Le Mariage

Le Mariage

3.3 3
by Diane Johnson
     
 

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A sparkling new novel-a comedy of manners from the author of Le Divorce, an acclaimed national bestseller and 1997 National Book Award finalist

Many have compared Diane Johnson to such great literary figures as Jane Austen, Henry James, Edith Wharton, and F. Scott Fitzgerald-all expatriate writers who in one way or another contributed to the developmentSee more details below

Overview

A sparkling new novel-a comedy of manners from the author of Le Divorce, an acclaimed national bestseller and 1997 National Book Award finalist

Many have compared Diane Johnson to such great literary figures as Jane Austen, Henry James, Edith Wharton, and F. Scott Fitzgerald-all expatriate writers who in one way or another contributed to the development of the "international novel." Johnson puts a contemporary twist on this venerable form with her keen-eye portraits of modern-day Americans living abroad.

In Le Mariage, as in Le Divorce, she masterly portrays Paris-both its outward splendor and its secret inner workings. Le Mariage introduces a proper young French woman engaged to a struggling American journalist hot on the trail of a breaking story: the theft of a valuable illuminated manuscript from a collection in New York, which rumor has it may have found its surreptitious way into the hands of a reclusive film director living on the outskirts of Paris. The director's wife, an American beauty and former actress, enters a Kafkaesque nightmare as she finds herself wrongly accused of desecrating a national monument. Johnson's clever plot and delightful characters are to be savored, but Le Mariage also offers brilliant insights into relationships between men and women; marriage and morality as it is perceived on both sides of the Atlantic; and the chaos that ensues when well-off, well-meaning people attempt to give something back to an imperfect world that has been so unaccountably good to them. Le Mariage is Diane Johnson at her very best.

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Editorial Reviews

New Yorker
In the end, it's Johnson's insights that account for the charm of these books ... Her novels, of course, retained the characteristic mixture of earthly sensuality and astute judgments about human nature that had made her reputation."—April 10, 2000
New York Post
At her best - and 'Le Mariage' is certainly that - Johnson's juggles a cleaver plot and complex characters with both wit and soul."—April 2, 2000
Publishers Weekly - Publisher's Weekly
Even more knowing and perceptive than Le Divorce, Johnson's second novel about American expatriates in France is another wickedly clever comedy of manners. Her amused irony infuses this story of two romantic relationships. Good-natured Tim Nolinger, an easygoing journalist of mixed American and Belgian ancestry, is engaged to adorable Anne-Sophie d'Arget, who runs a boutique selling equestrian memorabilia in the Paris flea market. When Tim pursues a story about a stolen medieval manuscript called the Driad Apocalypse, their lives intersect with those of a former American film star, Clara Holly, and her husband, famous and reclusive director Serge Cray, who live in a ch teau in the suburbs of Paris. Peripheral characters include Anne-Sophie's mother, a cynical Parisienne novelist whose romance novels contain platitudinous advice about love that her daughter takes seriously; various members of the American community in Paris; the villagers of Etang-la-reine, who resent the rich property owners from the States and whose anger about the loss of their hunting rights triggers a plot against the Crays; two visitors from Clara's hometown in Oregon, and the members of a millennium cult there, who are pivotal in the drama of the purloined papers. What will be even more satisfying to Johnson's fans is the appearance of a character from Le Divorce, the dashing Antoine de Persand. In six degrees of separation, everybody is connected, yet the coincidences are artfully managed. Johnson's crisp manipulation of the engagingly convoluted plot is rooted in her central theme of French misconceptions about Americans, and vice versa. As exemplified by Holly and Cray, even those who share the same culture habitually fail to estimate the other accurately. Johnson's barbs are sophisticated and sharp, her amused irony is easily maintained, and her finesse at narrative is as fine tuned as her cultural sensitivity and her instincts about human behavior. As the novel ends, it is not surprising that le mariage of Anne-Sophie and Tim seems doomed by misunderstandings, but an adulterous liaison between two other characters conveys the mesmerizing passion of true love. (Apr.) Copyright 2000 Cahners Business Information.|
Library Journal
Like Henry James and Edith Wharton, Johnson's most recent novels (Persian Nights, Le Divorce) have explored the cultural misunderstandings between the sophisticated Old World (Iran, France) and the brash yet na ve New World (America)--but without the tortuous Jamesian prose and with a contemporary satirical wit. Her latest, Le Mariage, is a delightful companion, rather than a sequel, to the National Book Award-nominated Le Divorce. Set again in Paris with a few overlapping characters, the plot revolves around two couples--Tim Nolinger, an Belgian American journalist engaged to the very French Anne-Sophie, a dealer in equine collectibles; and the very beautiful American Clara, a former actress married to the reclusive film director Serge Clay. Thrown into the entertaining mix is a stolen illuminated manuscript, a murdered flea market dealer, Y2K cults, an adulterous liaison, and of course Johnson's perceptive and witty insights on love, marriage, and Anglo-French relations. Highly recommended. [Previewed in Prepub Alert, LJ 9/1/99.]--Wilda Williams, "Library Journal" Copyright 2000 Cahners Business Information.\
Angeline Goreau
Johnson, one of our most astute cultural critics, is conveying a message about the anything-goes dishevelment of modern life . . . A splendid entertainment, decorated with speculations of a redeeming nature.
The New York Times Book Review
Hawthorne
Like Jane Austen, Johnson delights in the worldly rituals surrounding courtship and marriage, but she is just as interested in the far-reaching legal consequences of marital unions and disunions, and in what laws can reveal about the cultures they are enlisted to defend.
&151;The New Yorker
From the Publisher
"Splendid entertainment... Johnson is one of our most astute cultural critics." —The New York Times Book Review

"A comic novel in the classic manner, with smart style, piquant suspense, and dog-earingly epigrammatic prose." —San Francisco Chronicle

"A witty romp." —Elle

"Johnson whips love and marriage into a frothy souffle...delicious." —Entertainment Weekly

"Like Jane Austen, Johnson delights in the worldly rituals surrounding courtship and marriage...she is a philosopher as much as a novelist."—The New Yorker

"Rich, nuanced, and highly satisfying." —Glamour

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Product Details

ISBN-13:
9780099421856
Publisher:
Vintage/Ebury (a Division of Random
Publication date:
08/28/2001

Read an Excerpt

Chapter 3: Anne-Sophie
The agreeable Tim Nolinger was the future son-in-law of the well-known French novelist Estelle d'Argel (Les Fruits; Doric, Ionian; Plusieurs Fois), engaged to her daughter Anne-Sophie. What a misfit the two of them, Estelle and Anne-Sophie. Her daughter's fiancé did not quite please the worldly and practical Estelle, who had greater ambitions for Anne-Sophie, had hoped for a count or a promising politician, or a future Academician, or at the least a sports figure-if from a respectable sport like tennis. Or at least someone French. Tim did play tennis, of course, but only as a form of recreation.
Anne-Sophie, a concern to her mother, was the American community's ideal young Frenchwoman, trim, confident, flirtatious, cheerful, enterprising, with her little shop. After attending Sciences-Po, she might have assisted a government minister or become an attaché de presse at a publishing house, but drifted instead into dealing in horsey artifacts, a hobby since girlhood. Anne-Sophie's stand, Cheval-Art, formerly belonged to a Monsieur Lavalle who, as he aged, spent less and less time there and over the years had pretty much turned the business over to Anne-Sophie, especially the bookkeeping and the buying; he would come in occasionally on Monday afternoons to take a turn at the stand. Their association had begun when she was still at school, and hung about, little by little betraying a knowledge, remarkable in a jeune fille, of Niderviller horse figurines and antique tack. At first her mother had mistrusted Monsieur Lavalle's intentions regarding Anne-Sophie, but she needn't have, for Lavalle was altogether gay.
Anne-Sophie, at home in her small apartment on the rue Saint-Dominique, was preparing to bathe. Rosy and compact, her breasts the little pink-tipped breasts of a Boucher nymph, she brought to mind a particular picture in the Musée du Luxembourg. Nipples just peeking out of the suds. Perhaps a polished toe surfacing at the faucet end. Anne-Sophie lined up the stuff she used for her elaborate baths: bath oil, soap, shampoo, rinse, crème de gommage, razor, pumice.
But tonight she felt too devastated, and at the same time excited, to unscrew the tops and embark on the long, absorbing ritual which might lull her mind into a sense of the ordinary after the shocking events of the day. These she wanted to keep a keen memory of, for Tim, when she met him at the princess's party. His journalist instincts would prompt questions she wanted to be able to answer. She had noticed everything, she thought, in case Tim should ask something specific, like "What was the guy wearing?" Gray shirt, blue knitted gilet, blue knitted tie soaked in blood! When it came to Tim Nolinger, Anne-Sophie had a Frenchwoman's sense of vocation-but she was also an expert in hunting prints and a very good businesswoman.
Anne-Sophie had from her novelist mother Estelle two versions of maternal lore on how to lead life. On the one hand were the lessons of the real life Anne-Sophie saw being lived by her mother and father, her brother and herself; on the other was the general philosophy she found expressed in Estelle's works, which represented a reality at once more sophisticated, more cynical, and more exacting. For instance, the comtesse Ribemont in Against the Tide says, "Never make a man feel guilty," whereas at home, her mother had often ignored the countess's principles by snapping at her husband, "You might have called, I've been frantic," or "Where have you been?"
Of the two, Anne-Sophie had concluded that the countess was probably right. There had been nothing really wrong between her parents, just a certain detachment Anne-Sophie found disappointing. Daily life could be led more beautifully, more passionately; Anne-Sophie had therefore patterned her behavior and beliefs on things her mother had written. "Pay attention to the petits soins," Madame Godchaud, the worldly grandmother in Plusieurs Fois by Estelle d'Argel, tells her granddaughter who is about to be married. The little details of grooming. That meant obsessive depilation and having dainty lingerie. So Anne-Sophie was careful of the petits soins both by nature and by the study of her mother's works, whereas in life Estelle had never mentioned such things, beyond the usual admonitions about clean underwear.
Patterning yourself after books can make you seem rather literal-minded, unable to figure things out for yourself, so Anne-Sophie was taken by some people to be too literal-minded. And someone interested in horses, in the common mind, was bound to be earthy and simple-a girl cannot be both horsey and flighty. So Anne- Sophie was misunderstood as a sensible outdoorsy girl, when in fact she also had a yearning for luxe and frivolity.
She clamped her mirror between her knees to keep it out of the suds and worked on her eyebrows, but her mind wasn't on them. She was thinking of the gruesome sight she had seen that day in the flea market.
The reception was at the undeniably grand rooms of an elderly American, the princess Dorothy Minor Sternholz, married to Blaise. Sternholz was not a French prince, of course, but something more easterly, perhaps Lithuanian or Czech, his a flimsy, distant title more imposed on him than claimed. (The French love titles, their revolutions notwithstanding. For that matter, Americans do too.) Blaise Sternholz the prince, the publisher of a sporting newspaper and a member of the International Olympic Committee, had been raised in the Sixteenth Arrondissement and had never been to Lithuania. Dorothy was a permanent fixture among Americans in the City of Light, and had notable art works acquired during a period before her marriage when, on the evidence of a number of paintings she posed for, she appears to have known quite a few French artists quite well.
The American community in Paris was something of a world unto itself. Americans there had their charities, their futile long-distance involvement in American politics, their periodic attempts to disseminate American wisdom, thought, and literature to France as in the days of Tom Paine, their English-language cooking classes, their music, their American Church and American Cathedral, their knot of French friends, their effusive celebrations of the slightly has-been American celebrities who turned up here, their embassy presided over by someone amusing sometimes-the new ambassador being viewed warily after the radiant hospitality of the last one-and the special store where they could buy their peanut butter and popcorn. Perhaps there were no natural contradictions between the French landscape and the Americans who inhabited it so diffidently, but it often seemed that Americans would do well to stay out of what they did not understand. Or was it they who brought the harm?
Arriving at Dorothy's party before Tim, Anne-Sophie embraced the Americans of her parents' age assembled there. Everyone kissed her in the French fashion. Especially intent kisses from Olivia Pace's elderly husband, the rich Robert Pace, did not escape her, nor his squeeze of her hand; he was what the French call a vieux beau. Dorothy crossed to give her the usual two kisses. The princess's affection for Anne-Sophie stemmed in part from fellow feeling. Whereas Anne-Sophie's real mother was so unlike Anne-Sophie that she had never understood her, Dorothy did. Anne-Sophie's interest in horses put her in mind of her own interest in sports, and she often remembered the sense of unfeminine deviance and marginality that went with it, though Anne-Sophie was French femininity itself. Dorothy prided herself on being a great expert on French attitudes and culture, knowledge largely gleaned from her husband, whom she had met as a member of the U.S. Olympic rifle team forty years before.
Anne-Sophie raised her delightful chin, slightly dimpled like a child's, and gazed around the room for people more amusing to talk to. Disappointment. The usual suspects, and no other French people except the hopeless Madame Wallingforth. With despair she scanned the pretty rooms in deep salmon pink, curtained in green, candelabra of French vermeil, oil paintings of American subjects, especially barns and petits bateaux, large sofas in lime green, growly Anglo voices, that tall red-eyed anthropologist, and the pretty secretary or whatever she was, about whom, always, many rumors, the usual drab professor in bow tie and the plump wife-was this a reception for one of the bow ties, a famous economist or historian, was that it?-someone who had written a book, another book, about France? Zut, they produced them endlessly, anglophones and their books. Even Tim threatened to write one.
"Your reprehensible Tim telephoned to say he'll be late," Dorothy told her. "He's stuck in a taxi from the airport."
"Tant mieux, I'll have revenge then before he gets here." Anne-Sophie laughed and made a beeline for the good-looking black actor Sam Strait.

Reprinted from Le Mariage by Diane Johnson by permission of Dutton Books, a member of Penguin Putnam Inc. Copyright (c) 2000 by Diane Johnson. All rights reserved. This excerpt, or any parts thereof, may not be reproduced in any form without permission.

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What People are saying about this

From the Publisher
"Splendid entertainment... Johnson is one of our most astute cultural critics." —The New York Times Book Review

"A comic novel in the classic manner, with smart style, piquant suspense, and dog-earingly epigrammatic prose." —San Francisco Chronicle

"A witty romp." —Elle

"Johnson whips love and marriage into a frothy souffle...delicious." —Entertainment Weekly

"Like Jane Austen, Johnson delights in the worldly rituals surrounding courtship and marriage...she is a philosopher as much as a novelist." —The New Yorker

"Rich, nuanced, and highly satisfying." —Glamour

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