Baron Georges-Eugène Haussmann, who transformed Paris from a filthy and haphazard medieval city into the jewel of Europe, is rumored on his deathbed to have wished all his work undone. Why? The answer lies in the story of Madeleine, a foundling from the magical old world Haussmann destroyed; of de Fonce, a '"demolition man" who sold the rubble of Paris as antiques; and of a three-sided affair that reveals the moral bankruptcy of the city, a corruption hidden by the transformative work of its brilliant architect.
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Editorial Reviews
From Publishers Weekly
When one thinks of Paris, the images that come to mind are of grandeur, grace and sophistication: sweeping, tree-lined boulevards, the Champs-Elys‚es and the Opera House. But Paris was once as cramped and dingy as the rest of medieval Europe, and the man credited with cleaning it up (or ruining its charm, as some still see it) is Baron Georges-Eugene Haussmann, who served as prefect of the Seine from 1853 to 1869. LaFarge (The Artist of the Missing) pays homage to this mystifying personage in his tremendous novel, which is every bit as grand, gracious and sophisticated as Paris itself. As LaFarge tells it, the story of Haussmann goes well beyond the man as city planner he is also embroiled in a love affair and political scandal. We meet Madeleine, a wistful orphan who escapes a convent and is rescued by M. de Fonce, a "demolition man" whose prominence comes from tearing the city apart and selling its treasures as collectibles. De Fonce's home is a frequent evening entertainment spot for Haussmann, and a romance soon develops between Madeleine and the baron. A predictably clandestine affair ensues, and once Madeleine is pregnant, Haussmann shuns her. But Madeleine is a woman with connections, and she is determined to seek revenge via Haussmann's demise. LaFarge, posing as translator (he even includes a "Note to the English Edition"), neatly integrates geographical and cultural references into the tale, making this as much an enlightening history of Paris as it is a tragic, affecting love story. An astonishing amount of research, a believable tone and a captivating story all come together to make this work a stunning success. Agent, Gloria Loomis.
Copyright 2001 Cahners Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.From Booklist
Baron Georges-Eugene Haussmann, planner of the grand boulevards, much-lauded gardens, and architecture of modern Paris, is said to have regretted his changed city on his deathbed. For 20 years during the mid-1800s, he turned a stinking, medieval, war-stricken city into the clean, airy, bright, and modern one the world knows today. LaFarge, tracing a lavish, labyrinthine plot that begins with a lost manuscript in the Bibliotheque Nationale, details those years through the eyes of Madeleine, a poor orphan with noble pretensions, who eventually becomes Haussmann's mistress. LaFarge chronicles not only the elegance of Emperor Napoleon III's court but also the squalor of public life and the machinations of the poor. The beauty of Paris seems to mask its moral corruption, and it is that, perhaps above all, that Haussmann regrets at his end. LaFarge's highly original, sociohistorical novel has all the underpinnings of a Dickensian yarn, but its world is observed with the humorous eye of an amused gossip. Just delightful. Michael Spinella
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.
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14 of 14 people found the following review helpful
Format:Hardcover
Framed as a 1920s novel by an obscure French poet, based on the life of Baron Georges-Eugene Haussmann, the ambitious mid-19th century Prefect of Paris, LaFarge's ("The Artist of the Missing") second book transports the reader to a cramped, unsanitary, venerable Paris in the midst of its transformation to a modern airy city of wide boulevards and functional sewers - as envisioned by Haussmann.
The narrative opens by questioning the story that on his deathbed Haussmann regretted his modernizing zeal. "Regret is a backward-turning emotion, and the Baron was famous for straightforwardness; he made the boulevards and razed the crooked lanes where tanners' sheds fronted cracked courtyards and sewer ditches spilled over into the bins of wire and paper petals of the artificial-flower makers for which the city, before his arrival on the scene, was famous."
This regret is the thread the all-but-omniscient narrator follows from the old Paris that spawned a great, clandestine love, to the ambition and modern rigidity that crushed it, leaving a bitter thirst for revenge in the ruins.
Haussmann's lover, Madeleine, was born in 1840 in the tumult and squalor of old Paris. "Born to a tanner's dying wife, she was dropped in the Bievre. There she was saved by pollution, for the river was already so laden with debris that nothing more could sink into it." Fished out by a lamplighter who encourages her to regard the mystery of her birth as a special emancipation, and later raised in a convent where the nuns suspect a noble lineage, Madeleine's discovery of her actual parentage drives her to flee into "the cool, criminal indifference of the street."
When she surfaces again, she has found refuge in the home (and arms) of M. de Fonce, the "demolition man" who has grown rich on the clean sweep of Haussmann's modernizing broom. De Fonce has schooled himself in the value and appreciation of "the overlooked" and rich Parisians flock to his door for souvenirs of Paris' vanished buildings. And there, Haussmann meets Madeleine.
LaFarge's style is exuberantly Dickensian - full of painterly detail and droll quirks. The rounds of the lamplighter in old Paris are as vivid as the well-organized domicile of the Prefect or the subterranean warrens of the Paris library. Good natured ridicule is heaped equally high on the "celebrated decorum" of the court of the nervous Emperor Louis Napoleon and the flamboyantly artificial balls of the demi-monde. Much is made of hypocrisy, venality, greed and ambition. The serpentine plot winds through political and amorous intrigue, building to a frenzied crisis over Haussmann's grand plan to move the Paris cemeteries outside of the city and build a Railroad of the Dead.
His characters are richly and lovingly imagined, their foibles and fancies turned out with affectionate humor. Madeleine as a young convent girl fond of cats: "And Madeleine loved most of all that which was catlike in herself, in other words, that which achieved freedom without struggle and independence without loneliness, and for all that never had to go long without food."
And De Fonce's approach to people: "Just as a building becomes rich in artifacts right before it is demolished, so de Fonce found that he was best able to exploit his connoisseurship of human character by imagining those he met as near their ends. The demolition man addressed himself to a banker as he would to a dying patriarch, and to a civil servant as to a soldier polishing his boots the night before a battle with the Turk...."
And Haussmann, so much the visionary civil servant, hastening to consult de Fonce on the question of multiple personalities upon reading of an ordinary shepherd who committed a grisly murder, then had no recollection of it: "The question, yes, of what Sorgel was, really? A shepherd? Or a foot chopper? Which is the main current and which the tributary? ...What would de Fonce think? Would the next century bring a science that could answer such questions, a sort of hydraulics of the mind?"
Impressively researched, beautifully written, humorous and wise, LaFarge's novel captivates the reader with love and loss and lingers over the mixed virtues of prudence, impulse, heritage and progress.
8 of 8 people found the following review helpful
By A Customer
Format:Hardcover
Having recently returned from a visit in Paris and being familiar with the city's history, it was exciting to read this historical fiction concerning Haussmann. The book flows beautifully and I found it hard to put down. The author has an enjoyable way with words and you'll find yourself quickly caught up in this triangle. (I admit to having been fooled that this was supposedly a translation of a French book written in 1922. Until I read the Amazon review, I was admiring this "older" style of writing and wishing more people wrote like this today. I'm sure the author would get a grin out of that!)
1 of 1 people found the following review helpful
By qua
Format:Paperback
This book isn't one of my all-time favorites, but I don't particularly regret the time I spent with it. It has a very specific type of book. If you love sweeping recreations of long-past settings, you'll love this book. If you love clever humor, there's a chance you'll enjoy this. If you read books for the heart of the characters only, there are ups and downs (mostly downs). The book takes a lot of time meandering through side-notes and tangential history, which I found made this particular book lose its force in the middle, although others have cited how that was what they loved about Haussmann.
Some points about the book:
1. La Farge is clever and funny. His funny is clever. Take for example this passage on a lamplighter's hobby of peeping on nuns through the window:
"Though modest in his other tastes, Jacob has an appetite for three things, innocent enough singly, but which together constitute a vice: for lamps, for curtains, and for nuns. It's best, he thinks, bootnails clicking against the flagstones of the otherwise quiet bridge, if the light is behind the curtain...it combines religion, lust, and flame, the three forces which vie--so thinks Jacob--to consume the world."
His cleverness can be too clever though. His descriptions of his characters are made in a drawling tone chockfull of hyperawareness, sometimes of irony, in their actions/thoughts/personas. I got a very good sense of who the characters are, but didn't really feel a connection to them because I was always viewing them through almost academic lenses, which is enjoyable in its own rights, but not when it's continuous with no reprieve through 370 pages of a novel.
2. What La Farge does exceptionally well is to recreate Paris at the turn of the century. The research that he has put into the novel is highly evident. The things that hinder his characterization lend to a brilliant evocation of nuances to the transformation of a city, both physically and societally. While I couldn't be swept away by his characters, I was swept away by his recreation of a world. He also has penetrating insights into human nature, made in (again) clever observation, that resonated.
I'll be checking out La Farge's other novels at some point. From the samples I've read, the first person perspective of Luminous Airplanes balances out the detached character analyses and still retains all the good things.
Some points about the book:
1. La Farge is clever and funny. His funny is clever. Take for example this passage on a lamplighter's hobby of peeping on nuns through the window:
"Though modest in his other tastes, Jacob has an appetite for three things, innocent enough singly, but which together constitute a vice: for lamps, for curtains, and for nuns. It's best, he thinks, bootnails clicking against the flagstones of the otherwise quiet bridge, if the light is behind the curtain...it combines religion, lust, and flame, the three forces which vie--so thinks Jacob--to consume the world."
His cleverness can be too clever though. His descriptions of his characters are made in a drawling tone chockfull of hyperawareness, sometimes of irony, in their actions/thoughts/personas. I got a very good sense of who the characters are, but didn't really feel a connection to them because I was always viewing them through almost academic lenses, which is enjoyable in its own rights, but not when it's continuous with no reprieve through 370 pages of a novel.
2. What La Farge does exceptionally well is to recreate Paris at the turn of the century. The research that he has put into the novel is highly evident. The things that hinder his characterization lend to a brilliant evocation of nuances to the transformation of a city, both physically and societally. While I couldn't be swept away by his characters, I was swept away by his recreation of a world. He also has penetrating insights into human nature, made in (again) clever observation, that resonated.
I'll be checking out La Farge's other novels at some point. From the samples I've read, the first person perspective of Luminous Airplanes balances out the detached character analyses and still retains all the good things.
Most Recent Customer Reviews
5.0 out of 5 stars
If You Are Going to Paris, Read This Book
"Haussmann, or the Distinction" would make the perfect companion to a trip to Paris, where the changes wrought by Haussmann and the vestiges of what he left untouched combine to... Read more
Published 5 months ago by Roi S'Amuse
5.0 out of 5 stars
and just as wonderful to listen to
This book is as wonderful to listen to as to read, it seems, for that is how I experienced it. I, too, was taken in by the pretense and only realized that it is, in fact, a modern... Read more
Published on May 19, 2011 by P. J. Leman
3.0 out of 5 stars
Interesting
I read this for a book club and was not disappointed, but I don't think I'll read it again. This fictional look at Paris and its Prefect is well written.
Published on February 5, 2009 by jrho
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