I Am Madame X: A Novel - Couverture souple

Diliberto, Gioia

Couverture souple

ISBN 10 : 0743456807 ISBN 13 : 9780743456807

Editeur : Scribner, 2004

Synopsis

Book by Diliberto Gioia

A propos du livre

Extrait :

Chapter One

Recently, whenever I talk in my sleep -- which has been quite often lately -- I speak English. It's odd, since I've only spoken the language occasionally in half a century. But just last week, I woke Henri with some nocturnal gibberish. He roused me and repeated my mumblings as best he could, and I realized I was singing a few lines from "Oft in the Stilly Night," an old song Grandmère's servant Alzea had taught me before we fled Parlange, our sugar plantation in Louisiana. Fully awake, I can still recall a verse:

Oft in the stilly night,

Ere slumber's chain hath bound me,

Fond memory brings the light

Of other days around me,

The smiles, the tears, of girlhood's years,

The words of love then spoken,

The eyes that shone, now dimmed and gone,

The cheerful hearts now broken!

Thus, in the stilly night,

Ere slumber's chain hath bound me,

Sad memory brings the light

of other days around me.

Dr. Freud is right. There really is an "unconscious" mind. Perhaps mine lives in the Old South.

I'd been dreaming of Tante Julie's wedding day, of watching her glide across the wide gallery at Parlange, her pale face streaked with sweat, the pink rosebuds braided through her hair turning limp and brown in the steaming heat. She was dressed in heavy cream satin -- an old ball gown that Grandmère had dug out of a trunk the day before. Alzea had stayed up all night altering the sleeves and neckline, and I had sat beside her in the flickering candlelight of the kitchenhouse, sobbing like a baby.

I did not want Tante Julie to marry. Her fiancé, Lieutenant Lucas Rochilieu, was a short, fat toad of a man, with an ugly mole on the tip of his nose and a bloody patch over one eye from a wound he had received when he accidentally shot himself while cleaning his gun four months earlier. But I would have hated him even if he had been tall and handsome. He was stealing Tante Julie, the person I loved most in the world -- more than my baby sister Valentine, more than Mama and Papa, I'm ashamed to say.

It was August 1861, the first summer of the war. I was six. Papa, a lawyer in New Orleans, had left to fight with the mostly Creole Louisiana Regiment, and Mama, Valentine, and I had joined Grandmère at Parlange, thirty-five miles west of New Orleans on False River.

Though the adults had strictly forbidden it, I slipped off to the fields after breakfast to cut myself an armload of sugarcane. For an hour, I sat on the front lawn in the gray shade of a magnolia, peeling and eating the sweet stalks as carriages rolled up the alley of oaks. A few guests had already gathered in the parlor, and I could see them through the tall French windows talking and sipping drinks under dark portraits of my ancestors.

Most of Grandmère's slaves had run off, and there was no time to make elaborate wedding preparations. Alzea had baked some cakes and hauled the last crates of wine and champagne up from the cellar. Mama and I fashioned bouquets from the few garden flowers that hadn't shriveled in the scalding sun, and we arranged them in vases in the parlor.

The air was heavy with smoke. Some of the neighbors had taken to burning their cotton to keep it out of enemy hands, and my head began to ache from the foul air and the heat. I decided to go to the gallery to cool off and talk to Julie.

The gallery was my favorite place at Parlange. The wide porch surrounded the entire green-shuttered house and provided enough space to accommodate a small orchestra and twenty dancing couples on Saturday evenings. The back portion looked out on the colorful garden and beyond, to endless fields of waving cane. At night, the twanging notes of banjos wafted through the treetops from the Negro quarters, which were screened by a tall fence. The front gallery held a collection of wicker tables and chairs. Julie and I spent hours there talking and reading.

Like all the women in our family, Julie was small and narrow-waisted. Her straight black hair hung like curtains from a center part and framed a gentle, oval face. At twenty-eight, she was two years younger than Mama, though she seemed closer to my age. It wasn't only her uncoiffed hair. There was something childlike about her flat chest and stick arms. She had a lovely singing voice, and she painted beautifully, in a distinctive style marked by insightful realism. Years later, many artists would ask me -- beg me -- to pose for them. But Julie was the first to notice my potential. "Mimi, you have exquisite lines, and your hair! I've never seen such a glorious copper color, like the kitchenhouse kettles," she told me. She did many studies of me -- asleep on the brocade settee in the parlor, bathing in front of the fireplace in my room, on the swing in the garden -- but she refused to display these pictures or any others that she did. She stashed her canvases under her bed, unsigned, and she scrawled on the back, "Not to be shown to anyone."

Julie grew up at Parlange and never left. She was content with her quiet life and once told me she had no desire to marry, the chief point of a Creole woman's existence.

"Men are bothersome beings. I don't want to spend my days worrying about one," she said.

"But don't you want babies?" I asked.

"Chérie, if I ever had a child, I'd want it to be exactly like you. In fact, I'd want it to come into the world exactly like you, a spirited little red-haired girl who reads and converses -- and not a naked, screaming infant."

I don't remember any beaux calling on Julie. So I was surprised one evening when a portly Rebel soldier ambled up the alley of oaks, then mounted the steps. "Is Miss de Ternant, Miss Julie de Ternant, receiving this afternoon?" he asked. It was Rochilieu. He had taken the steamboat from New Orleans and he smelled of the cigars and brandy he had enjoyed on the trip.

That evening, I saw him sitting in the parlor with Grandmère and Julie. My aunt was perched stiffly on an armless "lady's" chair with billowing skirts draped around her, while Rochilieu and Grandmère talked on and on. The next morning, Grandmère announced that the marriage would take place in two days.

Now, as I approached the house, I saw that Julie was reciting her Rosary. She paced back and forth on the cypress floor of the second-floor gallery, twice stopping to lean against the railing, fifteen feet above the ground. She gazed off in the distance, over my head, as if expecting to see some far-off sail on False River. I'm certain she never noticed me. Suddenly she dropped her amber beads on the floor. Holding fistfuls of cream satin at her hips, she grabbed a white pillar and hoisted herself atop the railing. She posed there for a moment, like a ship's caryatid, her eyes closed and her chin to the sky. I thought she had resigned herself to her marriage, and this was her way of saying good-bye to maidenhood. But suddenly she let go of the pillar and slowly tumbled forward, swanning, then flipping once in the air, her dress ballooning out above her knees. By the time I jerked forward, instinctively moving to catch her with my childish arms, she had hit the ground with a dull thud.

A group of chattering adults rounding the corner of the house from the garden gasped to see the pile of satin on the lawn. Grandmère, her coffee-dyed brown hair tucked under a straw hat, ran to Julie, knocking over a butler's tray holding brown-sugar lemonade and a cornmeal pound cake. Others followed, hovering, crying. Someone called for Dr. Porter. The priest approached, but Grandmère pushed him away with her wiry arms. "Keep back!" she cried.

I stood frozen on the lawn, until a soft voice whispered in my ear, "Come with me." It was Charles, Julie and Mama's half brother. His eyes were red and filling with tears. Clasping my hand tightly, Charles led me past the murmuring circle of dark figures and up a back staircase to his room in the garçonnière. He removed a checkerboard and a box of checkers from a mahogany bookcase and arranged a game on a wicker table. "Let's play," he said.

Charles was a large boy, with a big head and a smooth, intelligent face. His blue eyes were fringed with curly black lashes the color of his straight hair -- Julie's hair -- and his mouth was a red bow. All his clothes came from Paris, and though I'm sure at times he wore homespun flannel like the other planters' sons, I recall him only in fancy breeches, broadcloth waistcoats, and stiff white linen collars. He was just six years older than I, but he had a sure sense of self and a serious manner that made him seem beyond his years. "You first," he said.

With a shaky index finger, I pushed a black checker forward. Charles responded with a red. For five minutes, we stared at the board and moved checkers silently. Finally I found the strength to ask, "Do you think Tante Julie is dead?"

"Probably," said Charles. He was trying to act manly, to speak flatly and show no emotion. But his voice came out in gulps. "The heat must have made her crazy. It's always horrible on the feast of Sainte Claire."

Charles was obsessed with the weather. He watched every change and spent hours studying the sky and the clouds. Several times a day, he consulted his Almanach français -- the American Almanac was worthless, he said -- which gave the saints' feast days and, he insisted, provided clues to weather patterns.

"Then we'll see her in heaven," I said hopefully. I knew from The Gates Ajar, an American book Papa read to me, that the gates of heaven were always open to welcome new arrivals. When I died, I would be reunited there with my lost loved ones. We would be happy angels, an unbroken circle of love, the book said, free from all trouble and harm.

Charles slid a red checker forward with two square fingers. "If only Julie had waited a few days, cooler weather would have come with the Feast of Chantal, and then she would have felt better," he said.

I placed my finger on a fat black checker, but this time I couldn't move it. The thought of waiting until my own death to see Julie -- impossibly distant, I assumed -- had stolen my resolve.

"Mimi, go on!" snapped Charles, fighting for his equilibrium.

My tears erupted in a single burst. I ran from the room, down to the end of the hallway, and hid in the large linen closet, intoxicating myself with the cool, soft linen sheets and the deep, sharp fragrance of vetiver sachets.

Parlange was Grandmère. She had won it, and she had willed it to survive. Even today, more than fifty years later, though it still stands and she is long gone, no one who lived through those times can think of the plantation without conjuring an image of her.

Grandmère's parents were Canadian immigrants who died in one of the many yellow-fever epidemics that raged through Louisiana with the summer heat. She was adopted by the plantation's original owner, Marquis Vincent de Ternant III, the descendant of a French nobleman, and his childless wife. Soon the wife died, and a few months later de Ternant married Grandmère. She was barely fourteen.

She quickly had four children -- Mama was the first. But Grandmère was an indifferent mother and thought nothing of leaving her babies behind to go off to Paris for the social season. People still talk about the stir she caused boarding steamers in New Orleans, corseted nearly to suffocation in a brocaded gown and trailed by ten slaves dressed like African royalty in silk turbans and robes. In Paris, she kept an apartment at 30, rue Miromesnil and went to theaters and the opera, where her box was next to the box of Charles Parlange, one of Napoléon's colonels. After the marquis dropped dead of a heart attack one evening in the middle of dinner, his head falling into a plate of oysters, Grandmère married Colonel Parlange and brought him to Louisiana. She renamed the plantation in his honor.

The colonel didn't last long in the choking Louisiana heat. He died two years after the wedding, leaving Grandmère with another baby, Charles. After losing two husbands, Grandmère set out to run the plantation herself. During the next year, though two of her middle children -- a boy and a girl -- died, she didn't let grief stop her from learning everything there was to know: she pored over the plantation's ledgers and diaries at night, studied weather patterns, repaired the levees and irrigation canals, and organized the army of slaves for the fall harvest.

Grandmère considered herself French, but when it came to slavery, she was an American Southerner to the marrow of her bones. She did not believe slavery was evil, even though it had been outlawed in France. She thought Negroes were ignorant savages incapable of living on their own, and she took pleasure in the failures of those who had run away from Parlange or managed to buy their freedom.

She drove her slaves hard, though she was not gratuitously cruel. She wouldn't have dreamed of selling a mother away from her children, as some planters did, and she reserved beatings for serious offenses like stealing. She rewarded industry and once sent a slave who showed a talent for carpentry to New Orleans to apprentice with a famous ébéniste. He returned to make Grandmère's massive, intricately carved bed and most of the armoires in the house. Grandmère took care of her slaves when they were sick, fed and clothed them well, and gave them Saturday nights and Sundays off.

Grandmère and Mama were only fifteen years apart. They looked like sisters, both small and wiry, with pale skin, delicate features, and masses of dark hair. By the time I came along, Grandmère's hair had turned a dull, muddy brown, the result of rinsing it once a week in coffee, and there was a hardness around her mouth and eyes, as if her determination had finally etched itself on her face.

Mama and Julie were raised at Parlange and took lessons from a French tutor. They didn't learn to speak English until they were adolescents, and they never learned to read or write it well. Of the sisters, Mama was the more robust, but Julie was the one who enjoyed roaming the fields and playing with the dogs that were always lounging on the grounds. Mama disdained the slow, uneventful pace of plantation life. "Even as a child I was bored by it," she confessed to me once. "I was born sophisticated."

During frequent trips into New Orleans with Grandmère and Julie, Mama walked on the narrow banquettes of the French Quarter, past the rows of old houses with their lacy wrought-iron balconies. She was dazzled by the gaslights, the expensive trinkets behind the glass storefronts, and the elegant couples she glimpsed through carriage windows and hotel doorways.

When Mama was eighteen and Julie sixteen, Grandmère bought a house on Burgundy Street, a headquarters from which she launched her daughters into Creole society. She hosted teas and dinners and took the girls to the opera, where they sat sipping champagne in a loge lined with red velvet. Julie was indifferent to the social hurly-burly and often declined invitations to parties. But Mama never missed one.

At a dance at the St. Louis Hotel, she met Papa. She said they fell in love the moment their eyes locked across the ballroom. The orchestra was playing a waltz, and candlelight from two enormous crystal chandeliers flickered over the twirling couples.

Papa was perhaps the most eligible bachelor in town -- tall and handsome, with flashing dark eyes and auburn hair that rippled from his forehead in glossy ridges. He was also brilliant, having studied the law and set up a practice on Camp Street by age twenty. And he was rich. His father, Philippe Avegno,...

Présentation de l'éditeur :

In 1884, renowned painter John Singer Sargent unveiled his portrait of the notorious beauty Virginie Gautreau at the Paris Salon. Virginie's bold pose, provocative dress, and icy pale skin caused an immediate furore. Panned by the critics and abhorred by the public, the painting crippled Sargent's hopes of a career in Paris. He soon relocated to England, where he established himself as the favourite portrait painter of the wealthy.
In this remarkable novel, Diliberto tells Virginie's story, drawing on the sketchy facts of her life to recreate her personality and the milieu of nineteenth century Paris. Born in New Orleans and raised on her grandmother's Creole plantation, Virginie fled to France with her mother and sister during the Civil War. After a troubled adolescence, she became a professional beauty and married a prominent French banker. Even before Sargent painted her portrait, Virginie's reputation for promiscuity and showy self-display made her the subject of Paris gossip.

À propos de cette édition

• Éditeur: Scribner
• Date d'édition: 2004
• ISBN 10: 0743456807
• ISBN 13: 9780743456807
• Reliure: Broché
• Nombre de pages: 274