A biography of Olympe de Gouges
Since I started learning about the French Revolution I’ve been fascinated by the women involved in it. The workers Pauline Leon and Claire Lacombe, the intriguing Theroigne de Mericourt, and of course Olympe de Gouges – who wrote the Declaration of Rights of Woman and the Citizeness, in answer to the Declaration of the Rights of Man and the Citizen. And ended up getting executed. There’s not a whole lot about Olympe in English, which I think is an absolute travesty, so when I went on a bit of book-buying spree of revolutionary books and came across this one, I decided I needed to own it.
I should have paid attention to how long it was. It’s only 100 pages of text, and given it cost $66 I’m a bit grumpy. I may still have bought it, but probably as an ebook instead.
I’m also a bit grumpy because of the content. Partly I’m sad because the translation isn’t excellent, so there are bits where I’m not sure if a sentence is a translation issue or a writing issue. Partly I’m annoyed because I think it would be very difficult to read and really get this book without knowledge of the French Revolution. That makes it inaccessible to people coming it at from a feminist history perspective rather than a French Rev one, which is doing Olympe a disservice. I would really have liked to see Mousset lay out more of the context of the revolution than simply mentioning some of the events that were happening around Olympe’s life.
Mostly though I’m dismayed at some of the ways that Mousset talks about Olympe’s life and writing. Some of this comes out of currently reading Joanna Russ’ How to Suppress Women’s Writing, as part of our Galactic Suburbia one-chapter-per-episode readalong. One of the things that Russ identifies is the idea that women’s writing is inherently personal, or autobiographical. Mousset frequently sees Olympe in the characters of her plays, and suggests that she is interested in the right of illegitimate children because she is one, in divorce because of an unhappy marriage, in housing for the elderly because her mother died destitute, and so on. As if it’s not possible to care about those things without some personal connection. I’m not denying that those issues may have played a part, but to suggest that this woman – who was clearly driven, intellectual, and passionately interested in making society a better place – was only inspired by things she experienced greatly weakens her commitment.
And then there’s the way that Mousset talks about her writing: “Her lack of culture forced her to constantly make reference to herself” (p31) – which I just don’t understand as a concept, and aren’t we all still in admiration of Shakespeare for probably not having the greatest education early on? Olympe explicitly presents herself in her writing at times, downplaying her achievements – but couldn’t this just be seen as a pose? Check this out:
“I haven’t the advantage of being schooled, and as I’ve already said, I know nothing, I will therefore not use the title Author, although I’ve already presented the Public with two plays, which it was kind enough to welcome. And, unable to imitate my colleagues in their talent and arrogance, I shall listen to the voice of modesty, which suits me in all respects.” (p33)
Doesn’t that just scream Olympe playing the pose of modest woman (which she was accused of not being), but also having a dig at male ‘colleagues’ for their arrogance? Maybe there’s extensive French scholarship to suggest that Olympe was always excruciatingly honest and never played a pose, but right now I’m not buying it. And Mousset follows up this quote by saying that “If there was one thing that she was absolutely not, that was modest!” – which… do we care? Would we make the same comment of a male author? After another passage where Olympe talks about her achievements, or lack of, Mousset says “It’s obvious here that Olympe is mocking herself” (p34), but again I can’t help but wonder if it’s all a pose to get the audience on side. And my irritation is compounded when Mousset comments that “If her lack of humility still seems irritating today, imagine how exasperating she must have been at the time!” (p37, my italics). To which I have no answer because I’m gobsmacked.
Olympe, writing and politically active in the late 1780s and early 1790s, seems like a forerunner of second wave feminism: “Whichever barriers may be encircling you, it is in your power to emancipate yourselves from them; you only have to wish to do so” (p1) – pretty sure enslaved women on what would soon be Haiti wouldn’t have agreed with this sentiment. (It should be noted that Olympe was passionately anti-slavery, to the point of one of her plays being banned for its anti-colonial message.) Mousset does present Olympe’s achievements in terms of her plays being performed, and outlines some of the ways in which she was involved in politics and Parisian society. Partly because she was a moderate in many ways as that became increasingly like an anti-revolutionary, and probably also because she was an outspoken woman, Olympe eventually ended up on the wrong side of the people in charge, and Mousset presents Olympe’s final two years quite well.
For me, this feels like an extensive early version that could easily be twice as long with added commentary on the French Revolution to give Olympe greater context. I do like the way that Mousset presents Olympe’s most well-known work today, the Declaration of Rights of Woman and the Citizeness, with some commentary on the way Olympe changed the wording from what had been adopted by the national government. But I’m not sure I could recommend this to someone – certainly not as an entry to the world of women’s involvement in the Revolution. (That book is Liberty: The Lives and Times of Six Women in Revolutionary France, By Lucy Moore.)
I do not love mountaineering. I do not like watching it, I do not like reading about it.
I loved this novella.
(Note: I am friends with the publisher, but that hasn’t impacted on my attitude.)
There is SO MUCH going on in this story, I’m not sure where to start. Obviously I’ve started with the fact that it involved mountaineering… but that doesn’t tell you much. This isn’t just a story about climbing mountains, it’s about an unbeaten mountain on a harsh planet, and it’s about the joys of climbing as well. I don’t understand those joys, but I got a glimmer of an idea about them from reading this.
There’s only so much mountaineering I would read, though, even from the greatest writer. What really sucked me in here is both the relationship between the characters and the voice of the narrator herself, Aisha. Her relationship with her wife, Maggie, seems straightforward and then slowly reveals all of those complexities and unexpected difficulties that characterise real relationships. Their interactions were loving and troubling and selfish and selfless… how they would react to each other was always a bit ambiguous, to me, and that definitely contributed to the tension.
Aisha, as the narrator, is the person in whose head the reader spends most time, and she’s an appropriately complex person. I loved that Gunn gives us flashbacks to establish a pretty profound backstory for her after we already have a sense of what she’s experiencing in the now. She’s dealing with old injuries – mental and physical – and she has to watch her beloved risk herself on that damned mountain, while also carrying around some old guilt and questions about identity and worries for the future. Basically I just wanted to sit there and pat her hand to make her feel a bit better about the world.
This is a novella, so it doesn’t take long to read. Which is a tragedy, but it also means it’s tightly paced – a few slower, character-driven parts, but always with the knowledge of time passing urgently in the story’s now. Gunn has put a lot of thought into the universe-building that just gets lightly touched on – just enough to make this seem very well-realised. I can well imagine more stories in the broader universe… and possibly more set on Icefall itself. Which I would read, but I may need a bit of space before doing so.
Definitely recommended. Buy here.
The Seven Culinary Wonders of the World
This book was sent to me by the publisher, Murdoch Books, at no cost. It’s out on 1 November; RRP $35.
I was intrigued by the idea of looking at culinary traditions and histories through seven key ingredients, and those chosen here seem quite appropriate. Not comprehensive, since you could argue for others (like corn, or potato, were my first thoughts) but nonetheless widely used in a variety of cultures over the world and with interesting histories attached. Linford’s chosen seven ‘wonders’ are: rice; salt; honey; pork; tomato; chilli; and cacao.
In each chapter, Linford talks a little about the chemistry or something scientific of each ingredient, but that’s not the focus. There’s more about the history, although it’s still very much an introduction – how something like the tomato moved from the Americas to the rest of the world (I love that tomatoes are, relatively speaking, new to Italy), as well as the development and cultivation over time of different types (the ambition to create inedibly hot chilli is completely foreign to me). There’s a fairly wide-ranging look at how different cultures use different ingredients; because this is a relatively short book (about 230 ish pages), this is by no means exhaustive, which may annoy some people if she hasn’t chosen a particular culture. Still, she does talk about the use of chilli, for instance, in Mexican and Indian and Thai and Malaysian and Korean and Chinese and Portuguese and Italian and American (esp Texan) and Hungarian and Spanish cookery. And finally, there are recipes. Again, these are not comprehensive, but there’s no way it could have been. For pork, she has everything from Chinese pork potstickers (dumplings) and char siu to sautéed chorizo with red wine to glazed ham; for honey, it’s baclava to honey-glazed shallots and grilled goat’s cheese with honey. The recipes are set out nicely on the page, and each one only takes up a page (possibly a requirement in choosing?)
My one reservation with this book is that sometimes the language got repetitive. It’s as though Linford, or her editor, assumed that people would mostly not be reading this straight through (I did), and so they thought that repeating certain key phrases would be both a good and not noticed. I noticed. And while it wasn’t enormous clumps of text that were repeated, it was obvious enough that I got a bit impatient.
Overall this is a nicely-presented book: I love a good hardcover, although I love a cookbook with a ribbon even more! Each chapter has its own colour for the page numbers and the recipe text and the illustrations (there are some nice illustrations throughout – not photos), which is a nice touch. This is a nice book for someone like me who likes the background to ingredients as well as a variety of recipes.