biography

Proust’s Duchess, by Caroline Weber

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Even those who don’t care who inspired Proust’s Duchess of Guermantes may enjoy this biography of three fascinating women in fin-de-siécle Paris. At a time and in a society where women had no power, these three embarked upon “a conscious strategy of self-promotion.” Like so many today, they became famous for being famous. However, Weber goes beyond that easy judgment and delves into their lives, showing us that in striving to be celebrities, they wanted to be noticed. They wanted to assert some agency over their lives.

Marcel Proust, half-Jewish, from a bourgeois background, first became infatuated with Geneviève Halévy Bizet Straus through his friendship with her son. As the widow of composer Georges Bizet, Geneviève drew artists and musicians to her salon where she dressed in gauzy peignoirs in half-mourning colors.

Later he became obsessed with Laure de Sade, Comtesse Adhéaume de Chevigné, who made much of her descent from Petrarch’s Laura and from the Marquis de Sade—think of that combination! She chose to make her name by being the wildest of the wild and cosying up to whoever held political power.

Finally, Élisabeth de Riquet de Caraman-Chimay, Vicomtesse Greffulhe embodied his “dream of patrician elegance and grace.” Dominated and all but imprisoned by her husband, she made herself famous for the beautiful clothes she designed or had designed for her. Trivial, yes, but her way of pushing back against a society where, as she wrote, “ ‘women are meant to be trophies, pretty possessions . . . Smiling, placid, charming.’ ”

The book is less about Proust than it is about Geneviève, Laure, and Élisabeth, providing a vivid portrait of the restricted lives of even these most privileged women. However, his journey—he himself pursuing a place in society—is our journey; he is our guide into this world.

He is not without his own conflicts. Especially towards the end, we learn a bit more about how he claimed to be studying the “monde” or “gratin,” the highest circles of society, in order to gain material for his writing. True enough, but he seems also to have simply been as fascinated by it as any of us obsessively watching Downton Abbey these days. Weber says:

Proust concedes that a man of letters might just as fruitfully write about the impoverished as about the privileged. He goes on to explain, however, that when authors pursue ‘opulence,’ what really motivates them is a longing for the unattainable . . . The gratin intrigues them as artists because it is not readily accessible to them (whereas poverty presumably is).

Yet his pursuit of each woman ends in disillusion. “He would spend the next three decades writing and rewriting variations on this theme: the unreachable muse whose charm evaporates upon contact.” He is shocked to find that high social status is no guarantee of virtue. “[T]he juxtaposition of surface elegance and hidden corruption would become a defining feature of his portrayal of the monde.”

The end of the 19th century saw France’s Third Republic becoming more stable, as the hopes for restoring the monarchy dissipated, leaving the aristocracy with no political power. As some would say of today’s Western societies, they took refuge in entertaining themselves to death.

I seem to have read a number of Gilded Age books recently, perhaps looking for ways to understand and push back against our own age of extreme inequality, when the richest 1% own more of the world’s wealth than the bottom 95% put together. If nothing else, my readings of the robber barons of late 19th century U.S. tell me that they stored up trouble for their next generations. Look at all the mansions and luxury “cottages” of that time which had to be abandoned by the following generation.

Instituting an income tax system in 1913 after the ratification of the 16th amendment had something to do with that, of course, but I also remember my own time at an exclusive prep school. So many of those entitled young people simply coasted through, drinking and drugging too much, confident that Daddy’s money guaranteed them a free ride through life, without any effort on their part. Not all, of course. There were those who worked hard and deployed their intelligence to good effect. Still, we see it today in the Nepo-in-chief, who failed at every business he undertook, bailed out by bluster, fraud, and—yes—Daddy’s money.

There are a lot of names to keep track  of in Weber’s book, some famous today—Bizet, de Maupassant—some forgotten. I debated whether the book could have been streamlined a bit, but in truth I am just as guilty as Proust: I enjoyed all the details of salons and balls and intrigues. They do give me a better understanding of the context for his masterpiece In Search of Lost Time, but that is not what kept me glued to the pages of this book. No, I reveled in experiencing a world far off in time and place, yet having much to say about the one I inhabit today.

What biography have you read that introduced you to a different world?

The Equivalents, by Maggie Doherty

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Subtitled A Story of Art, Female Friendship, and Liberation in the 1960s, Doherty’s fascinating new book tells of a “messy experiment” at Radcliffe College. President Mary Ingraham Bunting became concerned with what happened to the graduates of this all-women college. Since at that time women were expected to marry and spend their time caring for their husbands and family, these educated women were expected to give up their academic or creative pursuits, or reduce them to hobbies, in order to become what Virginia Woolf called “the angel in the house.”

Remembering her own career as a microbiologist–and now college president–while raising a family, Bunting created the Radcliffe Institute for Independent Study in 1960. Fellowships provided a stipend, office space, and a like-minded community to help women advance their careers as scholars and artists while also caring for a family. For a two-year period, the Institute would provide a fellow the prerequisites for creative work, as described by Woolf in her famous essay “A Room of One’s Own.”

Doherty concentrates on a few of the first fellows: poets Anne Sexton and Maxine Kumin, writer Tillie Olsen, sculptor Marianna Pineda and painter Barbara Swan. They called themselves The Equivalents per the Institute’s requirement “that applicants have either a doctorate or ‘the equivalent’ in creative achievement.” Her extensive research underlies this engaging story of five very different women and their creative journeys. And the book is so much more: a cultural history of the time, an in-depth look at creativity—what enhances it and what destroys it—and an examination of privilege.

I confess that it is the latter that most interests me because, after all, even in the 1950s and 1960s, while White women in droves were immersing themselves in being housewives, Black and working class women were already working while trying to raise a family. I appreciate that in covering the nascent second wave of feminism, Doherty includes the Black women’s movement. While acknowledging it isn’t “her” experience, she does examine the very real problems Black women had with what became the  mostly middle- and upper-class White women’s movement.

Tillie Olsen’s story provides a needed corrective to Sexton’s upper-class privilege and that of the others’ somewhat lesser privilege. Olsen was “a first-generation, working-class American, an itinerant, and an agitator” who said outright that “the true struggle was the class struggle.” After early publication and literary acclaim, she had been side-tracked by the overwhelming labor of house, family, and dead-end job. Eventually the author of the best-seller Silences, she was alert to all the things that keep us from creating.

The way Doherty sensitively examines these women’s different struggles and achievements lifts this narrative above the ghoulish interest in Sexton’s suicide attempts and the tendency to concentrate on those artists who have been anointed as important—almost exclusively White males at the time, or the handful of women championed by them—to look at a broad range of circumstances and personalities.

She acknowledges the privilege but goes deeper. As Olsen said, “There’s nothing wrong with privilege except that not everybody has it.” This is as true today as it was in the 1960s. Fellowships, grants, prizes are wonderful but not everyone has the resources—time and money—to pursue and take advantage of them. As a single parent working two and sometimes three jobs to support my family, my own writing career had to be mostly put on hold for years.

I highly recommend this book to anyone who is interested in the creative life and what can inspire or hinder it. It’s also a wonderful portrait of that era and of these remarkable women.

Do you have a room of your own?

Book Launch for A Heart Afire

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A Heart Afire

Last week I was delighted to attend the launch of Patricia Meisol’s A Heart Afire: Helen Brooke Taussig’s Battle Against Heart Defects, Unsafe Drugs, and Injustice in Medicine. Here is what Pat said about the evening:

“Thrilled to launch my biography about a woman doctor’s lifelong crusade to improve health care and end suffering. She changed medicine. Her work is not done.”

Some reviews:

“An enormous work—and, indeed, achievement—covering a life that explores most of the twentieth century. This impressive piece of research is not just about one woman, but also about the health of a nation and global developments in science and medicine.”
—Claire Brock, Associate Professor, University of Leicester; author of British Women Surgeons and Their Patients, 1860–1918

“Exquisitely told with a penetrating eye for detail and the telling anecdote, Patricia Meisol’s biography of Helen Taussig is a must-read for anyone interested in the history of medicine and the twentieth-century struggles of women to break through the profession’s glass ceiling. What emerges from these pages is nothing less than the birth of modern heart surgery.”
—Jonathan Bor, The Baltimore Sun

Working in a critique group with Pat and others, I witnessed the sheer volume of work that goes into creating a biography. Even before you start writing there are the years of research, chasing down clues and people and documents. Then there is the writing itself and all the rewriting that goes into creating any piece of writing much less a book-length manuscript.

I’ll write more about the book itself later—hint: it’s brilliant! Though I admit I’m biased—but for now I want to celebrate the huge accomplishment of a having a book launched out into the world.
 
 

Pat's book launch 1

 
 
Pat's book launch 2

Dear Suzanne, by Eve Rifkah

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Suzanne

I’ve read this slim volume several times and will probably continue to reread it. Rifkah alternates poems in the voice of artist Suzanne Valadon with prose sections by a present-day narrator, apparently Rifkah herself, that read like prose poems. Together they create a multi-faceted portrait of what it means to be an artist, a mother, wife, granddaughter, lover.

In summoning the spirit of Suzanne Valadon, Rifkah explores what it means to be a woman and an artist, unappreciated, known mostly for her work as a model for artists like Renoir, Toulouse-Lautrec, and Berthe Morisot. Rifkah imagines how Suzanne herself might have described her sacrifices for her husband André Utter and damaged son Maurice Utrillo V, both artists, Maurice being better-known than Suzanne until recently.

Grandmother and Grandson the last painting of Madeleine
age 79….her mind wrapped in superstitious wandering.
Her face turned away from Maurice
away from love shredded by madness
……….they suffer each other in ache
captured by daughter and mother
a trinity tied in paint *

This poem, which ends with Madeleine’s death, is followed by Rifkah’s description of her own mother’s death. By combining Suzanne’s voice with her own, intertwining their stories, generating resonances, Rifkah has created a stunning exploration of a multitude of family relationships.

Yet Rifkah also goes beyond this handful of lives to look at the freedom sought by an artist. Like Suzanne who did not change her name with marriage, Rifkah discards her father’s and husband’s name, “becoming me alone. We change our name to change the road we travel from birth.”

I appreciate the need to define your own life, free of society’s plan for you, having come of age during feminism’s second wave when all the old models for a woman’s life went out the window and we had to create our own.

Back then, I read biographies of women artists and writers, looking for ideas. Now I read them with appreciation for the difficulty of the task. Rifkah examines the deep urges that motivate an artist, whether of words or paint, even when you see your intensely imagined works outsold by others’ scenes that are taken home by tourists “to say they’d seen Paris.”

When my model leaves
fingers still tingle
……….brushes stay fast to my hand
like the girl in the story dancing in enchanted shoes
until feet cut off

Read this book to learn about Valadon. Read it to learn about being an artist. Read it for the pleasure of the lines and sentences.

Have you ever read a novel or biography in verse?

*Note that the dots are meant to indicate spaces.

Best Books I read in 2020

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Best Books I read in 2020

As a writer, I learn something from every book I read. In no particular order, these are the ten best books I read in 2020. In general, this year I gravitated toward books that either comforted me or gave me courage. Please check the links to the blog archive for a fuller discussion of each book.

1. Horizon, by Barry Lopez
In this profound and generous book, Lopez looks back over some of the travels that have shaped his understanding and philosophy. We go from Oregon to Antarctica, from Nunavut to Tasmania, from Eastern Equatorial Africa to Xi’an in China. The horizon he explores is physically and metaphorically the line where our known world gives way to air, to the space we still know almost nothing about. That liminal space is where exciting things can happen. The quest for knowledge and understanding—along with compassion—are what I value most in human beings.

2. Visitation, by Jenny Erpenbeck
The main character of Erpenbeck’s novel is a plot of land by a lake in Brandenburg, and the homes built there, especially a fabulously detailed home built by an architect in the 1930s. The succession of people who live in this house and next door mirror the changes in East Germany during the ensuing decades. Though short, this novel is surprisingly intense. It made me think about what inheritances are passed on and what are lost, about the so-brief time that we inhabit this world that is our home, and how the earth itself, though changed, persists. Our cares and worries, even in this terrible time, will pass.

3. Drive Your Plow over the Bones of the Dead, by Olga Tokarczuk
This unusual and fascinating novel explores the border between poetry and prose, story and fairy tale. The quirky voice of the narrator is firmly established with the first sentence and sustained throughout the book. Living alone in an isolated community in western Poland, Janina is an older woman who manages her vocation of astrology, the translations of William Blake’s poetry that she and a friend are doing, and the griefs that accumulate over the years. The story sometimes feels like a fable, sometimes a prose poem, sometimes a wrenching view of age and isolation, sometimes a paean to friendship.

4. A Woman of No Importance, by Sonia Purnell
Subtitled The Untold Story of the American Spy Who Helped Win World War II, this is a fascinating read. If you thought, as I initially did, that the subtitle is a bit hyperbolic, rest assured that it is not. Born in 1906 to a wealthy and prestigious family, Virginia Hall grew up in Baltimore but preferred adventure to marriage. During WWII, she became one of the first British spies—and the first female—in France where she organised Resistance units and provided critical intelligence to the Allies.

5. Abigail, by Magda Szabó
Originally published in 1970, it is the story of 15-year-old Gina who in 1943 is exiled from Budapest by her beloved father, sent to boarding school near Hungary’s eastern border. Headstrong, a little spoiled, Gina rebels, finding creative ways to break the rules at the strict academy. While having many characteristics of a traditional coming-of-age story, and echoes of books like Jane Eyre, Gina’s story is unusually perceptive and complex.

6. Blackberries, Blackberries, by Crystal Wilkinson
These stories feature Black women in rural Kentucky, young and old, each with her individual take on the world, her own idea of herself. In every story, Wilkinson demonstrates the writer’s mantra that the personal is universal. These may be Black women in Appalachia, but I saw myself in each of them. Reading their stories has been a gift, and I look forward to reading more of her work.

7. Gellhorn, by Caroline Moorehead
Moorehead’s biography brings the brilliant war correspondent to life, enhanced by the hundreds of letters Gellhorn wrote during her life, openly detailing personal and professional undertakings as well as her own thoughts and feelings. The biography is subtitled A Twentieth-Century Life. Indeed, although she was always out ahead of others, few things could be more emblematic of that turbulent century than the life of this remarkable woman who challenged customary women’s roles, stuck to her own moral code, and worked relentlessly at her chosen métier.

8. The Water Dancer, by Ta-Nehisi Coates
This first novel from Coates is the story of Hiram Walker, a young slave in Virginia whose been assigned to be the personal servant for his half-brother: the white, legitimate son of the plantation owner. The writing, as you would expect from Coates, is gorgeous. I loved the first part of the book, but after that, the story seemed to bog down. Still, this coming-of-age story of a man’s journey to freedom is one of the best books I’ve read recently. I loved the unusual and nuanced way the story embodies the themes of family and memory.

9. Grace Notes, by Brian Doyle
These days I’m turning to books not so much for escape as for courage and comfort, and welcome anything that might help replenish my stores of both. For me, that often means returning to one of my favorite authors. In addition to writing unforgettable stories and essays, Brian Doyle, who died much too young in 2017, was a teacher, magazine editor, husband, father. In this collection of short essays, while not shying away from the darkness, Doyle reminds us of what is good in the world.

10. Anything Is Possible, by Elizabeth Strout
A book by Strout is a balm just now, when we are so traumatised by grief and fear and anger. Yes, she takes us into the terrible crimes human beings, even those in quiet Midwestern towns, visit upon one another, yet she also shows us the complicated people that we are. Without dwelling on the ugliness, Strout evokes in us the emotions of these characters, their trials, their loneliness, and sometimes their quiet redemption.

What were the best books you read last year?

Madame Fourcade’s Secret War, by Lynne Olson

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Madame_

I recently posted about Sonia Purnell’s excellent A Woman of No Importance about Baltimore-born Virginia Hall who became one of the first British spies in German-occupied France during WWII. She organised Resistance units and provided critical intelligence to the Allies through the Special Operations Executive (SOE), a secret UK intelligence agency formed in 1940.

I hadn’t planned on reading Olson’s book about Marie-Madeleine Fourcade who also ran a Resistance operation in France, supplying critical information to MI6, the UK’s Special Intelligence Service. Then my book club chose it.

When her partner was arrested in 1941, Fourcade became head of Alliance, a Resistance network she had helped build. Under her dedicated leadership, Alliance expanded throughout both Occupied France and Vichy France (where Hall was based), providing most notably a 55-foot-long map of the beaches and roads along the Normandy coast, showing German guns and fortifications, an invaluable aid to the Allies on D-Day.

The story includes escapes, tragic losses, and daring exploits. There’s lots of great information, very detailed.

What I missed was a sense of Fourcade herself. In Purnell’s book we get a close view of Hall, what makes her tick, how she responds to her experiences. In Olson’s book it is more “just the facts, Ma’am.” For example, Fourcade’s hardly ever seeing her young children during the war years for security reasons makes sense, and she didn’t know they’d lost their adult protector and had to make their way alone through war-torn France. But surely she felt a complex swirl of emotions, constantly changing, eating away at her resolution to stay on as head of Alliance. None of that comes through.

One thing that struck me strongly in both books was the infighting. I’m not just talking about Vichy versus Resistance. In the UK, SOE and MI6 were fiercely competitive, trying to deny each other resources, sometimes even sabotaging each other’s efforts. Similarly de Gaulle’s Free French group refused to help Virginia Hall’s group or other French fighters and eventually broke with MI6 as well. Also, one of Roosevelt’s conditions for the U.S. joining the war was that de Gaulle not be in charge of the French forces. He chose instead someone else who was not respected by the French military, making the North Africa campaign a debacle. They were supposed to all be on the same side! It’s a miracle the Allies won the war.

Of course, I see the same thing going on in politics today, in country after country. Too many people who are supposed to be serving the country and doing the best thing for its citizens are choosing instead to maximise their own power and fortune over that of their fellows, not caring how much devastation they cause for their country and its people.

I suppose I shouldn’t be surprised. When I started work in an office, I quickly realised that I could divide my colleagues into those who wanted to do good work and those who only wanted to get ahead. It’s been a useful distinction ever since. Not that I’m entirely cynical. I recently learned of a real Lord of the Flies where the shipwrecked boys marooned on a Pacific Island worked together and took care of each other for 15 months. And we are beginning to learn that cooperation has been just as longstanding and crucial in our societies as competition.

I’m encouraged by Fourcade’s selfless devotion to her country and to the operatives she’d collected. No wonder she was designated as a hero by de Gaulle at the end of WWII.

Are you reading stories—fiction or nonfiction—about courage and selflessness? Suggest a few!

Gellhorn, by Caroline Moorehead

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Gellhorn

I’ve long wanted to know more about Martha Gellhorn. Moorehead’s biography brings the brilliant war correspondent to life, enhanced by the hundreds of letters Gellhorn wrote during her life, openly detailing personal and professional undertakings as well as her own thoughts and feelings.

At 29, Gellhorn went to Madrid to cover the Spanish Civil War for Collier’s Magazine. She went on to cover the twentieth century’s wars, including WWII and Vietnam, conflicts in the Middle East, Africa, and Central America, only retiring from journalism after covering the U.S. invasion of Panama in 1989, when she was 81.

She was desperate to see things for herself, visiting the front lines, talking with soldiers, looking for the little things that would make her reporting come alive. Instead of talking about strategy or interviewing generals, she preferred to write about ordinary people, just as she had in her first job as a journalist. Hired by the Federal Emergency Relief Administration (FERA), part of Roosevelt’s New Deal, she traveled around the U.S. to learn how the Depression was affecting people. That experience left her with a lifelong commitment to battling poverty by bringing it out into the open.

Gellhorn grew up in St. Louis, Missouri with a strict father, loving mother, and two brothers. Dissatisfied with this conventional upper middle class life and the narrow opportunities it offered for women, she was determined to create a life for herself. And that life was to be a foreign correspondent.

At the time, it was a highly unusual choice for a woman. Throughout her career, men held her back, officials refusing her permits and visas, publishers refusing to hire her, military officers trying to keep her away from the fighting. Even critics, enthralled by her affair and brief marriage with Ernest Hemingway, dismissed her as a pale imitation of her famous partner.

In addition to her journalism and nonfiction books about war and travel, she wrote novels and short stories, though she found writing terribly hard. Moorehead captures her conflict:

Having hitched her vision of herself so firmly to writing, and having inherited from both parents extremely high standards, Martha effectively created for herself a perilous and demanding world. If to write was her duty, her reason for being alive, then not to write was to fail. To fail as a writer was to fail at life, to be adrift in a formless and uncertain universe with nothing to hold on to.

A headstrong woman, she never backed down from the basic certainties she developed in her youth, many of them from her parents. Although she fell out with her father, who was dismayed by her flaunting of convention, shortly before his unexpected early death, she remained close to her mother, whom she called her North Star.

Passionate about her causes, Gellhorn hated dishonesty, cowardice and complacency. Although she sometimes fell out with friends, she was never happier than when hanging out with war correspondents who had become friends when they were under fire together in various hotspots. Moorehead says of her:

Something of Martha’s occasional deaf ear to the sensitivities of other people was connected, at least partly, to her strong feelings about social life . . . the world was divided between real friends—to whom she was, for the most part, very loyal and devoted—and everyone else, who mattered not at all.

Late in life she became the center of a group she called “the chaps”, men and women forty or fifty years younger that she. Writers and reporters who admired her work, which had recently become popular, they flocked to her flat in Cadogan Square. I’m glad that she was not isolated during her last years when her physical woes were mounting.

The biography is subtitled A Twentieth-Century Life. Indeed, although she was always out ahead of others, few things could be more emblematic of that turbulent century than the life of this remarkable woman who challenged customary women’s roles, stuck to her own moral code, and worked relentlessly at her chosen métier.

Have you read any of Martha Gellhorn’s work?

Elizabeth Bishop, by Brett C. Millier

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Bishop

I’ve been tiptoeing around Bishop’s poetry for many years, intrigued but wanting to carve out a chunk of time to really concentrate on it. The last few weeks have been that time.

Subtitled Life and the Memory of It, a quote from one of Bishop’s poems, this is a critical biography, meaning that it not only tells the story of Bishop’s life, but also discusses her poems. Of course, there’s long been a kerfuffle in the literary community over the relevance of a writer’s life to her work, and in other arts communities as well. Shouldn’t a poem or film stand alone? Don’t we bring our own experiences and outlook to a book or painting?

Well, of course. Yet, many years back, when I finished school and started creating my own study programs, I found that in addition to hunkering down and reading all of a writer’s oeuvre, I wanted to know about their lives. I felt that I knew something about them through their work, but needed to know more, especially in those early years when I was figuring out what my own writing life might look like.

I’ve felt a curious tie to Bishop because I knew that she was born in 1911 in Worcester, Massachusetts, where I also lived for a few years, very close to her home in fact. From Millier’s book, I’ve learned that Bishop’s time there was brief. Her father died when she was eight months old and her mother was in and out of mental institutions for a few years, moving between Worcester and her family’s home in Nova Scotia, before being committed in 1917. At that point, Elizabeth’s father’s family brought her back to Worcester for a miserable few months before sending her to boarding school. Although her mother did not die until 1934, Elizabeth essentially had no family home for the rest of her childhood.

She made lifelong friends at school and later at Vassar and in the literary community at large. Two friendships in particular shaped her as a poet. While still in college she met Marianne Moore who became a mentor as well as a friend. Moore cheered on the young poet, initially critiquing her work and later suggesting places she could submit her work. Later, living in New York, Bishop became friends with Robert Lowell and the two continued to exchange poems, letters and visits until Lowell’s death.

Those of us who write stories are advised to constantly raise the stakes for our protagonist, or if we’re writing nonfiction—memoir or biography—to point out where the risks and rewards have increasing consequence, thus creating tension and suspense. Millier does this admirably for Bishop.

It’s hard enough to be a poet, let alone one without a home or family, a victim of early trauma. Let her be a lesbian in an era when homosexuals were closeted. Give her some chronic illnesses: debilitating asthma and alcoholism. Make her a perfectionist, and put her in New York’s very competitive atmosphere; then give her some early victories and very successful friends to add even more pressure.

Plenty of suspense, then, to keep this biography moving, interleaved with excerpts from letters to and from Bishop. It’s not all sad; Bishop traveled a lot, had strong relationships, created homes that she loved, and most of all wrote and revised and revised again, never letting a poem go until she was sure it was the very best she could make it.

Plus there are Millier’s insightful discussions of the poems. I was glad I had a copy of The Complete Poems 1927 – 1979 at hand to dip back into. I will discuss the poems themselves and Bishop’s thoughts about poetry in another post.

One of the things I enjoyed here was seeing the humorous side of this poet, as in this excerpt from a letter; Bishop was living in Brazil and had just won the Pulitzer Prize for Poetry:

Lota went to market, to our regular vegetable man, and he asked her if it wasn’t my photograph he’d seen in the papers. She said yes, and he said it was simply amazing what good luck his customers had. Why, just the week before, one of his customers had bought a ticket in the lottery and won a bicycle.

If you haven’t read her poems, this biography will make you want to read them. If—like me—you feel that there are layers in her poems that you are missing, this book will help open them up for you. Most of all, if you are curious about the life of a poet, particularly one who stands alone, not part of a literary movement, or the life of a brilliant but challenged woman in the mid-twentieth century, this is the book for you.

Have you read a biography that you’d recommend?

A Woman of No Importance, by Sonia Purnell

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Subtitled The Untold Story of the American Spy Who Helped Win World War II, this is a fascinating read. If you thought, as I initially did, that the subtitle is a bit hyperbolic, rest assured that it is not. Born in 1906 to a wealthy and prestigious family, Virginia Hall grew up in Baltimore but preferred adventure to marriage. During WWII, she became one of the first British spies—and the first female—in France where she organised Resistance units and provided critical intelligence to the Allies.

Fluent in French, German and Italian, she initially worked for the US Consular Service before moving to the Special Operations Executive (SOE), an early UK intelligence organisation. The US had not yet joined the war and she’d previously been turned down by the US State Department because of her disability. She had lost a leg below the knee after a hunting accident and had a wooden prosthesis, yet that did not hold her back from her active work first in Vichy France, primarily Lyon which she made into the most extensive and effective center for Resistance and intel in France.

After being betrayed and hunted Javert-like by Klaus Barbie, the Butcher of Lyon, she made a daring and arduous trek over a 7,500 foot pass in the Pyrenees to Spain without even a walking stick to help. Once the U.S. joined the war she worked for the Office of Strategic Services (OSS), returning to Occupied France to organise Maquis units to harass the enemy, gather intel, and assist the Allies before, during, and after the D-Day invasion. Her intel was crucial to the D-Day planners.

I can’t begin to list all she accomplished despite her wooden leg and, more importantly, despite being held back every step of the way by male superiors who couldn’t accept that a woman could do useful work other than typing or making tea, hence the title of this book. This discrimination persisted after the war when she eventually found work with the CIA after the OSS was disbanded, yet was belittled and confined to desk jobs by men with no combat or espionage experience.

Yet, her intelligence and adaptability, her drive and charisma, her intense love of France and determination to drive out the Nazi invaders together won her the loyalty of the people she worked with on the ground. Only Virginia thought to use a brothel as a safe house and its workers as intel-gatherers. Only Virginia had the organizational and planning ability to organise jailbreaks from the Nazis’ most forbidding prisons.

It’s a stunning and inspiring story, brilliantly presented here. I learned much that was new to me about conditions in Vichy and Occupied France and the Resistance, things I thought I knew pretty well. The action is as breath-taking as any thriller. I listened to the audio version, narrated by Juliet Stevenson, one of my favorite actors, and often couldn’t bear to stop. I fumed about the discrimination, grieved for the losses, raged at the Nazis’ torture of captured spies, and rejoiced in her victories.

What a woman!

Have you read a biography of a “forgotten” historical figure?

Best Books I read in 2019

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As a writer, I learn something from every book I read. In no particular order, these are the twelve best books I read in 2019. Please check the links to the blog archive for a fuller discussion of each book.

1. The Fateful Triangle: Race, Ethnicity, Nation, by Stuart Hall
You might think that this collection of talks given at Harvard in 1994 by Stuart Hall couldn’t be relevant 25 years later, but nothing could be more germane to what is happening today. Hall, a prominent intellectual and one of the founding figures of cultural studies, examines the three words in his subtitle and how their meanings—how we understand them—have changed over time.

2. The Book of Emma Reyes, by Emma Reyes
Reyes, who died in 2003 at the age of 84, lived in Paris where she was known as an artist, friends with Sartre, Frido Kahlo, and Diego Rivera. She was also known as a fascinating storyteller, full of stories of her childhood in Colombia. The translator Daniel Alarcón says in his introduction, “Her vision is acute, detailed, remorseless, and true. There is no self-pity, only wonder, and that tone, so delicate and subtle, is perhaps the book’s greatest achievement.”

3. The Souls of Black Folks, by W.E.B. DuBois
DuBois presents a program of what is needed to bring the American Negro, particularly those in the South, into full citizenship: the right to vote, a good education—not just vocational training—and to be treated fairly. His prose is both expressive and straight-forward. These chapters are lessons in how to write about outrageous conditions with your outrage controlled and contained to add power to your sentences without turning the reader away. He marshals facts and numbers to back up his statements, yet doesn’t hesitate to move into lyric prose to bring home to us the reality of what he’s describing.

4. Kindred, by Octavia E. Butler
I’d heard so many good things about Butler’s work, and especially this early (1979) stand-alone novel of hers, and I was not disappointed. Kindred is the story of Dana, a modern-day woman of color who is mysteriously transported back to a pre-Civil War slave plantation. Not only is Maryland’s Eastern Shore a far distance from her home in Los Angeles, in time as well as miles, but it is a shockingly unfamiliar culture.

5. The Left Hand of Darkness, by Ursula Le Guin
If you haven’t read this classic, stop right now and go read it. Came out in 1969? No problem: it couldn’t be more relevant to today. Don’t like science fiction? Won’t matter; there aren’t any space battles or robots; just beings you will recognise going about their lives. And any initial questions you might have about the culture you’re reading about are exactly the point.

6. A Place on Earth, by Wendell Berry
I had read some of Wendell Berry’s poems and essays, so I was not surprised that one of the big ideas explored in this his second novel is our relationship with the land. Reading this story set in the small town of Port William, Kentucky in 1944, we are immersed in a way of life unfamiliar to most of us today.

7. All for Nothing, by Walter Kempowski
To this last novel, published a year before his death in 2007, Kempowski brings all the experiences of his long life. Born in 1929 in Hamburg, he was caught up in WWII, at 15 witnessing the East Prussian refugees in Rostock, the coastal town where he grew up. Soon after, he learned that his father had been killed. Drawing on these experiences, Kempowski crafts a story of an East Prussian family continuing to live their normal, even banal, lives while the first Baltic refugees fleeing the approaching Russians begin to pass their estate.

8. The October Palace, by Jane Hirshfield
Hirshfield is one of my favorite poets, and I welcomed the opportunity to reread this early (1994) collection of hers. The poems in this book hold mysteries that, like koans, can leave me pondering a few lines for days.

9. Prairie Fires, by Caroline Fraser
A friend recommended this book so vehemently that she actually sent me a copy. I’d never read the Little House books, so I caught up on them as I read this biography. Wilder always maintained that her stories were true, but questions arose even as the books were taking the world of children’s literature by storm. Now Fraser’s meticulously sourced and immensely readable account shows what is fact and what is fiction in those books.

10. The Friend, by Sigrid Nunez
Nunez’s new novel, winner of the 2018 National Book Award, is a quiet and intelligent story of friendship, love and despair, tackling the questions most of us wrestle with at various times in our lives: Should I change my life? Is it worth going on as I have?

11. The Overstory, by Richard Powers
This popular, Pulitzer Prize-winning novel left me with a combination of enchantment and disappointment. It’s an ambitious work, one that is out to change the world, at least our human part of it. Powers conjures our life as a whole, the one that we share with the rest of nature, through nine characters, whose individual tales bounce off each other and sometimes intersect. While their goals may be art or love or survival, each character’s journey is also one of developing a relationship with nature, specifically trees. What I find most stunning is the brave attempt to write a larger story.

12. Memento Mori, by Charles Coe
Coe is a teacher and an award-winning poet. The poems in this book celebrate ordinary days, finding treasure hidden in plain sight. They are the poems of a man no longer young, one who has looked at his own mortality and chosen to live every day, every moment; a man who wishes he could go back and give advice to his teenaged self about what really matters.

What were the best books you read last year?