The Pleasure of Eliza Lynch

The Pleasure of Eliza Lynch

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by Anne Enright

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The novel opens in Paris, in the midst of the sexual embrace that makes Eliza Lynch the mistress of Francisco Solano López, the third dictator of Paraguay. She is nineteen years old but wise beyond her years-initiated into sex by a Mr. Bennett, a friend of her family's, while still at school, she has had many lovers and even been married, to an abusive…  See more details below


The novel opens in Paris, in the midst of the sexual embrace that makes Eliza Lynch the mistress of Francisco Solano López, the third dictator of Paraguay. She is nineteen years old but wise beyond her years-initiated into sex by a Mr. Bennett, a friend of her family's, while still at school, she has had many lovers and even been married, to an abusive Frenchman named Quatrefages from whom she escaped in north Africa to return to Paris. She is currently a society paramour who maintains a respectable façade even while sleeping with a dressmaker in exchange for credit. López is a young comer in Paraguayan politics, the son of the current dictator, who is in Europe on a diplomatic tour and to recruit engineers and others to help on his plan to build the first railway in South America. He goes to Eliza Lynch for French lessons, but history has other plans for them. A few months later, Eliza realizes she is pregnant.

Eliza accompanies López on his tour of the continent and they are now aboard the Tacuarí, having made the Atlantic crossing and navigating the Rio Parana towards Asunción, Paraguay, López's home. Hugely pregnant, Eliza swings in a hammock feeling simultaneously imperious (she drinks champagne, cooled by being dragged through the river's water on a rope; she presides over card games which mimic the high society she has left behind and gets to know the English engineer and Scottish doctor her husband has hired) and helpless, completely out of her element in a tropical, buggy landscape. But Eliza is a quick study-she befriends Miltón, her husband's Guaraní Indian servant, who teaches her to starch her dresses with porridge to combat the humidity, as the locals do, and quickly begins to think about fixing up Francine, her maid, with one of the men her husband has recruited to assist in his nationalist ambitions. Eliza proves herself a formidable woman, with exactly the right combination of strength, will, resources, and the strategic ability to make allowances for the powerful that will prove her, over the course of López's rule, his most powerful ally. When it becomes clear López-"my dear friend" as Eliza calls him-wants to sleep with Francine himself, Eliza sends the girl off to him, consolidating her own power even as she betrays herself. As they arrive in Asunción, she dresses in a lilac gown that is at the cutting edge of Paris fashion, astonishing the crowd at the pier with her poise, her beauty, her blonde, physical foreignness, even as she is going into labor. Throughout the book, chapters that tell the story of the journey up the Rio Parana, written in Eliza's voice, are interspersed with chapters narrated mostly by Dr. Stewart, the Scottish physician, telling of the legend she later becomes, of the war her husband wages, and of its consequences for her and the men whose company she kept in the elegiac, innocent days aboard the Tacuarí.

Eliza becomes a scandal when they reach Paraguay. From the moment of their arrival in Asunción, which quickly gains the status of popular legend as Eliza's union with López becomes a national fact, she is a larger-than-life figure. López's family rejects her, but the strength of his will-he is a man whose ambitions may not be refused, from the quotidian desire to possess a woman, to the political desire that will shape Paraguayan history-establishes Eliza as something they will have to deal with. Her son is born, though Stewart, who was to have been her personal physician, is so horrified by her as a person that he does not attend the birth. She has the boy christened in order to make him the legitimate heir (despite his bastard origins and the existence of another son by López's previous mistress). The women of Paraguayan society shun her-she builds a beautiful Quinta (villa) where she entertains all the strategically important men, but none of the women will befriend her. She hosts a picnic on board the Tacuarí to celebrate the importation of some Basque peasants who are supposed to build a new town. All the women of Asunción attend, but none of them will speak to her. As retaliation, she has Miltón, in the role of major-domo, throw all the food overboard, and keeps the ship at anchor in the hot sun for most of the day, until the women are fainting from the heat. In an act which hastens the old López's decline and her lover's ascent to head of state, Eliza builds a gorgeous theater, modeled on the great theaters of Europe, and mounts a play written by a European actor she has imported, but based on Paraguayan national themes. It is her bid for the office, even if only symbolic, of Paraguayan First Lady. Francine, the maid, dies horribly, of a tropical illness that eats away much of her jaw and facial features-and in treating Francine, Stewart reconciles with Eliza.

In 1865, three years after his father's death, López's territorial disputes with Brazil, Argentina, and Uruguay lead to the War of the Triple Alliance, with tiny Paraguay at war with all tttttthree nations. Dr. Stewart, the Scottish doctor we met on the Tacuarí (and who is now married to a Paraguayan society girl named Venancia Baez, whom he has grown to intermittently love and find extremely annoying), watches as the war grows and becomes ever more bloody and farcical-it will eventually result in the deaths of what is reportedly half the national population-and López's sanity becomes more and more questionable. He envisions the war as a vast canvas of would-be heroism and actual shame and ruin. And whither López, so goes Eliza. Rumors are that it is her ambition and rapaciousness more than his that spurs on the war; that she is his procuress, providing him with an endless succession of girls whose virginity she verifies herself; even that she is a cannibal who eats the battlefield dead. Public appearances are more and more rare, but Stewart does see her in the road near a graveyard late one night, walking without her usual entourage, completely alone. He follows her for a time, then catches up and walks her home, and at the door kisses her, and magnifies that kiss in his imagination into a sexual embrace. It is not until years later that he realizes she must have been visiting the grave of a child who died in infancy. She gives a dinner-party for him and some of the rising officers of the army, and in a brief moment away from company reveals her sadness to him. All of the officers are a little in love with her, Stewart reflects. She reveals that Benigno, her husband's brother, hates her and plots against her, which is why she has come to the front. She has now borne López several sons.

The final action of the war takes place with Eliza's black coach-a carriage she has had painted with twelve coats of black lacquer, and drawn by midnight-colored horses-leading the Paraguayan army into retreat. López's madness is full-blown. He is demanding absolute, blind allegiance from all of his countrymen and executes men daily for disloyalty, including his own family (particularly the brother who alienated Eliza). Stewart, exhausted after five years at war, is led through the battlefield by a Guaraní Indian girl who becomes obscurely comforting to him in the long absence of his wife. He finds comfort in her arms once but realizes she is younger than he thought and, after that, merely relies on her for someone to warm himself against in the night. He has become López's personal doctor which requires him to examine his stool and dress his gonorrheic penis in chalk to prevent (or stave off) its drip. Eliza, too, is losing her mind-her firstborn son, who has become a kind of golden symbol for the possible new Paraguay, reveals that she does not sleep at night, subsisting on naps for a few minutes at a time. At night, Stewart can hear her in her tent, fighting with López. "When will you marry me?" she shouts. But López's irrefutable will takes her over once again and soon they are making love.

It is only a matter of time, however, before the Brazilian army overtakes them, and when they do López is immediately shot and killed (though, like Rasputin, there is some suggestion that he was still alive when he fell off his horse into the river and drowned). Stewart, still on the battlefield, manages to avoid being killed himself by brandishing his forceps, and the men watch (unable to join in on penalty of being shot) as Eliza, iron of will to the end, digs a grave for her lover and their dead sons and buries them with her own hands.

Stewart's last glimpse of Eliza Lynch occurs three years later in Edinburgh, where he has brought Venancia and his family. He and Venancia have rediscovered a sweet, middle-aged love and she has taken to life in Scotland. One day he is strolling the main road with his daughter when he sees the Indian Miltón, still in Eliza's service, standing by her coach. Then he sees Eliza herself, walking up to a door, regal as ever and her golden hair flaming in the sun. He realizes she must have made some sort of deal with Camarrá, the Brazilian general, recalling her exodus in chains (but alive, and accompanied by all of her belongings and retinue). And now she is in Edinburgh, likely visiting her lawyers regarding money Stewart brought with him out of Paraguay, taxes on the export of yerba mate which were granted to him by López years before.

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Editorial Reviews

The New York Times
"This is a novel. . . . It is Not True.'' Or so Anne Enright tells us in a taut afterword to The Pleasure of Eliza Lynch.

Unfortunately for the inhabitants of 19th-century Paraguay, Eliza Lynch was no invention. Born in Ireland just before the terrible years of the potato famine, she was taken to Paris by her parents. A brief marriage to a French Army veterinarian ended when she ran off with a Russian cavalry officer who was then called home to fight in the Crimean War. Eliza, age 19, was in Paris, a ''tart from County Cork'' officially employing herself as a language teacher, when she met the stubby-legged and startlingly wealthy Francisco Solano Lopez, the son and heir to the dictator of Paraguay. — Miranda Seymour

Library Journal
More strange than stimulating, more grim than redeeming, this surrealistic historical novel by the Irish-born Enright (The Wig My Father Wore) will entertain only the most determined and forgiving readers. The story loosely re-creates the life of Eliza Lynch, an Irish prostitute who escaped social disgrace by attaching herself to Francisco Solano Lopez, future dictator of Paraguay, and traveling with him to his homeland as his paramour. Once there, Eliza sets herself up in a rich style that serves to separate her further from the country's impoverished and war-torn people. Eventually, conflict shatters Solano Lopez's plans for a totalitarian state made great by a railroad, and he is forced to flee with his army and an entourage that includes Eliza in her all-black carriage. Readers will be disorientated by the stream-of-consciousness narrative and the disjointed structure, which alternates time frame and point of view. Add to these drawbacks the author's penchant for overripe images of gluttony, putrefaction (e.g., the physical effects of gonorrhea, cholera, and typhus), and the baser traits of humanity, and the result is a nightmarish mix of Gabriel Garcia Marquez's Love in the Time of Cholera, Joseph Conrad's Heart of Darkness, and William Faulkner's works. Only larger collections of experimental literary fiction should consider. [Previewed in Prepub Alert, LJ 11/15/02.]-Jennifer Baker, Seattle P.L. Copyright 2003 Reed Business Information.
Kirkus Reviews
Irish author Enright's lush third novel is a real departure from its predecessors (What Are You Like?, 2000; The Wig My Father Wore, 2001): bleak, blunt studies of lonely women seeking familial and romantic connection. This time, the eponymous heroine's insatiable hunger to experience and possess make her an unstoppable feminine force: a Paraguayan Eva Peron (Enright's Eliza being in fact based on a real historical figure). The story begins in 1854 when 19-year-old Eliza, a physician's daughter on the rebound from an aborted marriage to a French surgeon, encounters Spanish railroad builder Francisco Solano L-pez. He quickly supplants her several previous lovers, and the pregnant Eliza travels with L-pez as his mistress to the Paraguayan capitol of Asuncion. There, he confronts the Catholic Church over the issue of her bastard son's christening; goads Francisco (always referred to her as her "dear friend") into becoming Paraguay's ambitious, warmongering dictator; establishes a national theater and endears herself to her adopted country's multitudes; and fascinates every male who wanders into the orbit of her rapacious beauty and vitality. Enright's approach isn't subtle: every chapter title denotes an object ("Veal," "Champagne," "Coffee," etc.) related to Eliza's progress, and the nature of her ineffable appeal is explicitly spelt out ("When a man is inside a woman, he rules the world"). But the tale consistently engages and entertains, and Enright sets up numerous interesting echoes and parallels by way of its unusual dual structure, in which Eliza's own narrative of her exploits is confined to her early years (1854-5) in Paraguay, and successive later years are chronicled in chapterspresented from the viewpoint of Scotsman William Stewart, L-pez's alcoholic personal physician (and another of Eliza's many conquests). A stylish account of the rise (she never actually falls) of a Latin American Moll Flanders-and a further step in Enright's increasingly promising career. Agent: Heather Schroeder/ICM

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Grove/Atlantic, Inc.
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The Pleasure of Eliza Lynch

By Anne Enright

Grove Atlantic, Inc.

Copyright © 2002 Anne Enright
All right reserved.

ISBN: 0-8021-4119-6

Chapter One

A Fish

Paris, March 1854

Francisco Solano López put his penis inside Eliza Lynch on a lovely spring day in Paris, in 1854. They were in a house on the rue St-Sulpice; an ancient street, down which people have always strolled in a state of pleasant imagining. In the spring of 1854, no imagination was needed as Francisco Solano López pushed his penis into Eliza Lynch and pulled it back again, twenty times in all. This was quite a lot of times for Francisco Solano López , but something about Eliza Lynch distracted him from the usual rush of his pleasure. Something about Eliza Lynch gave him pause.

Outside, the birds sang, trees rustled and fancy carriages rattled by. Inside, the four-poster bed was hung with turquoise, its enormous baldaquin billowing above them and gathered into a pucker of silk that mirrored, as she lay under it, the lovely navel of Eliza Lynch.

Apart from the magnificent bed, she had nothing. There was a burled walnut box pushed into a corner, an ormolu clock ticked on a mantel of ordinary stone, a simple table of inlaid tulipwood was burdened by a statue of the flagellated Christ. The room was practically bare, if you did not count the bed. But the bed was overwhelming, it was a room within the room; it was a palace, across whose yielding floor López crawled, laughing, in order to engage more thoroughly with the laughing Eliza Lynch.

Which, without further delay, he did.

Many people would come to regret this moment. You might say that everyone came to regret it - except for the two participants, Francisco López and Eliza Lynch, Il Mariscal and La Lincha, Paco and Liz. Already unreal. They were the kind of people who attracted stories - not to mention bias, rumours, lies, rage: the whole tangle pulled into a knot by time, made Gordian by history. The details cannot be unpicked. But this much we may not doubt: there was a joining of parts, and it happened in spring, on the rue St-Sulpice.

Paco and Liz, laughing on the bed. Mme Lynch silently looking at the silently looking Señor López. The tart from County Cork turning towards the turquoise, as the little mestizo handles it into her. It was a moment that garnered the blame of nations, as if everything started here. Something did start here - there are such things as beginnings - but what? But what?

They became lovers. In jig time, in marching time, in twenty beats, they moved from strangers to the rest of their lives. And they knew it. Such luck!

Outside, the birds chirped themselves to sleep, while his hired horse blew into his oats and the coachman snored. The clock on the mantel said midnight, or five o'clock. The clock on the mantel was stopped. And all you could hear was the suck and pull of his breath.

Who was he? He was heir apparent to Paraguay, a country that no one had ever heard of. Who was Eliza? She was very much herself. He had come to her house in order to improve his French, or so he said. The words he learned that evening were 'King of Diamonds', 'Queen of Spades', 'trick'. He learned the French for sons of bitches, then truffles, pig's nose and tongue. Also a phrase: 'If I win, you will not like me.' After which pleasant nonsense, they went to bed.

Oh Eliza. In fact, she did speak many languages: she romped in French, married in English, and she ate in the Irish of her childhood kitchen. She had school Latin and spa German, but her fate, now, was in Spanish, and she would die in Guaraný, which is to say, obscurely. The lover in her head spoke Russian, in whispers. The devil in her head spoke Portuguese.

And so, Francisco put his penis, son pénis, su penis, into the nameless part of Eliza Lynch. He put that thing, which is the same in English, French or Spanish, into a part of Eliza Lynch that is, in any language, obscene.


He was rich. Two:

He was immensely rich.

He had ordered, that day, seventy pairs of silver-tipped boots - with presumably elevated insoles; because he was small, there was no gainsaying the fact that he was really quite small, but he was stunningly rich, so she, spilled out beneath him, must be magnificent.


She was silent.

It would not do to shout. Whatever surprise she felt at this, most surprising, intrusion must register as a mere stretch of her eyebrows, a fullness of her jostled mouth; her forehead suffused with a kind of puzzled tranquillity, as though the question - whatever question it might be - answered itself.


There was no telling how long he would take.

His hair smelt of lilacs and horses. His breath smelt of decay. His shirt was pulled impatiently open at the neck and a filthy leather pouch dabbed at her chest. Money? No - his money was folded and stuffed down the side of his boots. Vast sums. There was a flurry of paper when he dumped them, all unheeding, on the floor. Then his short military jacket; crusted with gold braid and held to lopsided attention by the remarkable epaulettes. After which his pants. His legs very thick and gnarled. His shirt dangling down.

She was wearing her sapphires. Also a peignoir of shrugged-off silk. It flowed down her arms and moved under her, like water.


Her lips jolted apart.

She must be his first woman in weeks. In Paris the whores would laugh at him, of course - that is why they were paid so much. Cora Pearl with her whip. Or Dolores at the Café Anglais with her diamonds and a bloody cough. Because they were all dying. Death in the bedroom and death again at the card table, where they would take his money, trick after trick. Here is the fool in from the colonies, let me introduce you to ... M. le Duc de something he would not catch. Some ghoul of a German banker. A tart with diamonds in her hair, sitting in to watch. And if he tried to touch her, she would laugh in his face. The game continuing in silence. The stakes going up and up. The tart not laughing, any more. Up, and up and up.

He reared away from her.

She might bite him. She might tear at his bottom lip, if it were not for the terrible breath. When he walked into her drawing room, you could smell it from the doorway. No idea of where to sit or how to stand, until she took his hat in her own hands and said, quite natural-like, that he must leave it beside him here on the floor. This was what they did in Paris, she said to him, these strange Frenchmen, they left their hats on the floor so everyone could see their names in gilt letters written on the band - she spent her first weeks in town convinced that everyone was called Ruget, which was the name of the hatter. She laughed. Tra la la. Then she paused, rising in a rustle of silk, as though arrested, briefly, by the sight of his lap.


She pulled the shirt, with rough fingers, up the length of his back.


She arched her own back and said, 'Oh'.

Everyone must take a lover, so they would know how to sigh and when to turn. It was an investment. Everyone should love once; there was no other way to learn. Eliza had wanted to love sweetly, hopelessly, but she loved like bad weather. And she only loved once. There was no use closing your eyes and thinking it was him. There was no use closing your eyes and thinking. But she did close her eyes, and saw López's head briefly above her, his eyes red coals, his brain molten, his hair black flames. She opened them again, quickly, and was relieved to see flesh. Only flesh. Francine, outside, forgetting to bank the fire for the morning, as she always did.


Who was counting?

She was counting. The first man in Paris, the second man in Paris, two men in Algeria, a man in Folkestone, Kent. Outside, Francine was clearing away the card table as, above her, López held his breath. Silence. The clock on the mantel had stopped. She counted them out to herself. The man who gave her the sapphires, the man who gave her the bed. Two men in Algeria, a man in Folkestone, Kent. Their memories rising now, as a scent might rise when you crush a flower. Each time he drew back, a name provoked - Raspail, Quatrefages, Misha, Bennett - and then hammered home.


'If I win,' she said. 'You will not like me.'

He spread his cards down on the table and looked at her. A good hand. A very good hand. He took the ace of hearts and started to cut out the centre of it with his little knife.

'I have kissed the hand of the Empress Eugénie,' he said. He described the ring she wore - a sapphire set with diamonds in a fleur-de-lis, over more diamonds and a pearl.

The Emperor Napoleon had pinned a ribbon on his breast. He put his arm about his shoulders and walked him personally to the door. Along the enfilade, thirty footmen pretended not to notice the fraternal kiss, man to man, soldier to soldier, nation to nation, as he took his leave.

Then he threw the empty-hearted card at her, across the baize.

This was a man who needed nothing.

This was a man who needed it all - but he did not need any one thing, except, and absolutely, to be inside her. As he now was.


The dressmaker on Rue de Rougemont. Short and quick like a jockey, with burning, slithery eyes. She might like him. In another life, she might quite take to him. He looked her over and the deal, he seemed to be saying, was either her or 20 per cent. So she settled on the spot - lay herself down amid the silks and stuffs; a spool of Bruges lace still grasped in her hand. The lace cost, in labour, a metre a week. She thought about this - about how long it would take some Flemish hag to finish a fancy cuff, an entire dress, and the thought of the hag made her want to cry. She looked at the side of his head and her hand tightened on the wooden spool. She saw his blood on the hammered silk; she saw black blood seeping into the bombazine. When they were done, she asked him about the dresses, and he - as open in his love of warp and weft as he was closed in love (a grunter, a face-puller) - took her round the room, and romanced her with cloth. Nankin, taffeta, piqué, foulard. And so she got, on tick, five of everything, morning, afternoon and evening. Her under-linen, she must supply herself. She owned nothing, not even the peignoir she lay down in. She was not yet nineteen and she lived like a countess - on credit.

The money! The money! It was running through her hands like water. She tried to catch it, hold it: clutched instead at his neck, or his throat, or his mouth.


His hair smelt of Lilac vegetal by Pinaud. His shirt smelt clean. She would be rich. She would have a cale`che like Cora Pearl, the English tart who dyed her dog blue to match her dress. A man said that her pearls were fake - she broke the string and let them scatter. The pearls sloughed from the string with a pull of her hand, spitting out all over the floor. Who picked them up? The pearls bouncing into corners, rolling under tables and little love seats. What fine young man paused at the door and silently stayed behind, then dropped on to his knees and grubbed around on the Turkey carpet, picking them up? Eliza caught her breath. The blue dog, the cale`che upholstered in sky-blue kid. She would have to change the curtains now, on her fabulous bed, because blue was Cora Pearl. A starving man she saw once, his legs set wide, and his thing hanging down in the gap, lush and fat. Eliza cried out. She had tried to be good, had wanted to be good, but the curtains had cost her a month of fucking and they were far too blue, and the pearls were scattering and rolling all over the floor.


Oh. Her voice in the room. A shudder in the hanging meat of his face, his eyes behind their closed lids like he was trying to squeeze something delicate and large through a very small gap - but only if he could find it. It was in there somewhere, in the centre of his head, and she wanted to kiss him; help him gather it up. A man he saw once, dragged by a horse; the bones sticking out of his ruined back. The man looking at him as though bored by it all, he said. Then slightly distracted. Then dead.

She was writhing away from him now, her eyes fixed.


Excerpted from The Pleasure of Eliza Lynch by Anne Enright Copyright © 2002 by Anne Enright. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Meet the Author

Anne Enright is the author of one collection of stories, The Portable Virgin (the Rooney Prize) and two previous novels, The Wig My Father Wore and What Are You Like? (winner of the Encore Award and shortlisted for the Whitbread Novel Award).

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