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Portrait of Mrs.Charbuque Paperback


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Product Details

  • Paperback
  • Publisher: Pan Macmillan
  • Language: English
  • ISBN-10: 033041318X
  • ISBN-13: 978-0330413183
  • Product Dimensions: 11.1 x 2 x 17.8 cm
  • Shipping Weight: 200 g
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (18 customer reviews)

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First Sentence
MUCH TO my unease, Mrs. Reed positioned herself, all evening, beneath or immediately to either side of her new portrait. Read the first page
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Customer Reviews

4.4 out of 5 stars
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Format: Paperback
I bought "The Portrait of Mrs. Charbuque" not knowing quite what to expect, but was quickly captivated by both its premise and its style. I'm not frequently a reader of mystery novels, nor do I read historical fiction very often. I've delved into Dan Brown, Caleb Carr, and Mark Frost--and in all cases I've ultimately come away disappointed. When reading these books I'd felt either that the author thought I was stupid or that he thought his characters were stupid.
Here Ford treats both his readers and his creations with respect. His plot does not rely on amazing coincidence or amazing ineptitude to propel it along; nor does he treat his novel as an opportunity to impress the reader with his research on 19th century New York City or the art of portraiture. Instead, both provide a rich, but not overwrought, backdrop for a satisfying nugget of mystery.
If you're looking for the next great American novel, this is not it. However, if you are looking for a little guilt-free escapist fun that is more substantive than most of what populates the best-seller list, then "The Portrait of Mrs. Charbuque" is well worth your time.
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Format: Hardcover
Jeffrey Ford's new novel is The Portrait of Mrs. Charbuque, something of a departure from his previous novels, though it does share some of the same obsessions and tropes, and of course it features Ford's easily recognizable prose, lush and at times overheated, but enjoyable and effective for the most part. But his earlier novels were set in exotic fantasy landscapes -- this book is set in turn of the 20th Century New York -- though Ford makes it seem exotic enough!
Mrs. Charbuque is a mysterious woman who engages the services of the novel's narrator, Piero Piambo, a portrait painter who wishes he could be something better. Mrs. Charbuque offers to pay him enough money to allow him to pursue his dream, but on one condition: he must attempt to paint her without ever seeing her. Much of the novel is given to Mrs. Charbuque's stories of her strange life: a father who predicted the future by reading snowflakes, an unfaithful mother, her later life telling fortunes, and her unusual relationship with her husband, who is allowed to see her no more than any other person. Piambo's struggles to paint his mysterious patron are complicated by the growing jealousy of both his lover, and of the apparently estranged Mr. Charbuque. At the same time his old friend Shenz, another portrait painter, offers to track down clues to Mrs. Charbuque's identity. And finally a mysterious plague is infesting New York: women are found bleeding to death through their eyes.
The resolution is striking and oddly pulpish. The novel is great fun, mixing outlandish mysteries with sensitive philosophical speculation, and garish adventure with concerns about the character of the artist. These perhaps disparate elements in the end work together quite well: this is a quite satisfying book.
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By Arta Buneta on Oct. 11 2002
Format: Hardcover
I started this book in pleasant anticipation, influenced by numerous positive reviews. I was, alas, disappointed.
In the section devoted to acknowledgements, Mr Ford concedes that he has taken factual and historical liberties in order to create fiction that excites and thrills. Which is, within limits, acceptable. But Mr Ford takes it too far and ends up sounding inauthentic. The book is praised as a blend between Henry James and Raymond Chandler (by the publisher) and I am certain that both gentlemen in question would have had rather vehement objections to the comparison. The only parallel to Henry James that comes to mind is the coincidence of the time OF which Mr Ford writes and the time IN which Mr James wrote. Mr James is the master of the formal, stylized sentence, Mr Ford tends to the vernacular. When, at times, he tries to emulate the speech of the turn-of-the-century, he simply sounds affectated and pretentious. Chandler's protagonist Marlowe and his prototypes in that author's early short stories are conscientous, moral men- Piambo, in his treatment of his erstwhile mentor, M. Sabott, is not. I also missed the wisecracks that make Mr Chandler's work so delightful to read.
Mrs Charbuque's proclamations on the role of woman in society befit more the feminist sentiments of the second half of the 20th century than the ideas of the early suffragette movement.
The book, in its descriptions of characters (with the exception of the hero and Mrs. Charbuque), is the equivalent of the paintings of Albert Pinkham Ryder so much admired by Piambo: broad brushstrokes (or, more accurately, sweeps of the palette knife- a favourite technique of Mr Ryder's) rather than attention to details.
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Format: Hardcover
A PORTRAIT OF MRS. CHARBUQUE isn't an historical novel
set in late 19th century Manhattan, so much as it's a
late 19th century novel, produced in the early 21st century.
Finney's TIME AND AGAIN, Carr's THE ALIENIST, by comparison,
are tourist guides. They are about the place and period.
But not of them.

MRS. C. occurs in a certain Manhattan. We see no more
of it than an inhabitant would. There is no trace of our
century in the viewpoint. The central character, the
painter Piambo, is very definitely a nineteenth century American.
The bubbling world of American painting, caught
somewhere between John Singer Sargent and Charles
Pinkham Rider is presented with no distracting
foreshadowing The central theme of artistic integrity
is presented without a speck of irony on it.
Ford can not set his foot wrong when he's walking in the
19th century.
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