Unfortunately, the literary magic I experienced and adored in Hamnet evaporated almost completely in The Marriage Portrait (2022). The latest noveUnfortunately, the literary magic I experienced and adored in Hamnet evaporated almost completely in The Marriage Portrait (2022). The latest novel by Maggie O’Farrell, which I awaited with wild excitement, is a historical ― or rather herstorical ― fiction with a feminist message delivered loud and clear, summarized in a short sentence, She has never had any choice. Maybe too loud and too clear but the problems described in the book are not gone. Nowadays, the motivation of murderers is not of a dynastic kind but nevertheless, it is not a closed chapter. Check Dead Girls by Selva Almada.
I loved the fact that The Marriage Portrait was inspired by Robert Browning's poem, My Last Duchess and a painting by Bronzino or Alessandro Allori. I am so fond of conversations between art and literature! Maggie O’Farrell’s creative approach to the facts, explained in Author’s Note, impressed me too. I appreciate that she put into the limelight a completely forgotten historical figure and how she enriched the portrayal of Lucrezia de' Medici, ingeniously altering some parts of the story of her life. And she had at her disposal only tiny scraps of historical information, scattered here and there.
I have noticed that Maggie O’Farrell is a very visual writer and it was evident in this novel also. Some scenes were depicted truly vividly and are still imprinted sharply in my mind. For example, little Lucrezia and the tigress or the final scene. By the way, I enjoyed the moral ambiguity of the ending. I liked the smart way the author pulled the strings of my emotions although at times it could have been more discreet and sublime. I enjoyed the metaphorical refrains in Lucrezia’s life: for instance, the wild animals kept in the palazzo, and then Leonello's resemblance to a lion, even in his nickname.
Unfortunately, The Marriage Portrait felt short on some levels. At first, I faced trouble with immersing in it. The pacing was off at the beginning but later on, I got caught up in this novel, despite my reservations which kept growing, alas. I am not a historian and do not feel entitled to assess the accuracy of the realia but some details felt strange. Is it possible that the powerful duke’s daughter’s nanny was responsible for the final decision if the girl is ready for marriage and teased a negotiator? Were a maidservant and a lady-in-waiting's duties the same? Besides, I wish the characters, especially males, were more nuanced. For instance, Alfonso and Leonello were portrayed as sadistic psychopaths akin to villains from fairy tales. I wish the author had woven the tapestry of Lucrezia's story with thinner and more delicate threads.
[image] Lucrezia de' Medici, Duchess of Ferrara. Portrait attributed to Bronzino or Alessandro Allori, ca. 1560....more
Four in one: unputdownable story, emotional rollercoaster, alluring Tuscan scenery, ambiguous characters you will not be able to pigeonhole. Full immeFour in one: unputdownable story, emotional rollercoaster, alluring Tuscan scenery, ambiguous characters you will not be able to pigeonhole. Full immersion guaranteed. What more can you ask for?! Without further ado, let's meet up at the villa.
'Every time I describe a city I am saying something about Venice.' Italo Calvino
How would you feel if you went to a U2 conTHE MASTER IN WATERY PARADISE
'Every time I describe a city I am saying something about Venice.' Italo Calvino
How would you feel if you went to a U2 concert (you can substitute U2 with any singer or band you are fond of) and after half an hour Bono and the others disappeared from the stage, replaced by some groups you were not interested in? At first, you would probably hope that this is just a break but after some time frustration and disappointment might dominate your emotions.
Unfortunately, this is how I felt while reading Letters from the Palazzo Barbaro. I hoped for a collection of Henry James’ letters with Venice in the background. In reality, the book turned out to be a hybrid of a few different texts by various people and putting Henry James’ name on the cover as the only author seems to be a little exaggeration. Actually, his correspondence from 1869-1907 is just a part of the book, 42% to be exact. Letters from the Palazzo Barbaro consists of: * Acknowledgements by Rosella Mamoli Zorzi * Foreword by Leon Edel * Introduction by Rosella Mamoli Zorzi * Letters by Henry James * Letters by the Curtises (the American owners of the Palazzo Barbaro) * Notes by Ariana Curtis * Notes by Patricia Curtis Vigano
[image] Pierre-Auguste Renoir, The Piazza San Marco
I hope I am wrong, but my impression is that Henry James might have been used as a kind of pretext to commemorate the Curtises. I do respect the fact that they have helped many famous people, Henry James included, but I would like to know in advance that more than half of the book is a tribute to them and their palace.
Henry James’ portrayal of Venice lived up to my expectations. Just imagine the combination of his exquisite style with the picturesqueness and the atmosphere of this unique city! No wonder he speaks of the inevitable 'ache of quitting Venice' afterwards. The clash of his 'inexorable Yankehood', as he put it, with Venice gave fascinating results. James often contrasts the calm of La Serenissima with England: 'that is the curse of London—it is the worst place in the world for reading.'.
[image] Henri Martin, Gondolas in Venice
You might be surprised to see how long and elaborate Henry James’ letters were, how much time and effort was put in them. In the SMS era, it is hard to believe. By the way, don’t you think it is weird: nowadays we own so many gadgets supposed to save time but in terms of interpersonal communication we seem to have much less of it anyway, compared to the epoch of Henry James and his contemporaries...
One episode of Henry James’ account of his stays in Venice turned out to be especially intriguing: his relationship with Constance Fenimore Woolson, an American writer. Despite the tragic ending, it was fascinating to see a different side of Henry James. He is quite vague about this friendship, by the way. As it seems, James is a good illustration of Arthur Symons' quote: 'A realist, in Venice, would become a romantic by mere faithfulness to what he saw before him.' More on Constance and Henry's complex relationship here.
[image] Constance Fenimore Woolson
Indulging in Henry James’ letters gave me a wider context and I do not mean only his books set in Venice (I loved The Aspern Papers!) but his works in general, his personality also. Nevertheless, the distance still exists. For me, Henry James is like a marble statue, basking in its perfectness. You admire it from afar but feel quite intimidated at the same time. And I think he prefers it to be like that.
Frankly speaking, I did not find the other parts of the book thrilling. The presentation of the Palazzo Barbaro, its history, the owners and temporary inhabitants could have been much more concise. However, my stay in Venice in Henry James’ company was unforgettable. 'If words were not so stupid and colorless, fratello mio, and sentences so interminable and chirography so difficult, I should like to treat you to a dozen pages more about this watery paradise.'
Feeling sorrowful, as my delectable trip with Mr Dickens has just come to an inevitable end. Not surprisingly Italy turned out to be splendid but I haFeeling sorrowful, as my delectable trip with Mr Dickens has just come to an inevitable end. Not surprisingly Italy turned out to be splendid but I have some observations to share about my travel companion also.
Everything you always wanted to know about my trip to Italy with Charles Dickens and his family* (*but were afraid to ask)
Frequently Unasked Questions
Why Italy? Italy combines so many things I adore that the list would be endless. Charles Dickens sums up my awe concisely: 'Let us part from Italy, with all its miseries and wrongs, affectionately, in our admiration of the beauties, natural and artificial, of which it is full to overflowing, and in our tenderness towards a people, naturally well-disposed, and patient, and sweet-tempered.
[image] Joseph Mallord William Turner, 'Modern Rome – Campo Vaccino' (1839) [Image source]
'Pictures from Italy', a travelogue written by Dickens in 1846, will presumably disappoint the readers who fancy a bath in a fountain of knowledge, 'full to overflowing' with dates and names. Wrong address, I'm afraid. But if you feel like inhaling sparkling loveliness effortlessly, you will enjoy this book a lot.
Please, be prepared to see Italy as it was in 1844. It may astonish you at times: 'More solitary, more depopulated, more deserted, old Ferrara, than any city of the solemn brotherhood! The grass so grows up in the silent streets, that any one might make hay there, literally, while the sun shines.' Sorry to disappoint you but making hay in the streets of Ferrara might be a challenge nowadays.
Dickens’ travelogue is a love letter to Italy but his infatuation isn’t blind. He complains about negligence and poverty he observes at times. It hurts him to notice that some works of art and buildings are falling into decay. However, he sees positive effects of this: 'In another place, there was a gallery of pictures: so abominably bad, that it was quite delightful to see them mouldering away.'
Jorge Luis Borges wasn't fond of Dickens' travelogue: 'he traveled to France, to Italy, but without trying to understand those countries. He was always looking for humorous episodes to recount.' Personally I wouldn't rate the author so severely but you may be deluded if you expect an in-depth social or historical analysis. Albeit there is much compassion behind all the enthralling descriptions.
Confucius advised, 'Wherever you go, go with all your heart'. Dickens seems to share this attitude. He travelled to Italy with all his heart indeed. Just look at his description of Coliseum: 'Its solitude, its awful beauty, and its utter desolation, strike upon the stranger the next moment, like a softened sorrow; and never in his life, perhaps, will he be so moved and overcome by any sight, not immediately connected with his own affections and afflictions.’
[image] Angelo Inganni, 'Notturno di Piazza del Duomo a Milano' (1844) [Image source]
Why Dickens? When my friend was reading a harrowing study on the Siege of Leningrad, she asked me to guess which author was appreciated most by people who lived in these inhumane conditions. Strangely enough, I suspected correctly. It was Dickens. In terms of giving comfort, his books are invincible.
My relationship with Charles Dickens has gone through two stages so far. The first phase was highlighted by books like 'David Copperfield', 'Oliver Twist' and 'The Christmas Carol'. I liked and appreciated all of them but it wasn't a crush. I perceived Dickens as an affectionate and clever but predictable uncle, who made me yawn at times. Then everything changed. Just one novel revolutionized the way I regarded and rated Dickens. It was 'Great Expectations'. Much more than a crush this time.
I didn’t find 'Pictures from Italy' as enchanting as 'Great Expectations' but I was pleasantly impressed by the writing style, the labyrinthine sentences, the onomatopoeia, the loose composition. I was astounded every time I realized the book was written in 1846. My fingers ached from highlighting hectares of passages I loved.
How come? The aim of the book is explained very clearly. Dickens wants to share some glimpses of a trip he enjoyed immensely. Most of his observations and descriptions were written on the spot and come from the letters he sent to his family.
The title says it all. If he published the book today, it would be probably 'Selfies from Italy'.
[image] James Holland, 'Piazza dei Signori in Verona with the Market Place' (1844). [Image source]
Your itinerary? Quite breathtaking: France – Genoa – Parma – Modena – Bologna – Ferrara - Venice - Verona – Mantua – Milan – Switzerland - Pisa – Siena – Rome - Naples – Paestum - Vesuvius – Pompeii – Monte Cassino – Florence.
And the weather? Come on, when you explore a divine country with an entertaining companion, you don’t pay attention to prosaic things like the weather, do you?
'Pictures from Italy' turned out to be a perfect summer read. During ferocious heats Dickens' sardonic observations had a cooling effect on me. However, get ready for bloodcurdling scenes also: for example there is a detailed description of beheading.
Did you enjoy the Italian cuisine? Of course, some eccentricities excluded: 'There is a stewed pigeon, with the gizzards and livers of himself and other birds stuck all round him.'
What was your travel companion like? Truly amusing!
If you read any novels by Dickens, you wouldn’t be surprised, that he was much more interested in people he met on the way than in the monuments. No matter how hard he concentrates on picturesque places of interest, he ends up observing people: 'Crossing from these patches of thick darkness, out into the moon once more, the fountain of Trevi, welling from a hundred jets, and rolling over mimic rocks, is silvery to the eye and ear. In the narrow little throat of street, beyond, a booth, dressed out with flaring lamps, and boughs of trees, attracts a group of sulky Romans round its smoky coppers of hot broth, and cauliflower stew; its trays of fried fish, and its flasks of wine.'
[image] Outdoor dress for men and women, Italy, 'Corriere delle Dame' (1844). [Image source]
Even the people who appear for a few minutes are portrayed masterfully, for instance: 'a monstrous ugly Tuscan, with a great purple moustache, of which no man could see the ends when he had his hat on' or 'a silly, old, meek-faced, garlic-eating, immeasurably polite Chevalier, with a dirty scrap of red ribbon hanging at his button-hole, as if he had tied it there to remind himself of something'.
As usual, Dickens' sense of humour is unbeatable: he can notice and point out ridiculous things in people but he describes them with such warmth and cordiality! The book beams with them. No traces of cynism, no patronizing. I know it’s irrational but it felt as if Dickens was smiling all the time, while writing his travelogue.
The thing that disappointed me a little was lack of information about Dickens’ wife and children who were accompanying him. He probably wanted to stick to the romantic image of a lonely traveller.
How much did it cost? The peregrination with Dickens was completely free. Let me assure you that I didn’t board a pirate ship. The e-book is available in a few formats at the Project Gutenberg website.
Can I join you? You are more than welcome. No worries if you don’t comply with any of the conditions Dickens lists below: 'And I have only now, in passport wise, to sketch my reader’s portrait, which I hope may be thus supposititiously traced for either sex:
Complexion Fair. Eyes Very cheerful. Nose Not supercilious. Mouth Smiling. Visage Beaming. General Expression Extremely agreeable.'
Any plans for the future? Friends for life. I wholeheartedly agree with Borges, who stated, 'once one has read some of Dickens’s pages, once one has resigned oneself to some of his bad habits, to his sentimentalism, to his melodramatic characters, one has found a friend for life.'
[image] Carl Spitzweg, 'English Tourists in Campagna' (circa 1845) [Image source]...more
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