Lydia Cassatt Reading the Morning Paper

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Overview

Harriet Scott Chessman takes us into the world of Mary Cassatt's early Impressionist paintings through Mary's sister Lydia, whom the author sees as Cassatt’s most inspiring muse. Chessman hauntingly brings to life Paris in 1880, with its thriving art world. The novel’s subtle power rises out of a sustained inquiry into art’s relation to the ragged world of desire and mortality. Ill with Bright’s disease and conscious of her approaching death, Lydia contemplates her world narrowing. With the rising emotional ...
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Lydia Cassat Reading the Morning Paper: A Novel

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Overview

Harriet Scott Chessman takes us into the world of Mary Cassatt's early Impressionist paintings through Mary's sister Lydia, whom the author sees as Cassatt’s most inspiring muse. Chessman hauntingly brings to life Paris in 1880, with its thriving art world. The novel’s subtle power rises out of a sustained inquiry into art’s relation to the ragged world of desire and mortality. Ill with Bright’s disease and conscious of her approaching death, Lydia contemplates her world narrowing. With the rising emotional tension between the loving sisters, between one who sees and one who is seen, Lydia asks moving questions about love and art’s capacity to remember. Chessman illuminates Cassatt’s brilliant paintings and creates a compelling portrait of the brave and memorable model who inhabits them with such grace. Lydia Cassatt Reading the Morning Paper includes five full-color plates, the entire group of paintings Mary Cassatt made of her sister.
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Editorial Reviews

ReadingGroupGuides.com
...a moving...portrait of the free-spirited artist and the sister and model who lived...with such courage, dignity, and grace.
Publishers Weekly
Elegantly conceived and tenderly written, this cameo of a novel ushers readers into a small, warmly lit corner of art history. Inspired by five Mary Cassatt paintings of Cassatt's older sister, Lydia, Chessman (Ohio Angels) paints her own intimate portrait of the admirable Lydia, chronicling Lydia's thoughts and feelings as she models for Mary in Paris in the late 1870s and early 1880s. All the while, Lydia is conscious that she is dying of Bright's disease, and her thoughtful contemplation of her life and dashed hopes give shape to the tale. Lydia, who is in her 40s, never married the man she loved was killed in the Civil War but she reveals a sharp, sophisticated awareness of desire in her observations of her sister Mary (May), and May's lover, the painter Edgar Degas. Chessman sees May as vividly as she does Lydia, describing her as a live wire, a woman with outsize ambitions for her times, but also as a devoted sister. Chessman's prose can be obvious and overcareful "I think May's sadness, when she heard my diagnosis, was increased by her memory of earlier sorrows" but her instinctive understanding of the sisters' relationship and her thoughtful description of their studio collaborations elevate this understated effort. The five paintings, beautifully reproduced, appear at intervals and acquire new depth even as they enrich Chessman's story.
KLIATT
This is a love story, in effect, between noted painter Mary Cassatt and her sister, Lydia. Against the background of 19th-century Paris, Chessman captures the careful balance of affection and tension between the two, Lydia, delicate now in 1878, fatally ill with Bright's disease, and May, robust, dancing her own dance with the more famous Edgar Degas, refusing outwardly to recognize the seriousness of Lydia's condition as she works to capture Lydia on her canvasses. The story is laid on the framework of four of the younger sister's paintings of Lydia: "Woman Reading" (1878), "The Cup of Tea" (1880), "Lydia Crocheting in the Garden" (1880), and "Woman and Child Driving" (1881). Despite herself, Cassatt captures the decline of her sister's health through her choice of postures, facial expressions and skin tones for her beloved model. The background of the novel is richly painted with flashbacks to their childhood, Lydia's suitors and what might have been, as well as the tantalizing relationship between May and Degas. Lydia's yearning, in the face of death, for a husband and children is palpable, and her determination to spend her waning energies posing to help her sister, isolated among loved ones who will not recognize or discuss her imminent death, rises to the heroic. She looks at the woman in the paintings, wanting to be that person May has painted. "Remember me," she thinks, "Don't allow me to be forgotten." And through her own courage and the genius of her sister's brush strokes she will not. Chessman, author of Girl With a Pearl Earring, handles strong emotions with a delicate yet revealing hand, her prose painting a picture as revealing as the paintings, skillfully insinuatingherself into the minds of characters, the spirit of the times and the breathing entity of Paris. A novel that vibrates with life. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2001, Plume, 164p., Boatner
Library Journal
Lydia Cassatt was the elder sister of American Impressionist painter Mary Cassatt; she was also one of Mary's favorite models. In this novel, told by Lydia, the Cassatts have taken an apartment in Paris so Mary can work with other artists there-Monet, Pizarro, Renoir, Degas-and develop her painting in concert with her peers. Lydia suffers from Bright's Disease and is frequently bed-ridden. When she is well enough, she poses for Mary. While modeling, Lydia has long hours to remember her life, contemplate her approaching death, and consider the larger questions of love, happiness, and how one leaves a mark on the world. Each successive painting for which she sits brings Lydia closer to the realization that she will be remembered, that she has indeed left her mark, and that people will know and appreciate her for many long years, through her sister's paintings. Chessman tells the story with feeling and sympathy, giving the listener the benefit of her intended emphasis and tone. Recommended.-Joanna M. Burkhardt, Coll. of Continuing Education Lib., Univ. of Rhode Island, Providence Copyright 2003 Reed Business Information.
Susan Vreeland
Laying down each sentence with exquisite delicacy, Harriet Chessman makes palpable the fragility and futility of desire in the face of the monster, mortality. For me, it achieves the sublime.
Tracy Chevalier
A lovely, moving book -- elegant in its economy, delicately powerful. Chessman beautifully captures the rich relationship between model and painter, and between sisters.
Kirkus Reviews
Shaded with intimations of mortality, a second novel touches tenderly on the relationship between Impressionist painter Mary Cassatt (1844?-1926) and her ailing older sister Lydia. Chessman (Ohio Angels, 1999) uses five of Cassatt's paintings and their circumstances to shape her story. Lydia, who suffers both from Bright's disease and from twinges of remorse at a life less fulfilled than her free-spirited sister's, is happy to pose for May (Mary) when asked and when able: most importantly, it gives the sisters time to enjoy the closeness they've long shared. For May, Lydia is both confidante and protector, possessed of a calm and sensible demeanor that the artist admires and relies upon. For Lydia, May is the one who, with enviable fullness, is truly experiencing this life of theirs in Paris of the late 1870s. In addition to her admiration for May's bohemian ways and the growing luster of her artistic reputation, May's friend Edgar Degas, who visits their sittings frequently and with whom May is increasingly intimate, reminds Lydia of her own romantic possibilities, lost on the battlefields of the Civil War. But Lydia is also mindful of her decline in ways that none of her family, already scarred by several untimely deaths, can acknowledge-not even May, who nurses her sister through one bedridden bout of fever after another and whose paintings of her Lydia scans intensely after they've been finished, as if they were telling her future. The artist and her muse move along increasingly separate paths, one to greater renown, the other to more debilitating illness, but each in her heart knows how much she has gained from the other. A moving and intensely introspective portrait of the wayart is created and life relinquished.
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Product Details

  • ISBN-13: 9781583222720
  • Publisher: Seven Stories Press
  • Publication date: 10/28/2001
  • Edition description: PERMANENT
  • Pages: 174
  • Sales rank: 729,182
  • Product dimensions: 5.25 (w) x 7.45 (h) x 0.83 (d)

Meet the Author

HARRIET SCOTT CHESSMAN is the author of the acclaimed novels Lydia Cassatt Reading the Morning Paper and Ohio Angels, as well as The Public Is Invited to Dance, a book about Gertrude Stein. Formerly associate professor of English at Yale University, she has also taught literature and writing at Bread Loaf School of English and at Wesleyan University, and has published several essays on modern literature. She lives in the San Francisco Bay Area with her family.
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Read an Excerpt



Chapter One


Paris, septembre, 1575


i.


"Could you model for me tomorrow, Lyd?"

    May's looking at me with a kind of urgency and hopefulness. I've been showing her some new dress patterns, as we linger at the table after breakfast. She looks sweet for a moment, and worried, and I say, "I think so."

    "Mother thinks it will make you too tired."

    "Yes, I do," calls Mother, from her room.

    "N'importe quoi. I'm so much better now."

    I drink my coffee, picturing the walk to May's studio. It's only a few streets away, just off the place Pigalle, but I haven't been well, and in any case I've become attached to this perch, our apartment on avenue Trudaine, in the gème arrondissement. We're in Paris, and yet we're also in our own world, five stories up; we've become a bit like a nation, The Cassatt Nation, small and besieged, at times, and independent. In the kitchen, the new maid Lise is clattering the dishes. Father rustles the paper in the parlor; he's been reading us bits out of Le Petit Parisien.

    I rise to look out the window. Over the tops of the apartments across from us, I see the white and cream buildings scrambling up the hill of Montmartre, among trees and gardens. Looking down to the avenue Trudaine, I see a girl in a royal blue coat and a redhat race along the street with a dog. I'm in love with all of this, this bright and foreign life.

    "I could have the carriage brought round, Lyddy."

    "Such a short distance, May! Don't be silly!"

    "The carriage is a good idea," Mother says, coming into the dining room. She's wearing her specs and her old white morning gown, with her light wool shawl. How old she's begun to look, I think.

    I know May needs me to model. It's partly the cost, of course, to hire someone else. To pay a model—well, it adds up, and Father's at her constantly now about making her way, and covering all of her own expenses, for the studio too. "Think for yourself, May," he said this morning, as we sat down to breakfast, "think what this costs us, and tally up your sales this year. Got to consider this."

    I glimpse two young men on the avenue, elegantly dressed, talking and gesturing energetically as they stroll. I open the long window and lean over the small balcon for a moment, to catch a better look. Perhaps May knows them. Maybe they're on their way to one of the cafés at the place Pigalle, to smoke cigarettes, and drink coffee, and argue about art. I see such men, often, sitting outside a café like Degas' favorite, Le Rat Mort. Women too go there; sometimes, as I walk with May, I see mothers and grandmothers sitting happily, with pretty children, eating sliced melon or apricot pie.

    Once I saw a woman sitting close to a young man. I glimpsed him nuzzling her, kissing her neck, and, before I could look away, I caught the expression on her face, a mixture of coolness and knowledge and pleasure.

    "I think I'll go to the Bois today, give your horse some exercise," Father says cheerfully to May.

    I look over May's shoulder. She's studying a pattern I chose at Worth's, for an evening gown with an off-the-shoulder décolleté.

    "It would look delicious on you, in a yellow silk," I say.

    May looks up. I can see she's studying me with her painter's eyes. Inwardly, I flinch; I feel shy, always, when someone looks at me. She's my younger sister, by a full seven years, I remind myself, even if she's thirty-four now, and yet I feel so much younger than May sometimes. I can't help wondering what she sees. I'm as plain as a loaf of bread.

    As if divining my thoughts, May smiles. She peels an orange with a little knife. "You can look away. You can be reading this time."

    "Ah, yes." I smile as I sit down across the table from her. May knows me well, for within this Cassatt Nation, my own small acre has treasures of books stashed everywhere, in the elbows of trees, beneath berry bushes, on benches by streams. My little house is composed of books: English and French novels, and books of poetry too, gold-edged, I, who am moderate in so much, who bend myself to family life, am most immoderate once I'm in my acre. I read for hours, with passion, ardently wishing the stone wall around me to hold, the little gate to feel the pressure of no hand, the latch to grow rusty.

    "I wish we had brought more of that honey back to Paris from the country," Mother says, her specs slipping down her nose. She's writing a list for Lise's shopping today.

    "I'm sure we can find good honey somewhere in Paris," May says drily. "You didn't have any orange this morning, Lyddy, did you?" she asks, holding out a section of hers. The peelings make a sphere on her plate.

    I accept the orange sliver.

    "Maybe you can just do the back of my head," I suggest.

    "Mais non, Lyddy. I want your lovely face."

    She looks at me teasingly, and for a moment I am riding in the country again, in West Chester, Pennsylvania. It's early spring, snow still on the ground in places, and we must have been back from our long stay in Europe for a year or so. We had buried Robbie in Germany. I picture myself riding with Aleck and his friend from Yale, Thomas Houghton. The day is chilly, and, once we've dismounted, I take off my gloves and rub my hands together, holding them to my mouth. Thomas is close to me. "Cold?" he asks, catching my hands in his, chafing, bringing them halfway to his mouth.

    "How about a profile?" May asks.

    "If it helps you out, May, yes."

    "You're helping me immensely. We'll begin tomorrow morning."

    I think of the quiet day tomorrow would have been, West Chester swirled away into the past now, along with Philadelphia and Pittsburgh, my life a new one here in Paris, talking to Mother and Father, reading a novel, looking through my patterns, hoping through it all to make some miraculous leap out of my condition, to become healthy again. I contemplate the slow descent down five flights to the avenue, and the slow walk by May's side, through a late September morning. I prefer the longer journey, along avenue Trudaine to the park at the place d'Anvers, because of the trees, the green island. Then up we walk to the busy boulevard de Rochechouart and the boulevard de Clichy, coming at last to the place Pigalle, my body increasingly assaulted and aroused by a myriad of things: the trolleys, the laborers, the shop assistants, the pavements in front of cafés still damp from being washed, the scent of coffee and bread, and of manure too.

    "Tomorrow morning, yes," I say, feeling worried but brave, and picturing my little boat, leaks and all, bobbing along in the wake of my sister's grander vessel, sailing to Heaven knows where.


ii.


I sink into the plump green chair in May's studio, holding the paper.


After breakfast this morning, Mother asked me a dozen times if I really felt well enough, demanding that May paint only for an hour, or at most two. As I put on my bonnet and gloves, Father too began to fret. "Are you warm, Lyddy?" he asked. "Make sure she stands up to stretch, at least every half-hour, May." Then he called to Lise to "bring Mademoiselle Cassatt's slippers, and—what about a small pillow?" After all this fuss, as always, I questioned the entire idea of modeling. If I became exhausted before I arrived at the door of our apartment, how could I possibly think of helping May?


I listen to the city's constant clatter and clamor outside the windows of May's studio, and I think of the shops we passed this morning, so much more seductive, even in this gritty district, than those I remember in the States. Each shop window lures me with something delicious or fine: prâlines, cut flowers, linens and silks. "It makes America look pretty bare, doesn't it?" May said to me last week, and she's right, in a sense. Certainly shops like the ones near the new Opéra and the Tuileries amaze the wealthiest of our American friends. All of them flock to the Bon Marché too, and the other grands magasins, filled, layer after layer, like the inside of wedding cakes, with things to buy. Philadelphia can't compare, and yet I sometimes miss those modest shops. Something appeals to me in restraint.


Le Petit Journal becomes absurdly heavy in my hands, and my arms ache. I've read all the articles, and editorial opinions, and advertisements too, and now I'm wishing I had my book. "Women are always pictured reading books," May said, as we set up this morning. "A newspaper is perfect. And what could be better than Le Petit Journal? It's so modern. It shows you're a thinking woman." I yearn, though, for the novel I began yesterday and left sitting on my bed—Madame Bovary. I'm reading it for the second time, and I relish it even more now than I did when I was younger.


iii.


As I pose, I remember how Mother loved sitting for her portrait last spring. She would make light of her contribution—"All I do is lounge in a soft chair and read the paper," she'd say, waving her hand—but she would seem happier than usual, as if she had been granted a second life in the studio, more carefree, more glamorous, than this one. Father's irritations and demands seemed to reach her only through a haze. "Yes, my dear," she would say happily, "I'll be sure to come home tomorrow well in time for lunch," or "Of course I'll write to Aleck and to Gardner tomorrow."

    When I first saw Mothers picture, the painting seemed reckless, May's brushstrokes bold, Mother's déshabillé a harum-scarum wash of colors. I felt wonder, and jealousy too. This shimmer, this feeling—how under Heaven had she created this? The painting showed Mother, simply herself, with her specs, reading the paper as on any ordinary morning. Yet May had caught a feeling, a whole moment, in paint. It was every bit as striking as Berthe Morisot's pictures, and more appealing to me than any of the ones I'd seen by May's other new friends, even Renoir.

    How courageous May had become! To paint the ordinary, a woman in her morning dress reading Le Figaro, and to make the picture dance like this, to feel unbound by all the things one had been taught, or by the paintings put up each spring at the Salon, so dark and classical. Mother praised Mays painting in her offhand manner-"Lovely light, don't you think, Lyddy, and look how May used the mirror!"—but I knew she felt proud.


with her, because she never listens. At dinner that night, when I begin to tell the story, May and Robbie interrupt, and then Father says she should bare lessons with us if she's so bent on jumping.

    As May brings me my tea, she reminds me of a mermaid; something about her floats, skims the waves. For a moment I wonder what it would be like to be an artist. How does a woman make such a choice? Or is it something that comes to one, like a gift from heaven?

    "Et bien, you look thoughtful, Lyd."

    I smile, brushing the air in front of my nose as if to say, It's nothing. Sipping my tea, walking about May's studio, I study some of her pictures a woman holding out a treat for a dog, a woman reading, sketches of Mother by the lamp at home. I come upon one of May's self-portraits too, the little gouache on paper, and think how much more striking it is than some of the other pictures, and how odd she looks in it, not quite like herself. She appears serious and jaunty, leaning hard into a green cushion. Her dress is lovely, the white one Madame Ange made for her, but her face looks sad, and stubborn too.

    Bold she is, and not like other women.

    "Do you like this one?" May is at my shoulder.

    "I do. Well, `like' may not be the right word."

    "No?"

    "I find it formidable."

    "Well, I don't mind being formidable!" May slips her arm through mine.

    "Yes, and I admire the dress too."

     "You helped me find the material for that dress, Lyddy, tu te souviens?"

    It occurs to me that May has in this self-portrait an air of someone looked at—looked at by someone else, I mean, and not me, or Mother. I think of Degas. She's with him so much now, and certainly she admires his painting immensely, and she's learned from him, about color, and angle, and brushwork, and capturing the ordinary life.

    The picture holds more than all this, though; it's as if May painted it as he looked over her shoulder.


v.


As I sink into the green chair again, taking up le journal, May says, "You look splendid today, you know, Lyd."

    "Thank you. Maybe it's your eyes."

    "Mais non, anyone would agree with me, Lyddy. You've always been beautiful."

    As I find my pose, I think about how, when I first met Degas, he gave me the impression of an intelligent but fierce dog—well-dressed and utterly comme il faut, but a dog nonetheless. He bit into subjects—the foolishness of one artist or another, the insipidity of someone's latest effort, I can't remember—and all the while his eyes lit on things in our apartment, with an air of studying and maybe breaking them: the tea set, the Japanese vase on the mantel, me. I felt sure that if I opened my mouth, he would pounce. It's a kind of brutality.

    And yet, something else emerged as he asked me questions. "Had I begun to feel better?" he asked, and "What was I reading?" When I told him, "Jane Austen," he looked curious. "Ah, lequel?" "Persuasion," I said, and then, surprisingly, his eyes lit on mine. A feeling connected us, quickly and with an absorbing depth. I wondered what he felt. In allowing myself to look at his face, which had seemed so arrogant and almost ugly a moment before, I discovered a sadness, maybe, or a sense of pain. It was as if I had rounded a corner, in a strange city, and had come upon a scene of terrible intimacy: a man weeping, a child ill. Yet, before I could think of something to say, the city rose up before me again, with its elegant avenues and public spaces, its overwhelming buildings, looming, sharp-edged.

    I wonder about May, for she seems to welcome his presence. Certainly, he seems to have made of her—and of me too—an exception, and yet this sensation of being protected from the Cyclops by the Cyclops himself, while he eats everyone else in sight—well, it's fragile at best. And he does eat people, I know, one friend after another.

    And yet I could see what he meant to her, from the beginning. His invitation to her, a year ago, to join his group of Independents, came to her as an invitation to live, to create the art she knew she could create. Her whole desire now is to have her début in the Impressionist Exhibition this spring.

    At tea, on that first meeting, I saw something else. In the air between him and May, I sensed something bright and resonant. She smiled, and he bent toward her.


In May's studio, my arms ache again. May and I have been quiet for some time. I catch myself almost sleeping when May's voice cuts into the drowsy air.

    "I might go to the Louvre this afternoon, Lyddy. Could you come too?"

    "I'd love to, if I feel able."

    "We could look at the Dutch collection again."

    "Oui."

    "Maybe May Alcott will come with us. We can go by carriage, and fetch her."

    May Alcott, Louisa May Alcott's sister, is married to a Swiss man now, so we see her much less, but I welcome our outings with her, and with our young and wealthy friend Louisine Elder. To go about Paris with this small crowd makes me feel young and careless, or, as careless as I can be.


Love comes, or illness. Last summer, my life changed, all in a day. After asking me questions, with his little pince-nez glittering, the doctor took May and Father aside to discuss my situation. Mother was ill then. When May returned to my room, her face a map of worry, I knew in a moment how bad it was, and I knew too how she would fight this truth, how everyone would fight it. I could not hear all of her words, because the world seemed to become unreal, as if I were miles away, looking through the small end of a telescope, just as I used to do with Robbie's when he got a toy one for Christmas one winter at Hardwicke. I would sit in the window seat, behind the curtains, and point the instrument out to the meadow, and at first I could see the horses so clearly that I could watch the breath coming out of their nostrils, and then I'd turn the telescope around, and suddenly the meadows, and the road, and May's snow castle, and the flower garden—dry sticks in snow now—would become tiny, a perfect miniature. Only this time, when May spoke, the miniature held her and me and my bed, in my room in Paris, and all around the world had vanished, and I felt myself too to have no substance, but to be made of air. Pain and air.

    "Brights Disease," she said, and I almost laughed, thinking how ridiculous that a disease of the kidneys should be associated in any way with brightness. "But, Lyddy, even a French doctor can be wrong. We must simply watch your diet, and keep you well rested. That's all there is to it. You must simply be careful."

    But how can carefulness make this all right? It's not up to me. Heaven knows, I'm nothing if not careful. This illness is inside me. I feel that I live on a plank jutting out over an ocean filled with sea monsters. Sometimes I think I'm better. But maybe it's just that a pavilion has been created around my little plank, right by this ocean, sea monsters or no, and so much goes on in it—jugglers, singers, romance—that I am merely distracted and amused.


"Lyddy, did you hear me?"

    "Désolée, I must be daydreaming."

    "I can tell! I have to pull you back, Lyd, right back into that chair. You left me quite alone there, for a few minutes. Where did you travel to?"

    I smile. "Oh, well, I go anywhere I wish, May: Pennsylvania, Germany ..."

    "Not Germany!"

    "Actually, I was probably thinking simply about our apartment, and lunch."

    "Lunch can be an absorbing subject, I know."

    "Yes, and that pattern for a new gown."

    "Another absorbing subject."


I can't always tell May my thoughts, because she can't bear to face illness or death. My whole family's like that.

    I think May's sadness, when she heard my diagnosis, was increased by her memory of earlier sorrows. The doctor, even, may have reminded her of other doctors, like the fat German one in Darmstadt, who looked at Robbie's legs, and told us there was nothing seriously wrong with him. All we had to do, he said, was to make Robbie exercise with regularity, and take some medicine to strengthen his bones. For awhile we could all look at each other as if the world were an ordinary place.

    But if something comes to someone, and makes of their body a house to waste and gnaw at, doctors can do nothing, and love can do nothing either. The baby, George, died too, only a month old, when May was just beginning to walk, and, before I was born, the baby girl, Katherine, named for Mother. Once the youngest, Gardner, came into the world, three years after George, I could hardly bear to look at him, for fear he too would be still and cold.


"I think that'll do for today," May says. I can tell she's pleased with her start.

    I rouse myself, and shake off my thoughts. To be in May's studio, now, in Paris, and not in Darmstadt, or in Pennsylvania either—to have come this far—well, it's lucky.

    "May I seep" I ask.

    "It's only a start," she says, and I look at a swath of white paint—the fichu around my shoulders—and the beginnings of a woman's face, in profile, the nose and mouth painted with delicacy, the eye a darker line, and a sketchy band of brown for her hair, whitish-pink broad strokes for her cap.

    Something about this woman, half-suggested in oil, makes me bend toward her. Who is this? I ask myself, for I can't think it's me, and yet I know, with exquisite pleasure, that it is.


vi.


As I sit in my armchair, reading Flaubert, later, the image of this woman, the one May is painting, comes to me again and again. I discover a yearning to be close to her, to be present as she comes closer to the surface. It's like watching someone swim toward you, only it's much slower, and you see her at first underwater, a moving blur, and you wait for the moment when you'll see her arms, and then her face, her hair streaming wet in the light.


I could never confess this to anyone, and I can barely even think it, but I'm aware too of another sensation, the feeling of May's eyes on me, as she painted this morning. Do other women have such feelings? It isn't that I feel beautiful. It isn't something outward or visible, really, at all.

(Continues...)


Excerpted from Lydia Cassatt Reading the Morning Paper by Harriet Scott Chessman. Copyright © 2001 by Harriet Scott Chessman. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.


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Table of Contents

1. Woman Reading 1
2. Tea 39
3. The Garden 75
4. Driving 105
5. Lydia Seated at an Embroidery Frame 135
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Reading Group Guide

DISCUSSION QUESTIONS:

Q>Does Lydia's illness permeate her every action or does she transcend its physical limitations?

Q>Why is Lydia so jealous of Mary's relationship with Edgar Degas?

Q> Degas confesses to Lydia, "You show me how to live, if only I could do it as you do." What does he mean by this? What is Lydia's reaction?

Q> How does Lydia feel about being the passive sitter as opposed to the active artist?

Q> Lydia tells us that she cherishes her time with Mary, yet she feels guilt that she is keeping Mary from her work, especially when her sister spends time nursing her during intense bouts of her illness. How does this dynamic play out in the story? Does Mary resent having to care for Lydia?

Q> Describe Paris in the late 1800s through Lydia's eyes. How is it a different place from the Philadelphia she knows so well? Discuss what she means by being "in love with this bright and foreign life."

Q> How would you describe Lydia's relationship with her mother and father? How does this compare to Mary's relationship with them?

Q> What does Lydia admire most about Mary's work?

Q> What is the message Lydia receives from Mary through her painting, Driving? Is this Mary's lasting gift to her dying sister?

Q> How does the spectre of The Civil War hover over the Cassatt family? In what ways has it influenced all their lives?

Q> Because of Lydia's illness, images of mortality-some graphic, others allusive and allegorical-are found throughout the novel. What is the author trying to say about death and life?

Q> Lydia says she "can't tell May my thoughts, because she can't bear to face illness or death. My whole family's like that." How does Lydia feel about this? What has made her family this way?

Q> Why does Lydia have such a powerful, visceral reaction to the subject of one of Mary's paintings, Woman Reading? As Lydia says, "I can't think it is, and yet I know, with exquisite pleasure, that it is." How does she view herself as model and muse for her sister?

Q> As death draws nearer, how does Lydia change?

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Customer Reviews

Average Rating 3.5
( 7 )
Rating Distribution

5 Star

(1)

4 Star

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3 Star

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Sort by: Showing all of 7 Customer Reviews
  • Anonymous

    Posted November 2, 2002

    it is fiction afterall

    Why would anyone read fiction to find an absolute truth? it offers a chance to explore what could be the truth. to call an author arrogant and exploitive is to condemn all who write fiction or explore a possible reality.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 9, 2006

    so disappointed..

    Eh. I really hate it when I get excited over a book and then it bores me senseless. That's what this one did. Bummer. Usually, when I write a book, I say something along the lines of 'it was well written but..' and usually, what I mean by that is 'I didn't really like it much, but I understand what the author was trying to do..' or something to that affect. In the case of this book, I understand that the author was writing a fictional work about the Impressionist painter, Mary Cassatt. Now, either Mary Cassatt was the most boring person in the history of existance or this author just doesn't posess the knack for storytelling. To me, the book was not only boring, but unfocused and abrupt. It details the process of five paintings and devles into the relationship between Mary and her model her sister Lydia, who is very ill and dying. While the book does touch upon their relationship, it doesn't go deep enough..there are other characters that are introduced who soon disappear leaving the reader wondering 'so who is this? how do they know him? oh wait, it doesn't matter, because now he's gone from the story.' A total feeling of dissatisfaction. Generally, I like the historical art fiction novels. Not so much this one. I've said it before, but if you're looking for something in this genre, pick up something by Tracy Chevalier or Susan Vreeland..they're wonderful.

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  • Anonymous

    Posted July 3, 2002

    A Novel That Should've Been A Poem

    I am wondering if anyone else has considered the larger moral issue here, which is the author's assumption that she has the ability (or the power, perhaps?) to reconstruct the thoughts and feelings of a person who actually lived and breathed. Is this book an honoable attempt to give a voice to someone who lived largely in the shadows of a larger than life figure or does this book depict the height of arrogance and exploitation despite its lovely language and favorable portrayal? I enjoyed many elements of the book, but the feeling that somehow I was participating in the objectification of a tragic soul for the sake of a good read marred my ability to really get everything out reading the book that I hoped for.

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  • Anonymous

    Posted November 20, 2001

    A wonderful book---would make a fantastic gift for someone special

    This book sensitively explores the relationship between sisters, between poetry and art, between life and death, between love and loss. It's the best book I've read all year. The writing is very gentle and warming, in complete contrast to the bitterness and cold feelings of Girl with a Pearl Earring. Read it, enjoy it, and tell all your friends; writing this good deserves to be shared.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 8, 2010

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  • Anonymous

    Posted November 11, 2009

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  • Anonymous

    Posted February 17, 2011

    No text was provided for this review.

Sort by: Showing all of 7 Customer Reviews

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