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Lovers at the Chameleon Club, Paris 1932: A Novel Hardcover – Deckle Edge, April 22, 2014
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“Prose’s latest book goes further in destroying the concept of a single truth than ‘Rashomon.’ It’s also an uproarious portrait of Paris from the mid-twenties to the Second World War. Prose has always been adept at slaying sacred cows; in this book, she pretty much machine-guns them.” (Gary Shteyngart, author of LITTLE FAILURE, A Memoir)
“An engrossing literary mystery…Refracting the vivid, villainous life of Louisianne Villars through letters, memoirs, and the recreations of a biographer, Prose coaxes into kaleidoscopic view both a tortured human being and bohemian Paris before and during the Nazi occupation… she cleverly exploits the vain, self-serving nature of memory itself.” (Jennifer Egan, Pulitzer Prize winning author of A VISIT FROM THE GOON SQUAD)
“A pitch perfect pastiche that interrogates the meaning of art and the limits of loyalty. With a style that is beautiful, strong, modest and absolutely authoritative Prose directs the light of her immense talent on the horrors of fascism and the puzzling, sometimes punishing nature of love. A great novel.” (Scott Spencer, author of MAN IN THE WOODS and A SHIP MADE OF PAPER)
“Significant writers are rare. A writer like Prose, who is not only significant but capable of writing brilliantly about pretty much anything-from obsessive love to religious ecstasy to life in Paris in the twenties and beyond-is not only rare. She is, essentially, the Hope Diamond of literature.” (Michael Cunningham)
“Brilliant and wicked and funny and right on-never has Europe been done with such savage precision…Every bit funny and appalling, at the end especially, of course. There’s not a French affectation, hypocrisy or depravity left untouched. I love it!” (Diane Johnson, author of LE MARIAGE and L'AFFAIRE)
“Prose is the real chameleon here, blending effortlessly into half a dozen disparate voices…The result is a perfect stunner, the novel-as-a Picasso, or a kaleidoscope-vivid, fractured, and spellbinding…Prose is one of our sharpest critics and our most daring novelists, and this is her best book.” (Joshua Ferris, author of AND THEN WE CAME TO THE END)
“The breadth, nerve and intricacy of Francine Prose’s big new novel should surprise even her most regular readers. A bona fide page turner…” (The New York Times)
“A novel of great reach and power, a portrait of an entire era.” (The New York Times Book Review)
“So dazzlingly does Francine Prose re-create this seamy chapter of mid-century Paris that it’s tempting to think of her as not a novelist but an editor who corralled all these people into a raucous work of history...C’est magnifique!” (The Washington Post)
“A master of the craft delivers a riveting period piece that probes the origins of evil.” (O Magazine)
“A tour de force…The result is fresh, layered and nuanced. It’s historical fiction done right and one of the finest accomplishments of this accomplished author…The novel dazzles. With sure, intelligent narrative and elegant detail, Prose has crafted a story that honors its characters and a pivotal time in history.” (Miami Herald)
“Engrossing...The narrative twists and turns, circles back to add depth to previous scenes, at other times casts doubt on the reliability of a narrator, and occasionally calls into question the entire endeavor of historical fiction.” (Elle)
“Brilliant and dazzling…A tour de force of character, point of view and especially atmosphere” (Kirkus Reviews, Starred Review)
“The circumstances that foster such unhappiness are always elusive, but they can be explored. That’s the task of a good novel, and Prose has done the job.” (The Seattle Times)
“[E]xcellent novel… With a deft and frequently scathing touch, Prose sends up nearly every literary type imaginable and then some…” (The San Francisco Chronicle)
“At its best moments, the reader almost becomes another character in the novel, searching for meaning amid the menace and beauty of wartime Paris, surrounded by the city’s many conflicting truths.” (The Chicago Tribune)
“Prose’s excellent novel, which treads between lightly mischievous (mocking Henry Miller) and deadly serious (invading Nazis), centers on a fictionalized French Olympic hopeful who spied for the Germans - and was killed by the Resistance in 1944.” (The San Francisco Chronicle)
“Prose exuberantly conjures up the romance of that unstable era…filled with felicitous imagery and sparkling period details.” (Wall Street Journal)
“[A] stunning novel…a provocative exploration of identity and the search for acceptance.” (BookPage)
“Prose’s novel pulses with the heartbeat of real life, brimming with colorful characters as artists (including, notably, Pablo Picasso), petty forgers, Nazis and resistance fighters meet on the page… It is a testament to Prose’s considerable talent that she’s able to execute such an ambitious work so flawlessly.” (Shelf Awareness)
Many sure-footed novelists have tried to embody Paris in its boozy, gender-bending, art-and-outrage pre-occupation golden age of the ‘20s and ‘30s before, but the ever-exceptional Prose succeeds in making the city alive by supplying it with a dissonant, avant-garde chorus of voices… (Interview Magazine)
“An ingenious excursion into the Parisian demimonde.” (Maureen Corrigan, NPR.org)
“A dark and glorious tour de force…In an intricately patterned, ever-morphing, lavishly well-informed plot spanning the French countryside and reaching to Berlin, Prose intensifies our depth perception of that time of epic aberration and mesmerizing evil as she portrays complex, besieged individuals struggling to become their true selves.” (Booklist (starred review))
“The novel skillfully portrays the headiness of Parisian cafes, where artists and writers came together to talk and cadge free drinks, and the terror of the Nazi Occupation… Prose deftly demonstrates with a wink the self-seeking nature of memory and the way we portray our past.” (Publishers Weekly)
“A rich portrait of a difficult age” (The Milwaukee Journal-Sentinel)
“Lovers at the Chameleon Club, Paris 1932 will be many things to many people–history, mystery, chronicle, commentary–but above all, it’s a generous book that offers complete submergence in a world constructed for readers’ enjoyment. It’s a dark and complicated place, this lamp-lit prewar Paris, but a remarkably entertaining one.” (Kirkus Reviews)
“Prose does an impressive job crafting a plot in which each version of the story takes on its own dimensions and echoes - and the biggest question may be just which one of those narrators is the most outrageously unreliable.” (The Tampa Bay Times)
“Francine Prose, in a testament to her talents, has managed to create a wartime saga that is both original and epic.” (The Daily Beast)
“LOVERS AT THE CHAMELEON CLUB, PARIS 1932 is a remarkable work of fiction that feels completely true. Richly atmospheric and utterly engrossing, it is not to be missed.” (BookPage)
“[F]ascinating… Lovers at the Chameleon Club, Paris 1932 captures the vibrance and violence of bohemian Paris before World War II…” (W Magazine)
“Sexy, cross-dressing athlete Lou Villars is as complex as her Nazi-era Paris home.” (Marie Claire)
“LOVERS AT THE CHAMELEON CLUB, PARIS 1932 paints an unforgettable portrait of Paris between the wars, a time and place that holds endless fascination for readers.” (Bookreporter.com)
“Provocative, powerful.” (USA Today)
“LOVERS AT THE CHAMELEON CLUB is a teeming social portrait, told through several peculiar voices - Lou’s is not one of them - and made real by astonishingly authentic details… Prose is versatile and fluid.” (The Asheville Citizen-Times)
“The wonder of Ms. Prose’s terrific historical novel is how she takes inspiration from a work of visual art and builds, not just one story, not just one voice, but a kaleidoscope of voices and angles about individuals whose lives intersect at a particular time and place.” (BookBrowse)
“Sexy, illicit … the best stories come to us many times over, repeated until even their true parts bear the qualities of fiction. They’re also the ones we can’t possibly know all of. This powerful, perceptive book offers these truths, and-even better-a great story to shroud them.” (Philadelphia Inquirer)
“A tour de force of character, point of view and especially atmosphere...” (Kirkus Reviews, Named a Modern Classic)
“Epic...this world takes on a depth and breadth that justifies the novel’s sweeping ambitions (Lesbian & Gay Review)
From the Publisher
Francine Prose Explains the Genesis of Lovers at the Chameleon Club, Paris 1932
Lovers at the Chameleon Club, Paris 1932 began with a Brassai photograph I saw at a museum show in Washington. I was familiar with the photo, “Lesbian Couple at Le Monocle, 1932”: a portrait of two women sitting at a table in a bar, one in a sparkly evening gown, the other in drag, with short hair and a tuxedo. But the wall text said something I hadn’t known, which was that the woman in the tuxedo, a professional athlete named Violette Morris, had worked for the Gestapo during the German occupation of Paris and later been assassinated by the French Resistance. A little research turned up an even more interesting story. Morris was an Olympic hopeful and a professional auto racer. When her license to compete as an athlete was revoked by the French government, as punishment for being a public cross-dresser, Hitler somehow got wind of it, and invited Morris to be his special guest at the 1936 Berlin Olympics. By the time she got back to France, she was not only spying for the Germans, but she was the person who told them where the Maginot Line ended: where they could breach the French defenses. During the Occupation, she did indeed work for the Nazis, and was killed by the Resistance in 1944. It was such an amazing story that I considered writing it as nonfiction, but I soon decided that I would have more liberty, and that I and my readers would have a lot more fun, if I wrote it as a novel. As the process went on, the novel became less linear, and about all sorts of things besides Violette Morris (in the novel named Lou Villars). Moving back twenty years from the date of her death, I found myself writing about Paris in the ‘20s, and using several different voices. Gabor, the photographer, is writing letters home to his parents in Hungary, as did Brassai. An American, Lionel Maine, is writing a novel/memoir about expatriate life, a little like Henry Miller. There are several other faux-memoirs, some “published,” some not, one by a baroness, one by Gabor’s wife. And Lou’s story comes to us in the form of a life history by her “biographer,” Nathalie Dunois, a teacher at a regional high school, who cannot seem to separate her own life and her own problems from her subject’s. Hitler and Picasso make cameo appearances. Each person has his or her version of the truth about the bright and glorious days of Paris in the ‘20s, the theatrical spectacle and intrigue of Berlin in the ‘30s, and the darker era that began when those two worlds came together. As always, the novel ended in a very different place from where it began. I started off writing about a woman in a tuxedo and wound up writing about art, love, evil, money, auto racing, espionage, insomnia, seduction and betrayal—and the way that history changes, depending on who tells it.
Top Customer Reviews
History - and the people who act on its stage - is itself a chameleon, subject to various hues and different interpretations, depending on who's doing the telling. Francine Prose seems less interested in exploring "what is the truth" and more intrigued with the question, "Is there truth?"
The title derives from a photograph that defined the career of the fictional photographer, Gabor Tsenyl: two female lovers lean towards each other at the Chameleon Club table. His is one of five narratives that punctuate the novel. The showcase narrative - written as a biography by the grand-niece of one of the participants - focuses on Lou Villars, a one-time Olympic hopeful and scandalous cross-dresser who crosses over to the dark side and becomes a Nazi collaborator. The other four narratives are composed of devoted letters from Gabor to his parents; the unpublished memoirs of Suzanne, his wife; excerpts from a book by the libertine expatriate writer Lionel Maine; and finally, the memoirs of a benefactor of the arts, Baroness Lily de Rossignol. Each narrative plays off the others and provides subtle suggestions that the other narratives may not be entirely accurate.
What is the truth of this intoxicating time, when artists of all kinds gravitated to the Paris scene and when war with Germany was an increasingly sober possibility?Read more ›
As the title of the photograph reveals, of course, the "man" is in fact a woman in male clothes. The stylishness of her suit, tie, and silk handkerchief contrasts with the rumpled collar and her slightly lost air; this is a woman who is comfortable nowhere, certainly not in conventional female roles, but not entirely in male ones either. Prose discovered that the original was a Frenchwoman named Violette Morris, trained to phenomenal strength as an athlete in many sports, including discus, soccer, and water polo, and later achieving fame as a race-car driver. But as a national role-model, her unacceptable bisexual lifestyle got her banned from participation in the 1928 Olympics, causing her to withdraw from sport. Later still, she was recruited as a spy for the Germans and ultimately worked for the Gestapo as an interrogator.Read more ›
It's not at all like Rashomon, which tells us the same story from different points of view and with startlingly different details and endings. The various tellers of this tale are all part of the same dull narrative; there is here no "shimmering library of possible truths and forking pathways." Nobody's narrative conflicts in any important way with anyone else's except for Suzanne's denunciation of Lou's biographer in the final chapters. No, the multiple points of view simply provide the author with an easy way to tell the story, much easier than constructing a complex novel with a single omniscient narrative voice. No glimmer of Tolstoy here. And the multiple points of view provide excuses for everything that is lame or lacking in the novel. For example, Gabor's letters home serve mainly to feed information to the reader. Isn't it convenient that he has parents to whom he can write even the most intimate details of his life? The main failing though is the writer's inability to make her main character interesting in the least. She even invents a bad writer with her own personal problems to handle that very important part of the book. So we get, for instance, that interminable, boring, horribly badly-written chapter when Lou meets Hitler and is immediately in total awe of him and ready to do his every bidding. No explanation, no analysis, no reason behind any of it.
I could go on and on, but the book isn't worth it.Read more ›
Most Recent Customer Reviews
Not my usual choice, but I truly appreciate this novel. Something a little different, well worth my time to read.Published 20 days ago by Nancy
Paris-centric story about the run-up to WWII. It combines memoir and narrative chapters for character development. Read morePublished 1 month ago by Dennis L. Miller
Not the story that I thought it was about to be at all. It was very French, and therefore very awesome. Read morePublished 1 month ago by Cals
I love Francine Prose and this is the best book I've read since "Blue Angel"Published 1 month ago by Jeff S.
The story takes place during World War II. The French occupation
Is going on and all the intrigue and dark alley fascinations of that time period are written beautifully,so... Read more
Reading this book in the voice of different narrators was exciting. The characters were rich and I felt as if I was in Paris in the 1930's. Excellent read.Published 2 months ago by Robyn RC