George Sand: A Woman's Life Writ Large - Softcover

Jack, Belinda

 
9780679779186: George Sand: A Woman's Life Writ Large
Softcover
ISBN 10: 0679779183 ISBN 13: 9780679779186
Verlag: Knopf Doubleday Publishing Group, 2001

Inhaltsangabe


The author of classic novels including Indiana and Lélia, George Sand is perhaps better known for her unconventional life. Belinda Jack unravels the many facets of this writer who counted among her friends and lovers everyone from Chopin and Liszt to Dostoyevsky and Elizabeth Barrett Browning. Sand defied convention by writing novels; but the fact that she was a cigar-smoking cross-dresser who took male and female lovers, declared marriage “barbarous,” and championed socialism made her a legend. Allowing Sand’s voice to be heard, but wise enough to question it, Jack presents a riveting study of a woman raised by her aristocratic grandmother and her prostitute mother, and whose life and work were forever fueled by rival worlds.

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Über die Autorin bzw. den Autor

Belinda Jack is fellow and Lecturer in French at Christ Church, Oxford.

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The author of classic novels including "Indiana and "Lelia, George Sand is perhaps better known for her unconventional life. Belinda Jack unravels the many facets of this writer who counted among her friends and lovers everyone from Chopin and Liszt to Dostoyevsky and Elizabeth Barrett Browning. Sand defied convention by writing novels; but the fact that she was a cigar-smoking cross-dresser who took male and female lovers, declared marriage "barbarous," and championed socialism made her a legend. Allowing Sand's voice to be heard, but wise enough to question it, Jack presents a riveting study of a woman raised by her aristocratic grandmother and her prostitute mother, and whose life and work were forever fueled by rival worlds.

Aus dem Klappentext

uthor of classic novels including Indiana and Lélia, George Sand is perhaps better known for her unconventional life. Belinda Jack unravels the many facets of this writer who counted among her friends and lovers everyone from Chopin and Liszt to Dostoyevsky and Elizabeth Barrett Browning. Sand defied convention by writing novels; but the fact that she was a cigar-smoking cross-dresser who took male and female lovers, declared marriage barbarous, and championed socialism made her a legend. Allowing Sand s voice to be heard, but wise enough to question it, Jack presents a riveting study of a woman raised by her aristocratic grandmother and her prostitute mother, and whose life and work were forever fueled by rival worlds.

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Introduction
There is something wonderfully excessive about George Sand's life and writing. I was astonished and delighted when I first discovered her in my teens. She seemed a fantastically vampish yet androgynous figure, and her sexuality struck me as peculiarly intriguing. I found portraits of her: drawings, engravings, and paintings. She is beautiful only in some, but her eyes are always beguiling, disproportionately large, almost black, and invariably mysterious. The photographs of her in later life are full of character: there is remarkable strength in her face, but also the suggestion that she has suffered. Then there are cartoons, quite as vicious as today's cartoons of media figures caught up in scandal.
I wondered particularly about the hidden life of George Sand, who was born Aurore Dupin in 1804 and died in 1876. She is France's most famous nineteenth-century woman writer, but she is best known as the famous lover of the celebrated Chopin, and variously described not in relation to her writing but rather as a frigid, bisexual, nymphomaniac, or "Good Lady of Nohant." Were there not, the indignant primitive feminist in me asked, contradictions and prejudices to be explored and explained? And what inner compulsion explained her quite extraordinary productivity? How had she maintained her prolific writing while enjoying such an active, highly colourful, and daring private life? In short, the origin of this biography was my discovery, twenty years ago, of a possible role model, at once intriguing, inspiring, and subversive.
The woman I found out more about then is not the woman I know now. But the familiar caricature I had first encountered is not altogether fanciful: exaggeration lends itself naturally to parody and comic representation. And there is something exaggerated about almost every aspect of her life. Her long love affair with Chopin was only one of a large number of affairs with well-known figures of her times, mostly writers, mostly some years younger than Sand. Indeed most of the notable artistic figures of her day became her friends, often despite themselves, visiting her at her glorious country estate at Nohant, in Berry, or in Paris. Most were surprised by the unassuming, positively shy woman who received them. A small but representative selection from the veritable roll call of famous nineteenth-century men who were her friends includes musicians, Franz Liszt most notably, French writers including Flaubert, Balzac, Baudelaire, Sainte-Beuve, Alfred de Vigny, Chateaubriand, and Zola, and writers from numerous other countries, Heinrich Heine, Henry James, Browning (and his wife), Dostoevsky, and Turgenev, as well as painters, Eugène Delacroix being the best known. The engraver Alexandre Damien Manceau, the last of her great loves, was unique in giving her both love and friendship: a combination no earlier lover had offered.
One of her most intense, abandoned, and desperate love affairs was, however, with a woman, Marie Dorval, one of the most famous and beautiful actresses of the Parisian stage. They met in January 1833, when Sand was in her late twenties and Dorval in her mid-thirties. Sand had seen her act, and experienced an uncanny sense of recognizing her own suppressed emotions in all of Dorval's movements, expressions, and tones of voice. It was as though her soul had materialized and appeared on the stage before her. The two women were opposites, and each was strongly drawn to the other. Sand wrote to Dorval. The love affair that followed aroused outrage and jealousy and, needless to say, excited widespread and malicious gossip.
Sand's dress also drew attention: this was not altogether her intention. She cross-dressed, sometimes for practical reasons, sometimes for fun, and sometimes to see the world, and be treated, differently. She also had a penchant for exotic costumes. Smoking was a pleasure that she indulged in public at a time when for women the practice was wholly unacceptable. She smoked cigars, for which she is famous, but also cigarettes, which she rolled with deft expertise, and she delighted in her beloved hookah. She became thoroughly tobacco-dependent: numerous letters testify to her fear of running out of stock.
Professionally, Sand participated in a wide range of activities: journalistic, political, theatrical, and literary. Her involvement goes beyond that of other nineteenth-century women: she not only wrote for the press but was the only woman on the staff of the Figaro. After the Revolution of 1848 she acted as minister for propaganda.
Her literary production is vast. Honoré de Balzac was deemed phenomenally productive: Sand was mocked for her output. There was an implication that such a stream of works was unfeminine in its proportions. She wrote a huge number of novels and plays, a massive two-volume autobiography, stories, essays, and articles. And her letter writing was quite as prolific as that of other writers of the time: her published correspondence comprises twenty-five volumes. She was a skilled draughtswoman and painter: her work, on permanent display in the Musée de la Vie Romantique in Paris, is highly accomplished. Her domestic life was also full: she educated her children, and was later deeply involved in the lives of her grandchildren. She showed real concern for the lot of her servants and neighbours, and she was a keen and knowledgeable gardener. She felt none of the contempt for home life so often displayed by successful women. She felt soothed by needlework, and adored jam-making. Even in this she displayed her characteristic tendency to overdo, producing ludicrous quantities. The length of her life too is something of an affront: despite her excesses, she outlived almost all of her contemporaries, stretching into her eighth decade and continuing to bathe regularly in the River Indre, strictly against the advice of her doctors.
It is a life "writ large," but the pun of my title both points to the scale and fullness of her life and allows for a blending-together of her life and her writing. She wrote a great deal from personal experience, but more unusually she tested out, in her fiction, possibilities for life which she then had the courage to live out, after the writing event. Life gives rise to stories, but writing can also shape life. There is no doubt that her affairs fed her writing, but equally and more unusually, the chains of events that she also invented in her fiction were sometimes tested out in life. She explored feelings and ideas that motivated experience.

It was the writer-explorer in Sand that drew so many people to her. She was loved for her courage, her determination, her refusal of hypocrisy and compromise, her desire for equality of all kinds, her acts of kindness. As a writer she was enormously popular because of her ability to fashion, out of the muddle of her experience, writing that was passionate, full of conviction, and full of compassion for people. She was highly successful commercially because of the compelling texture of her work, but also because her writing is brimming over with the same pithy, often shocking subject matter that was part of her life. Sex, sexuality, incest, and cross-class relationships are some of the recurrent themes of her fiction, sometimes clearly visible, sometimes tantalizingly half-submerged, as they are in the life.
Only when I began to read George Sand's novels did I become uneasy with my image of her as a somewhat monstrous public figure, one which suggested a self-seeking, unreflecting, and egotistical inner self. What I encountered reading her was a quite different presence. Her voice can be intimate, unpretentious, gentle, sympathetic, and disarmingly honest. Reading George Sand's novels, you hear her tone: anguish, suffering and hope, frustration and yearning, despair and courage, tenderness are all written in. There...

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Verlag
Knopf Doubleday Publishing Group
Erscheinungsdatum
2001
Sprache
Englisch
ISBN 10 
0679779183
ISBN 13 
9780679779186
Einband
Taschenbuch
Anzahl der Seiten
432
Kontakt zum Hersteller
Nicht verfügbar
Verantwortliche Person
preigu
mail@preigu.de

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