From Amazon.com
Diane Johnson updates the transatlantic novel so gorgeously rendered by
Henry James,
Edith Wharton,
William Dean Howells, and
Nathaniel Hawthorne; evokes the spirit of such expatriates sojourning in Paris as
Ernest Hemingway and
F. Scott Fitzgerald; and mines the pathos of modern fiction in creating this wonderful and important novel. Isabel Walker, eerily reminiscent of James's Isabel Archer, is a young film-school dropout who travels to Paris to aid her stepsister, who is going through a divorce. Isabel's California cool, American freedoms, and feminist slants comingle, successfully and fractiously, with the customs, biases, and complex sexuality of modern Europe. The result modulates between introspection and hilarity, and a quick, Hollywood-inspired sweep of violent action in the end doesn't undermine the author's mastery of Old World vs. New--in fact, it provides an ironic scrim.
--Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
From Publishers Weekly
It's no accident that the epigraph for this delightfully urbane social tragicomedy is taken from Henry James. Narrator Isabel Walker is a latter-day Isabel Archer, a charming, intelligent but naive American in Paris, who thinks herself sophisticated and analytical until her eyes are opened during the ironic, erotic and shocking events in the course of which she comes of age. Restless and unfocused, a drop-out from film school at Berkeley, Isabel is sent to Paris to help her pregnant step-sister, Roxy, through a difficult time: Roxy's husband, Charles-Henri Persand, has left her and their toddler daughter to run off with another woman. Isabel accepts a motley range of jobs in the American expatriate community?running errands, helping a famous writer with her files, serving at parties, etc.?and becomes aware of the jealousy and backbiting among the insular set. At first totally at sea because of the language barrier, she also gradually becomes aware that a chasm of misunderstandings and basic attitudinal differences lies beneath the cordial facade of Franco-American relationships. Meanwhile, an heirloom painting that Roxy brought to Paris is suddenly discovered to be an immensely valuable La Tour; under French law, it will be considered part of the divorce settlement. The tangled provenance of this painting creates tensions among the Walker family's half-siblings. The wealthy and powerful Persand family are also beset by a series of emotional involvements, including Isabel's own clandestine relationship with Charles-Henri's elderly uncle, a charming roue and political eminence grise. By the time the various strands of the plot culminate in surreal scenes at EuroDisney and the poubelles (refuse bins) of Roxy's apartment building, Isabel has become wiser about herself and the world, though she realizes that her point of view will always be colored by her Californian mindset. Johnson's (Persian Nights) control of her material is impeccable. The world of American expatriates is fertile territory for her ironic wit, which is both subtle and sharp. Everything here delights the reader: the sinuous plot with its rising suspense; the charged insights into family dynamics; the reflections on morality as perceived on both sides of the Atlantic; the witty asides on food, politics and sibling rivalry; the dialogue, which reflects both American and French speech patterns and social conventions; and the views of Paris itself, seen through the eyes of an ingenue who grows in sophistication as she begins to understand the reality that permeates this city of romance.
Copyright 1996 Reed Business Information, Inc.
--Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
