Girl in Hyacinth Blue - Couverture souple

Vreeland, Susan

Couverture souple

ISBN 10 : 0755305302 ISBN 13 : 9780755305308

Editeur : Headline Review, 2002

Synopsis

This series of tales revolves around an imaginary painting by Vermeer. Each tale reflects the impact the painting has on the the people around it whose lives it either illuminates or darkens.

A propos du livre

Extrait :

Cornelius Engelbrecht invented himself. Let me emphasize, straight away, that he isn't what I would call a friend, but I know him enough to say that he did purposely design himself: single, modest dresser in receding colours, mathematics teacher, sponsor of the chess club, mild-mannered acquaintance to all rather than a friend to any, a person anxious to become invisible. However, that exterior blandness masked a burning centre, and for some reason that became clear to me only later, Cornelius Engelbrecht revealed to me the secret obsession that lay beneath his orderly, controlled design.

It was after Dean Merrill's funeral that I began to see Cornelius's unmasked heart. We'd all felt the shock of Merrill's sudden death, a loss that thrust us into a temporary intimacy uncommon in the faculty lunchroom of our small private boys' academy, but it wasn't shock or Cornelius's head start in drinking that snowy afternoon in Penn's Den where we'd gone after the funeral that made him forsake his strategy of obscurity. Someone at the table remarked about Merrill's cryptic last words, "love enough," words that now sting me as much as any indictment of my complicity or encouragement, but they didn't then. We began talking of last words of famous people and of our dead relatives, and Cornelius dipped his head and fastened his gaze on his dark beer. I only noticed because chance had placed us next to each other at the table.

He spoke to his beer rather than to any of us. " 'An eye like a blue pearl,' was what my father said. And then he died. During a winter's first snowfall, just like this."

Cornelius had a face I'd always associated with Piero della Francesca's portrait of the Duke of Urbino. It was the shape of his nose, narrow but extremely high-bridged, providing a bench for glasses he did not wear. He seemed a man distracted by a mystery or preoccupied by an intellectual or moral dilemma so consuming that it made him feel superior, above those of us whose concerns were tires for the car or a child's flu. Whenever our talk moved toward the mundane, he became distant, as though he were mulling over something far more weighty, which made his cool smiles patronizing.

"Eye like a blue pearl? What's that mean?" I asked.

He studied my face as if measuring me against some private criteria. "I can't explain it, Richard, but I might show you."

In fact, he insisted that I come to his home that evening, which was entirely out of character. I'd never seen him insist on anything. It would call attention to himself. I think Merrill's "love enough" had somehow stirred him, or else he thought it might stir me. As I say, why he picked me I couldn't tell, unless it was simply that I was the only artist or art teacher he knew.

He took me down a hallway into a spacious study piled with books, the door curiously locked even though he lived alone. Closed off, the room was chilly so he lite a fire. "I don't usually have guests," he explained, and directed me to sit in the one easy chair, plum-coloured leather, high-backed and expensive, next to the fireplace and opposite a painting. A most extraordinary painting in which a young girl wearing a short blue smock over a rust-coloured skirt sat in profile at a table by an open window.

"My God," I said. It must have been what he'd wanted to hear, for it unleashed a string of directives, delivered at high pitch.

"Look. Look at her eye. Like a pearl. Pearls were favourite items of Vermeer. The longing in her expression. And look at that Delft light spilling onto her forehead from the window." He took out his handkerchief and, careful not to touch the painting, wiped the frame, though I saw no dust at all. "See here," he said, "the grace of her hand, idle, palm up. How he consecrated a single moment in that hand. But more than that "

"Remarkable," I said. "Certainly done in the style of Vermeer. A beguiling imitation."

Cornelius placed his hands on the arm of the chair and leaned toward me until I felt his breath on my forehead. "It is a Vermeer," he whispered.

Revue de presse :

This is not just another book with a Vermeer on the dust jacket...[but] an illuminating meditation on the nature of art....This beautifully imagined and written book...is a work of art itself' (Sunday Telegraph)

UK REVIEWS:
'This is not just another book with a Vermeer on the dust jacket...It is an illuminating meditation on the nature of art....This beautifully imagined and written book...is a work of art itself' Sunday Telegraph

'Susan Vreeland's...imaginitive, deeply moving triumph' Ms London

Subtle and atmospheric...an impressive debut. (Publishers Weekly)

`...celebrate the skill with which Susan Vreeland evokes the diverse owners of the picture across the ages' Independent

Wonderful...Extraordinarily skilled...deft, perceptive, full of learning, deeply moving (Kirkus Reviews)

Intelligent, searching and unusual, the novel is filled with luminous moments; like the painting it describes so well, it has a way of lingering in the reader's mind (Katy Emck, New York Times Review of Books)

US REVIEWS:

A work of art (New York Post)

'A work of art' New York Post

À propos de cette édition

• Éditeur: Headline Review
• Date d'édition: 2002
• ISBN 10: 0755305302
• ISBN 13: 9780755305308
• Reliure: Broché
• Numéro d'édition: 2
• Nombre de pages: 192