Again I took way too long to listen to the whole of this audiobook, which might hinder my review a little. But it worked out rather well: Lovers at the Chameleon Club, Paris 1932 is an engaging story, that covers a number of years and is told from a number of perspectives. This might have been confusing when broken up over such a long time as I took with it, but it wasn’t. Instead, it felt like it helped me dip in and out more easily: lots of time passed for the characters too in between my visits to them, so it felt natural, if you see what I mean.
The time and place setting are in the title; or rather, the title of the book is the name of a photograph, taken in 1932. The story remains in Paris (with one brief sojourn to the countryside nearby), covering the years before and during the German occupation. Several characters relate events from different perspectives, including an American writer whose voice is heard through the books and articles he writes about life in Paris at that time; a Hungarian photographer in love with Paris, writing home to his parents; a French girl who is the girlfriend of the writer and then the photographer, writing a memoir which is to be destroyed upon her death; the wealthy French woman who is the photographer’s patroness, writing her own memoir; and a woman, a couple of generations later, writing the biography of the notorious Lou Villars.
Lou is at the center of this novel, although she has no first-person voice: we only know her through the eyes of others. She had an unhappy childhood; was taught to lift weights by the nuns; had a promising athletic career until her coach tried to rape her; worked at the Chameleon, a nightclub for cross-dressers; became a professional racecar driver; met and was awed by the Fuhrer; became a spy for Germany and a torturer for the Gestapo. She is a French cross-dressing lesbian athlete, passionate about France and Joan of Arc, an unhappy woman easily swayed by those who flatter her. She is both a representation of Evil and a complicated question about how a person gets that way.
Prose’s many narrators create interesting questions, too. Are any of them, in the end, reliable? (Questions about the truthfulness of one in particular will be raised in the final pages.) There are many layers to this novel: the beauty and tragedy of Paris before and after the Nazis arrive; the fallibility of human nature; the visual arts (our famous photographer does much of the symbolic work, joined occasionally by Picasso); the challenges faced when any of us seeks to represent the past.
This is a fictional story but based in part on real people. The Hungarian photographer is based on Brassai, who took the picture called “Lesbian Couple at Le Monocle” which is described in the novel under the title “Lovers at the Chameleon Club, Paris 1932” and, obviously, serves as the keystone image of the book. The American writer is based on Henry Miller. The real people are simply starting points, though, along with the powerful, mysterious photograph which titles the novel. The story itself is an imaginative work, deeply intricate in its telling (all those narrators!), and compelling. I was intrigued, and certainly recommend Lovers at the Chameleon Club, Paris 1932 as enjoyable and thought-provoking. The audio version very appropriately uses various narrators for the various voices, complete with accents, and was a great way to experience the book.
Rating: 7 cigarette lighters.
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