The Driver's Seat

I'm thrilled when I see challenges that will help me discover new writers and new genres of literature.  Simon at Stuck in a Box together with Harriet organised this week a retrospective on Muriel Spark, a novelist that I may had heard the name of, but certainly knew nothing about.  Quickly I ordered my copy of The Driver's Seat, to get me into the mood for adventure...  Little did I know that this book would open a whole new horizon - not only for Spark. I prepared myself by reading the reviews posted in the two hosts' blogs, trying to figure out what I was in for - what Spark's style was.  My book is in the 1970's, so I was prepared for an alternative subject.  Still, when I got my copy I knew that I was in for a treat - a wonderful new context was there for me to read and enjoy.

The storyline is quite dark, and I have to say, in line with what my idea of the 1970's would be: already from the first pages, I was inside a futuristic 1970's film, with the heroine, Lise, becoming a hysterical, almost paranoid, overworked (?) woman, who decides to flee.  Within the first 20 pages I knew the end, she would be killed.  Very unusual, but all the more intriguing:  by whom and most importantly, why?

Lise's apartment is really taken out from that decade, all pieces being multi-functional:  "... the furniture is all fixed, adaptable to various uses, and stackable".  I could well imagine how the bed would disappear, the kitchen as well, and how a tiny little apartment would be spacious for entertaining - I've actually watched documentaries on this...

Things go wrong when Lise talks in a baby voice - never a good indicator when it comes to women.  I knew then, even before I read she would be killed, that the book would not have a good ending.  The psychedelic-coloured clothes she's wearing also made me feel uneasy as to her sanity...

She's heading off to Italy, and in her short journey before her death manages to meet a whole array of people (funnily, this never happens to me when travelling):  an Enlightenment Leader (this is, after all, the 1970's), an elderly lady who clings on to Lise, and a series of unimportant men who, as Lise puts it, are not her type... (my, my, are we being picky...)

What puzzled me reading this book, was the rather spastic activities:  it really felt as if I was watching a movie, where separate frames of film were played one after another, with no real continuity. This reinforces the tragic end, and even the hopelessness for Lise - she just didn't stand a chance.  The almost paranoid outbursts she has at various incidents, also work up towards the climax at the end of the book. I could almost feel the eagerness she felt towards her purpose...

The old lady, who will play an indirect role in Lise's demise, provides the humorous (for me) part of the book:  "(Men) want their equality today.  All I say is that if God had intended them to be as good as us he wouldn't have made them different from us to the naked eye... They won't be content with equal rights only.  Next thing they'll want the upper hand, mark my words".  So, if I understand well, we're way beyond the feminist movement, women are now superior to men, and quite soon we'll have the counter-feminist revolution...

I can honestly say I've never read anything like this  book before and am therefore intrigued to find more about Spark's novels. Thanks to Simon and Harriet I've discovered a new writer I want to read more, and thanks to Spark, I've also discovered the Lost Man Booker short-list - another TBR list that will keep me well supplied with books!

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For the visual interpretation of this novel, I watched the film by the same name with Elizabeth Taylor.  I fully recommend it - Taylor is as mad as I had imagined Lise to be...

Also read for the European Reading Challenge

The Classics Club: A Room with a View

Many times, the novels I've read as a teenager seem to lose their appeal when re-reading them as an adult.  Others, on the contrary, gain even more allure and highlight new facets to their story.

A Room with a View by E.M.Forster is one such novel.  Having read it while a teenager (and watching the film about 15+ times...), I was still aware of the main characters and the overall plot, but I could not remember whether it was all that good.  As my first novel for the Classics Club, I wanted to carefully read this and put down my thoughts in an objective manner...

The first comment I can make on a Room with a View is definitely politically incorrect:  I had the impression that I was reading a book written by a woman!  I know this is ridiculous, there is no feminine or masculine way of writing, but I honestly found the writing style too focused on petty details, too romantic... too pink!!! (excuse the expression).  It didn't make an impression as such, but that made me pay even more attention on the book...


Moving on, Forster presents an array of situations and happenings to showcase comparisons:  the two main venues in the book are Italy and England:  Italy, the land of freedom, of laughter, of endless meadows with violets, a pure beauty - in sharp contrast with stiff upper-lipped England, full of rules and regulations, with the Church imposing the norms of society, a beauty perhaps only on a first glance... I found the stereotyping very amusing, and mostly spot-on:  I believe the intention here was not to shock the audience, but rather  to move across the "sensitive" subjects rather painlessly, while still making the social criticism.  Very clever indeed...


Lucy and her warden Charlotte find themselves without rooms with a view in Italy.  Such a dramatic event surely cannot be sustained of course, and a respectable complaint starts  being heard in the Pensione.  Upon the offer by the Emersons to swap rooms with theirs that do actually have a view, we witness the hardship of  good manners, taking refuge with the vicar, and finally the obedience towards the decision taken by said priest - the fact that this coincides with the original desire of the ladies, need not bother us... First ...:  things are not always what they seem.  From the perspective of a woman who knows what her position in society is, but who nevertheless wants to accomplish (tiny) things, the procedure to follow is way too time-consuming and complicated:  she has to make everyone think it was their own idea and decision, while she has been plotting the end result since the beginning... "(the women's) mission was to inspire other to achievement rather than to achieve themselves".  Difficult times... (I really laughed when Charlotte wouldn't give the big room to Lucy because young Emerson had it - that worry for absolute protection is bound to have the opposite results).


This difference between the new generation and the established one is also a main theme in this book.  Not only is Lucy rebellious in contrast with her warden Charlotte but also the two Emersons seem to differ immensely - they just don't understand one another.  Only novelists are allowed to cross over to the other side, and hence we have the little devil in the story:  Miss Lavish.  She will inform Charlotte of all possible mischief that can befall Lucy (I believe this is how Charlotte catches Lucy in the meadow and spoils one of the best romantic scenes in literature...) but she is also the source of amusement for Cecil by writing a book on Italy that will inevitably bring George and Lucy together... (I'm starting getting the romance now...)


On to the next set of comparisons, the conservative versus the radical:  the Cecils of this world, who will say to whoever will listen how radical they are, how beyond class they've become, only to prove that they keep the status quo and even worse - they are actually misanthropists:  "of course, he despised the world as a whole; every thoughtful man should; it is almost a test of refinement".  Fortunately, there are also the Georges and Lucies in this world, who may stray in the beginning, when they're still trying to fit in the norms of society, only to realise that life's too short for "trying": there has to be a rebellion, and it has to be now.  Not in the most articulate manner as in Lucy's breaking the engagement off, but all's well that ends well..


Although the novel is full of comparisons / antitheses, it prefers staying on the surface of the matter at the most crucial point - I was surprised when Lucy and Cecil call off their engagement, that the dialogue is plain and civil to the point of being dry - not much information is provided for the inner feelings (or lack thereof) of the two main characters.  That was the only point where I felt I wanted more.


In general, I have to say the novel gave me a lot more food for thought.  The characters are given much more shine and I got much more information on the main characters:  I was surprised, for example, at the very unflattering light Charlotte is portrayed.  I had as reference the film, where Charlotte, while a stiff old spinster, is actually a likable stiff old spinster.  I did not get that feeling at all with the book.  She is to be meaningless, living in a cheerless, loveless world, "a world of precautions and barriers which may avert evil, but which do not seem to bring good...".  There is only one hint at her good soul at the very end of the book.  Interesting to see the difference between writer and filmmaker...




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For the visual interpretation of this novel, I re-watched the 1985 film by the same name, directed by James Ivory.  I have to agree that the film does the novel more than justice - the points where the novel may lack in depth, are compensated by the actors' interpretation.




Also read for the Back to the Classics challenge-

The Memory Chalet

This is a peculiar subject - what happens when you find yourself trapped inside your body?  What thoughts, what regrets, what needs, what worries go on in your mind, while you await your death?  I started having an interest in these questions, after reading Tuesdays with Morrie, an excellent wake-up call of what really matters in life, and what to avoid in order to fully benefit from it.  I then read about The Memory Chalet by Tony Judt in Nigella Lawson's blog, and I was interested to see how these questions are seen through the eyes of someone whose actual work is to jot down the history of the world.

The Memory Chalet, despite its sad content, does not have a melancholy theme.  The author explains already in the very beginning of the book the cause of his slow demise, Lou Gehring's disease, without any emotional attachment.  While I cannot imagine how I would have reacted to similar news, I can fully sympathise with his intention to make the most out of a sinister situation.


Judt begins by describing the thought-arranging process, something like compartmentalisation (I use this technique particularly with painful/difficult memories, in situations when I have to remain calm/cheerful/optimistic).  He uses a chalet for this purpose, which I found rather peculiar.  Is it a matter of size?  of country? no, he simply does not want to impress, he wants it to serve. Just a thought...


From then on, he begins taking advantage of his sleepless, motionless nights and goes back in time to his austere childhood (rationing in post-war Britain) and how this developed his character.  I have not had that experience, but I can well imagine his dislike for present-day extravagance.  From corruption to the 15 minutes of fame, most parts of our lives have been shattered to pieces and provide no motive for improvement.  Why should I study, learn a profession, be good at my job to set an example for the next generation, when the person next to me will be on Reality TV, make headlines and set a (bad) example and laugh all the way to the bank?  True, it's the law of demand and supply, but in our days these two are highly suspicious...  


In this point I also liked Judt's differentiation between being and becoming.  It is really that small difference that can have a major impact on one's life - being, passive, the duty, rather unchanged versus becoming, developing, the journey, embracing change.


He is displeased with many of today's shortcomings - I suppose every generation is for the following one.  And although I am that generation he's referring to, I myself can see these same shortcomings in the generation after me:  educational standards are getting lower (I have to admit that even at my time, education was only for those who really wanted to learn on their own - the rest did not stand a chance from teachers who knew even less that they did...); politics is happening elsewhere (this was true then as it is now) - and indeed, we have missed the boat; reforms for the sake of reforms have created  mayhem in our public / professional / industrial life, with the result of sub-average products and services.


And then he turns to language... one of my favourite subjects, I have to say:  it's the use of language that sets humans apart from other animals (here I can recommend the documentary Planet Word), and yet, we don't seem to care.  The times we live in promote the use of language to mystify rather than inform:  "we speak and write badly because we don't feel confident in what we think and are reluctant to assert it unambiguously.  Rather than suffering from the onset of "newspeak", we risk the rise of "nospeak"".  If this is painful for me, still in top form, I'm wondering how excruciating it must be for a professional user of language who, in the grip of a neurological disorder, loses control of words.  We are so lucky to have this ability to use a wealth of words - we should never take it for granted.


Tony Judt has had the opportunity and the ability to live a full, hands-on life and, when facing a horrible end, proved he could conquer this feat as well.  He has put his thoughts in this book to shake the rest of us from our comfortable seats and take (back) control of our lives. It certainly has shaken me...

Also read for the What's in a name challenge

World Book night

It is time! The biggest celebration of books around the globe is today!

World Book Night is celebrated primarily in the UK, Ireland, Germany and the USA. With this year's title "A milion reasons to read a book" this event is spreading the word on literacy and the celebration, sharing and enjoyment of reading! Even here in little Belgium, there are bookstores, libraries and cultural centres that have incorporated small-scale events to mark the UNESCO International Day of the Book.

A big hello and thank you to Belezza, Allie and all other bloggers who are participating in this worthy cause and are gifting books in their communities to spread the love and joy of reading on this day!

As my small contribution to this event, I have put those books I have not yet read from the list of the 2012 UK books in my TBR for this year:

The 2012 UK books  and those I've already under my belt!

Weekend cooking - coffee desserts

Let me count the ways I love coffee - no, wait - it's pointless. I am a coffee-holic. I love to smell, taste, cook with coffee - and that goes for all types of coffee! In desserts, I like using coffee because it cuts the sweetness and provides for new ideas and flavours. Here are my two favourite recipes involving coffee:

Coffee and walnut muffins

A very old staple in my recipe book, these muffins are just too easy not to make them every week (and they taste double so good!):

- 1 and 3/4 cups flour (I use instant, no need to sift)

- 1/2 cup each of butter in cubes / chopped walnuts

- 3/4 cups milk

- 1 egg

- 1/3 cup light brown sugar

- 2 tbsp instant coffee powder

- 1 tbsp baking powder

- 1 tsp vanilla extract (or vanilla paste)

- 1/4 tsp salt

Mix everything - pour in oil-sprayed muffin tray, or in paper cups. Bake for about 30 minutes at 190oC. Leave to cool and enjoy!

Coffee mousse (recipe from the Dagelijkse kost cooking show)

A new recipe which is bound to become a favourite in no time: although I had to use all my mixing bowls, it took practically no time to prepare and the only thing that remained was to wait for the mousse to thicken: 

For the mousse:

- 3 eggs, separated

- 90gr sugar

- 150ml espresso coffee

- 150ml whipped cream

- 2 leaves gelatin (I used powder gelatin, about 7gr) 

For the whipped cream:

- 300ml whipped cream

- 60gr sugar

- 1 tsp vanilla extract (or vanilla paste)

Now, the difficult part:

If you're using gelatin leaves, soak in water before mixing with coffee - with the powder, you can mix immediately - in both cases, leave coffee to cool. Then comes the whisking: in order to use my hand mixer once, I mix in the following order: first the egg whites, until I have a nice meringue (one mixing bowl). Next comes the whipped cream, which should not be super-whipped (the recipe calls for a "yogurt" consistency) (second bowl). Lastly, the egg yolks with the sugar, which need a couple of minutes of whisking, just to combine the two (third and last mixing bowl). This bowl should actually be the larger one, because everything else will get in there: again, in order: coffee, whipped cream and egg whites (you know how to integrate the egg whites? first a small part to beat relentlessly into the mixture, and then the rest, "folding" it? don't worry - any way this is managed, it always tastes good in the end). Pour in glasses and leave in refrigerator for about 1-2 hours.

For the whipped cream: whisk everything, pour on top of mousse:  You now have a Latte Macchiato dessert!

This post is my entry into Weekend Cooking, a weekly event hosted by Beth Fish Reads.

The Ministry of Fear

Graham Greene's Ministry of Fear is considered by many to be one of the first examples of spy novels, for which the author would become famous.  My first encounters with Greene were the Quiet American and Travels with my Aunt, which initiated me in the writing style of repressed, unfulfilled situations that would nevertheless exude so much emotion that would amaze me (they still do).  I came across Ministry of Fear at a book auction  - this one was a beautiful leather-bound edition from the late 1940's.  I bought it based on my experience with Greene and because it was such a beautiful book.  Now I would have to read it as well and see whether it was worth the while...

The writing is still the same - the main character, Arthur Rowe, finds himself trapped between a cake that was not meant for him and a murder he did not commit - coming from a background of mercy killing only further complicates his situation.  The alternation between dialogue and third person narrative creates a distance from the depth of emotions that actually take place, and allows (my) imagination to fill in the gaps when the characters remain passive.

While he is trying to figure out what is happening, we follow Rowe through London during the Blitzkrieg and watch as he gets involved in more and more complex situations, while reminiscing his adolescence (at times the scenes reminded me of Hitchcock's "Spellbound", with Dali's beautiful dream sequences).  There is a lot of soul-searching and Greene makes several points to one's childhood and how this is in stark contrast with what we all go through in adulthood:
"none of the books of adventure one read as a boy had an unhappy ending" vs. "he grew up - learned that adventure didn't follow the literary pattern, that there weren't always happy endings" a little further down in the novel

Rowe reaches a point when he cannot take it anymore - he is seriously considering killing himself but decides to at least postpone it when he can be of use to someone - I found it very interesting that even in the direst of conditions, people will cease to be selfish when they can provide companionship (even though Greene believes this not to be an English custom...):
"he was going to live... because he no longer felt that he was dragging round a valueless and ageing body"

We are also introduced to two notions that I spent a lot of time re-reading, to fully grasp their meaning:  
- the economics of terror: "the maximum of terror for the minimum time directed against the fewest objects" ( how does that fit with recent examples of terrorism, I still have to figure out...)
- and the Ministry of Fear itself:  from the initial spread of fear and blackmail in Nazi Germany and copied in other governments, so that no one could depend on anyone (very nice thought, especially in present-day "reality" state of mind, where everyone will betray everyone for 15 minutes of fame) to a permanent fear of disappointing the woman Rowe loves and does not want to hurt: 
"They had to tread carefully for a lifetime, never speak without thinking twice; they must watch each other like enemies because they loved each other so much"

For me the Ministry of Fear proved once more the ability Greene has in providing great food for thought through an unusual story, told by common people ...

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For the visual interpretation of this novel, I watched the film by the same name directed by Fritz Lang (Metropolis) starring Ray Millard (Dial M for murder).  As an old movie aficionado, I was expecting a very good "film noir" interpretation of the book.  The beginning was very promising, but alas that was to be only.  The rest proved to be a very simplified, succinct version of the book, and was rather disappointing...

Also read for the Graham Greene 2012 Challenge