle)

CWA International Dagger:
A Long Night in Paris, by Dov Alfon;
translated by Daniella Zamir (Maclehose Press)
Weeping Waters, by Karin Brynard;
translated by Maya Fowler and Isobel Dixon (World Noir)
The Cold Summer, by Gianrico Carofiglio;
translated by Howard Curtis (Bitter Lemon Press)
Newcomer, by Keigo Higashino;
translated by Giles Murray (Little, Brown)
The Root of Evil, by Håkan Nesser;
translated by Sarah Death (Mantle)
The Forger, by Cay Rademacher;
translated by Peter Millar (Arcadia)

CWA Short Story Dagger:
“Strangers in a Pub,” by Martin Edwards (from Ten Year Stretch, edited by Martin Edwards and Adrian Muller; No Exit Press)
“Death Becomes Her,” by Syd Moore (from The Strange Casebook,
by Syd Moore; Point Blank Books)
“The Dummies’ Guide to Serial Killing,” by Danuta Reah (from The Dummies’ Guide to Serial Killing and Other Fantastic Female Fables,
by Danuta Reah [aka Danuta Kot]; Fantastic)
“I Detest Mozart,” by Teresa Solana (from The First Prehistoric Serial Killer and Other Stories, by Teresa Solana; Bitter Lemon Press)
“Bag Man,” by Lavie Tidhar (from The Outcast Hours,
edited by Mahvesh Murad and Jared Shurin; Solaris)

Dagger in the Library:
M.C. Beaton
Mark Billingham
John Connolly
Kate Ellis
C.J. Sansom
Cath Staincliffe

Debut Dagger
(for the opening of a crime novel by an uncontracted writer):
Wake, by Shelley Burr
The Mourning Light, by Jerry Krause
Hardways, by Catherine Hendricks
The Firefly, by David Smith
A Thin Sharp Blade, by Fran Smith

Let me say right off the bat that I’m delighted to see Robert Goddard being honored in this way. I read his first novel, Past Caring, when it came out here in 1986 and recognized at once that he was an excellent new talent. Since then, he’s written twenty-six more novels, of which I’ve read some twelve or thirteen.

Goddard’s books are not conventional mysteries; rather, they’re a blend of some of the elements of crime fiction and those of espionage, novels, international intrigue, and often historical fiction as well. They’re gracefully written and not fiendishly complicated or stuffed with extraneous characters. There’s often a love story, either incipient or well under way.

Goddard’s oeuvre constitutes a mix a mix of stand-alones and limited series. Into the Blue, one of three novels featuring Harry Barnett, was filmed with John Thaw in the starring role.

Of the titles I’ve read, I’d especially recommend these:

For a complete list, click here.

I’ve read just a few of the fiction titles on this list. The Donna Leon – Well, I love every one of the Guido Brunetti novels, and as for as I’m concerned,  Unto Us a Son Is Given is just as good as its predecessors. Give Me Your Hand by Megan Abbott and Safe Houses by Dan Fesperman are both excellent. And a special shout out for C.J. Sansom’s Tombland, a marvelous, sprawling historical novel that had me so absorbed that I fairly flew through its 880 pages – no problem.

Finally, the category of non-fiction is where I’ve read the most. Murder by the Book: A Sensational Chapter in Victorian Crime by Claire Harman was interesting, though for me, it fell short of being truly gripping. I was intrigued, though by the description of  the public’s fevered obsession with the crime – the murder of an elderly aristocrat by one of his servants. It showed that today’s intense absorption in true crime is really nothing new, although on this particular morning, after a horrible bloody weekend in this country, people might be more inclined to turn away from the subject.

I know that The Feather Thief: Beauty, Obsession, and the Natural History Heist of the Century by Kirk Wallace Johnson got excellent reviews, but for whatever reason it did not work for me. I got about fifty pages in and then gave up. All That Remains: A Life in Death, by Sue Black looks really good. I hadn’t heard of it before; at present, it resides on my already groaning night stand.

An Unexplained Death: The True Story of a Body at the Belvedere by Mikita Brottman. I was really pleased to see that this book made the cut. The unexplained death in the title refers to the body of a young man, inexplicably found on a section of roofing of Brottman’s own apartment complex in Baltimore. Her investigation takes some strange turns until she reaches a conclusion. The book was riveting.

The Spy and the Traitor: The Greatest Espionage Story of the Cold War, by Ben Macintyre. Yet another terrific read. I’m not sure how or when I became so interested in  espionage, both fictional and actual, but I’ve had some excellent reading in the field in recent years. One of the best was also written by Macintyre: A Spy Among Friends, the story of the perpetually notorious traitor Kim Philby. The Spy and the Traitor is Philby in reverse: it’s the story of Oleg Gordievsky, who, during the Cold War, repeatedly risked his life to inform on his Russian spymasters for the benefit of British intelligence. The story of his exfiltration is as suspenseful as anything Le Carre ever dreamed up. (Charlotte Philby, granddaughter of Kim, has just published a novel entitled The Most Difficult Thing.)

  Finally, there is Hallie Rubenhold’s The Five, in which the lives of each of Jack the Ripper’s five victims are explored and revealed in detail. This book to my mind is a triumph. These women are worth knowing about as distinct individuals who struggled constantly with poverty, displacement, and an uncaring environment. While reading this saga, I had to keep reminding myself that this was Victoria’s England, where royalty and aristocrats lived in splendor and had their every want and need catered to.

What a prodigious feat of research this book is! For my money, it should win every award in the book, and then some.

And before I close, I want to recommend Michael Dirda’s recent piece in the Washington Post on Somerset Maugham‘s Ashenden stories. Dirda says this about Maugham’s style:

While no one denies Maugham’s gifts as a storyteller, his prose has regularly been dismissed as pedestrian. Not so. It is plain, direct, natural, the language of a well-educated, civilized Englishman. If you would write perfectly, Maugham once declared, you should write as clearly, as urbanely as Voltaire, which is just what he himself tries to do.

When I read that, I wanted to stand up and cheer! (In fact, I may have actually done so. Husband Ron is  indulgent of such occasional outbursts; the last one occurred when Alice Munro won the 2013 Nobel Prize for Literature.)

  Ever since reading the 2009 biography of Somerset Maugham by Selina Hastings – reviewed and recommended by Michael Dirda in the Post – I’ve been delving into his novels and stories at regular intervals. I have to say, though, that  Ashenden: or the British Agent is well overdue a definitive new edition by a major publishing house. Knopf, New York Review Books, are you listening?

Click here to read “‘Ashenden’: the Perfect Late Summer Escape Read, and a Classic.”











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Dead Man’s Mistress by David Housewright

August 3, 2019 at 2:38 pm (Book review, books, Mystery fiction)

  This is a nifty little caper novel in which an unlicensed private eye goes in search of three valuable paintings. The art works were boosted from the home of one Louise Wykoff, usually referred to as “that Wykoff Woman.” Now Louise was a sometime model and sometime lover of the artist, Randolph McInnis. Also in the picture is Mary Ann McInnis, widow of Randolph and enthusiastic hater of Louise.

Louise however, had no documentation as to their provenance of the paintings; and nor were they insured. Add to that, Louise, a painter herself, is a dab hand at mimicking Randolph’s style. So: who actually made this art? And to whom does it belong, stolen or not?

Enter the rather uniquely named Rushmore McKenzie, described in the jacket copy as “an occasional unlicensed private investigator.” Called simply McKenzie by just about everyone, he’s been asked to look into  the theft.  Soon he finds himself looking into a murder as well, one in which he himself is initially implicated.

Anyway, the cast of characters keeps getting larger, thus providing both McKenzie and the local police with plenty of suspects. Although cleared of involvement in the homicide, McKenzie is not necessarily cleared of suspicion. Why, you might ask, is McKenzie not licensed? The reason is that he’s been made independently wealthy by a generous legal settlement. He detects out of a genuine desire to help people and also for the sheer pleasure of it, not for the money. (This reminded me of Andy Carpenter the lawyer in the David Rosenfelt series, although in Andy’s case, his comfortable situation has been facilitated by a hefty inheritance.)

Dead Man’s Mistress has lots of snappy dialog in the tried and true gumshoe tradition. (I invariably come back to the classic line, spoken by Sam Spade, from The Maltese Falcon: “The cheaper  the crook, the gaudier the patter.”) The novel is lightweight and breezy and zips right along. And unexpectedly, it has a nicely realized sense of place. Most of the action takes place in and around Grand Marais, Minnesota. This is a recreational area that caters primarily to tourists. (That’s during the summer, of course – we are, after all, speaking of Minnesota.) I even learned of an actual yearly event that sounds rather wonderful:

Every August, reenactors from across the country dress in period attire and gather at the post for what is called the Grand Rendezvouz and pretend for three days to be living in the late eighteenth century.

This is just the kind of thing I love.

I liked McKenzie,  and as I was reading, I kept trying to recall who he reminded me of. Then I remembered: Robert B. Parker’s Spenser, of blessed memory.


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Renaissance, by Andrew Graham-Dixon

July 31, 2019 at 8:26 pm (Art, books)

I have just finished reading Renaissance by Andrew Graham-Dixon. This is a companion volume to his six part television series. Both date from about 1999-2000.

I want to let Graham-Dixon speak for himself. So let’s begin with Giotto‘s Lamentation (1303-6}:

The grief of his figures seems inextricably bound up with a quality of spiritual contemplation. By giving them this quality, making them at once actors in a scene and meditators upon it, Giotto has bridged the gap between and the world. We too, the congregation before the picture, are invited to become witnesses to Christ’s death, to see and feel its dreadfulness. It is as if his figures are responding to the scene on our behalf – are showing us the way to respond to the death of Christ….Because Giotto’s art insists on including us it is still as harrowing as when it was first painted.

[Click twice to enlarge]


The sense of the real in fifteenth century Northern European painting that it becomes uncanny. The liquidity and brilliance of colors suspended in oil lends a particular lustre to details such as the copper ewer and the lights reflected in it. A dappled patch of light conveys the passage of sunshine on to on to a wall though the small panes of a thickly glazed window with astonishing virtuosity….No wonder, perhaps, that the early Netherlandish artists should have acquired a reputation as necromancers and alchemists. Their illusions are enchantments.

Virgin and Child in an Interior, by Jacques Daret (or so it is thought) c.1435


Masaccio was the shooting star in the Florentine firmament, gone almost as soon as his brilliance had been seen.

Expulsion from Paradise, mid 1420s, by Masaccio. ‘A strong emotion had been made visible in a way that is unforgettable. There is no more wrenching image of human sorrow.’

Born in December 1401, Masaccio died in the summer of 1428 at the age of twenty-six. Twenty-six! Filippo Brunelleschi said, with heartbreaking simplicity: ‘We have suffered a great loss.’



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Joe Country, being the sixth entry in the Slough House series written by Mick Herron

July 29, 2019 at 10:45 pm (Book review, books, Mystery fiction)

  The action in Joe Country takes place primarily in Wales during a ferocious blizzard. And there is plenty of action, what with the disgraced spies of Slough House chasing, and being chased by, a host of bad actors. The trigger for all this mayhem is Louisa Guy’s determination to find Lucas Harper, the teen-aged son of Min Harper, her former and now deceased lover. Almost as soon as she arrives in Wales, Louisa goes dark, prompting her Slough House colleagues to mount a search mission. Things quickly become confused and dangerous. As always in this series, the dialog is arch, the plot is convoluted, and the mood is shot through with dark humor and bitter irony.

A glossary on the site Intelligence Search defines joe as ‘a deep-cover agent.’

Joe Country is the fifth full length novel in the Slough House series that I’ve read. I liked them all up until London Rules, which I didn’t especially care for. I thought it contained too much description of  the revolting comportment of Jackson Lamb, who’s head of the outfit. (I’ve seen him compared to Andy Dalziel of Reginald Hill‘s Dalziel and Pascoe series. I think Hill’s characterization is somewhat more subtle.) In this latest entry, Lamb is still pretty disgusting, but being as he’s monitoring events from London and not directly involved in the Welsh scrum, I found his presence in the narrative less of an annoyance.

As you can see from the Stop! You’re Killing Me entry, the Slough House novels have been a hit with critics and with many readers as well. But they don’t work for everyone. As of now, I’d say they definitely work for me. I fairly raced through Joe Country.

Mick Herron


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The Body in Question by Jill Ciment

July 21, 2019 at 6:39 pm (Book review, books, Mystery fiction)

  The jury selected for a murder trial is sequestered. In this close quartered isolation, two members – at first, known to us only as C-2 and F-17 – are strongly attracted to each other and begin a clandestine affair. C-2, a woman in her early fifties, is married to a man some thirty years her senior. She loves her husband deeply; he still possesses more than his quotient of robust physical energy and his mind remains questing and alert. (And yes, sex, too, is still in the mix.) yet C-2 feels powerless in the grip of this unsought after passion.

Admittedly, it was somewhat disconcerting reading about characters identified solely by a letter and a number. I felt at times as though I were reading about robots. But if so, this was a whole new take on robots. (This puts me in mind of Ian McEwan’s brilliant Machines Like Me.) I’ve rarely read a crime novel in which the feelings ran so high and so close to the surface.

The crime itself is especially horrendous; I wish it were less so. The burgeoning relationship distracts from it, which in this case is a blessing.

I was unsure from one minute to the next what the outcome would be. The writing was terrific.

You must steel yourself concerning the crime, but fortunately, the author does not dwell on particulars.

Recommended, but with the above mentioned caveat.


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Big Sky – My, oh My! or, Kate Atkinson does it again

July 14, 2019 at 7:44 pm (Book review, books, Mystery fiction)

  Many readers of crime fiction have  been impatiently awaiting the return of Jackson Brodie. Brodie last appeared in Started Early, Took My Dog, a 2010 novel  by Kate Atkinson, published in 2010. I never read that book. I read its predecessor, When Will There Be Good News, and found it somewhat disappointing. This was no doubt due to having absolutely loved Case Histories. Loved it enough, that is, to nominate it for future classic status.

For my money, Big Sky is a welcome return to form. Its excellence is due not especially to the presence of Jackson Brodie – though that in itself is  a  definite plus – but to the elegant plot structure, the masterful building of suspense, the strategic deployment of an irreverent and delightful wit, and above all, the concatenation of fascinating characters. Several ruthless yet charming men are involved in a singularly evil enterprise; their wives/partners are either clueless or have secrets of their own – or, somehow, both. There are children in the mix as well, including two teenage boys: Harry, a truly wonderful person, and Nathan, whose  overweening and sullen demeanor would have earned him, in former times, the back of someone’s hand across his smug countenance. (Nathan is Jackson Brodie’s son.)

The story is set in and around Scarborough, on England’s North Sea Coast.

He could see Whitby from here, two miles south along the beach, the skeleton of the abbey standing on top of the cliff.

In 2007, my husband and I were there:

I love the way that Atkinson’s characters pull in quotations seemingly from left field. Here’s DC Reggie Chase, observing an especially vivid sunset:

“‘See where Christ’s blood streams in the firmament.'” [From Doctor Faustus by Christopher Marlowe]

I like this one too:

“Well, you know what the song says….You can check out but you can’t leave.” [The exact lines are: “You can check out any time you like / But you can never leave!” From the song Hotel California by The Eagles]

You wouldn’t know it from the stern countenance in this photo, but Kate Atkinson has a marvelous sense of humor.

Big Sky is vastly entertaining; however, I don’t think it’s Atkinson at her absolute best. That accolade, in my view, goes to Life After Life, a true tour de force.



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Two short but sincerely enthusiastic crime fiction recommendations

July 11, 2019 at 9:29 pm (Book review, books, Mystery fiction)

  Having greatly enjoyed The Word Is Murder, first in the Anthony Horowitz/Daniel Hawthorne series, I was eager to read The Sentence Is Death. I’m happy to report that it was just as much fun to read as its predecessor. I impatiently await the third entry in the series.

In a post from 2017, I said that if  there was an Anthony Horowitz fan club, I would gladly join. Offer still stands.

(Also don’t forget the standalone Magpie Murders.)
  I also recommend The Scholar by Dervla McTiernan. This is the second mystery by McTiernan, who’s originally from Ireland but now lives in Australia. Like her first book, The Ruin, The Scholar is set in Ireland. I enjoyed The Ruin and knew I wanted to read The Scholar. As you might have guessed from the title, this novel has an academic setting. (I’m always on the lookout for crime fiction set in a school or college anyway.)

McTiernan shrewdly depicts the infighting, snobbery, and secretiveness that can be characteristic of  the upper eschelons of certain academic institutions. She writes extremely well. I look forward to her next mystery, and I hope that at some future time, she will set one in her new home Down Under.



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Art, in history and literature

July 7, 2019 at 9:10 pm (Art)

For quite a while now, I’ve been seeking out art history written with an eye toward beautiful prose as well as enlightening insights.

Vermeer, View of Delft 1660-1661

It is as though the town has not yet emerged from slumber or from a trance. The painting is not a record of busy Delft but a symbol of historic Delft….

Light in perfect accord with composition is perhaps the key, but how so? The light toned near shore, almost flesh colored is at the bottom of the canvas while the dark water-filled clouds are at the top. And between these is the softly emanating light from the massed white cumulus clouds – superbly composed, accented silhouette of the town and  the waterway, half filled with dark reflections of the buildings….

If the magic of this painting is ultimately beyond words, it still behooves us to try. We stand on this near shore, and we gaze at something real yet absolutely beyond our reach – beyond our physical reach, I mean. Our eyes, our gaze reveals Vermeer’s Delft as a magical island, one artist’s ideal of civilized perfection: his home, his nation.

Professor William Kloss

In The Captive, fifth volume of À la Recherche du Temps Perdu (In Search of Lost Time), Marcel Proust’s masterwork, a writer names Bergotte is in an art gallery viewing an exhibition of Dutch paintings. Having just read an article about Vermeer’s View of Delft, he finds himself standing before it, transfixed :

“At last he came to the Vermeer, which he remembered as more striking, more different from anything else he knew, but in which, thanks to the critic’s article, he noticed for the first time some small figures in blue, that the sand was pink, and, finally, the precious substance of the tiny patch of yellow wall. His dizziness increased; he fixed his gaze, like a child upon a yellow butterfly that it wants to catch, on the precious little patch of wall. ‘That’s how I ought to have written,’ he said. ‘My last books are too dry, I ought to have gone over them with a few layers of colour, made my language precious in itself, like this little patch of yellow wall…’ He repeated to himself: ‘Little patch of yellow wall, with a sloping roof, little patch of yellow wall…'”

“Le petit pan de mur jaune…”

There is seating nearby. He sinks down onto it, then rolls off onto the floor, insensate, and dies.

From Proust: the Death of the Writer Bergotte



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Etta Lin’s sartorial sense

July 4, 2019 at 2:47 pm (Family)

Some years ago, as a preschooler, Etta wore this fetching outfit while vacationing with her parents. Since that time, we have become aware that she has an exceptional fashion sense:

Recently, we had the pleasure of watching Etta model yet another lovely ensemble. This one was really special: a top and skirt that she sewed herself, at Sewing Camp! (She also made the bag, which she tosses exuberantly into the air.)


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