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Quartet., by Jean Rhys
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- Sales Rank: #7918770 in Books
- Published on: 1957
- Number of items: 1
- Binding: Hardcover
Most helpful customer reviews
33 of 41 people found the following review helpful.
"voila pour toi," said stephan
By lady detective
you're in your late twenties.
you used to be a chorus girl.
you know your husband is into something shady, but you don't ask.
you like the money, and he is kind. so when he's arrested and you're left to fend for yourself alone in paris, without any money, you take comfort in an older married couple, who open up their purses and home, allowing you to get a bit comfy.
the husband wants to sleep with you & the wife says it's cool. you protest, half-heartedly & do it anyway.
the husband's a cad; the wife is passive aggressive.
you don't leave.
you don't get a job.
you get depressed.
it just keeps getting worse.
you can't seem to pull yourself together.
you drink a lot
& cry
& act irrational
& ultimately the whole thing is cool & disturbing,
although you'd never say that,
it's your life after all.
4 of 4 people found the following review helpful.
Another view of the "movable feast": Paris in the `20's...
By John P. Jones III
My first Jean Rhys' book was Wide Sargasso Sea (Norton Critical Editions), set in the Caribbean and ending in England. I was duly impressed. Therefore, even though the ground has already been fairly well-plowed, that is, expatriates in Paris in the `20's, I decided to try another of her works, also, supposedly, largely autobiographical.
Marya Zelli, a young Englishwoman, of a "chorus line" background is doing her own version of "down and out" in Paris when she decides that a marriage to a Polish émigré might be both prudent and useful, though passionless. He is a "wheeler-dealer" sort; she refuses to ask the relevant questions, which are answered for her when he is carted off to jail. Again, without resources, she is an easy "mark" for an established English couple, he of licentious inclinations (quelle surprise?), but what is a bit surprising is the facilitating attitude of his wife. And Marya finds herself a pawn in their game.
The novel is tightly written, fast-paced, with the twists and turns of a mystery novel. As an example of Rhys' prose, consider this description of a room in the Hotel du Bosphore which looked down on Montparnasse station: "An atmosphere of departed and ephemeral loves hung about the bedroom like stale scent, for the hotel was one of unlimited hospitality...the wallpaper was vaguely erotic-huge and fantastically shaped mauve, green and yellow flowers sprawling on a black ground...It was impossible, when one looked at that bed, not to think of the succession of petites femmes who had extended themselves upon it, clad in carefully thought out pink or mauve chemises, full of tact and savoir faire and savoir vivre and all the rest of it."
When Zelli's husband finishes his term in prison, and returns to his wife, the novel's pace quickens to its somewhat surprising climax. Sure, maybe it was just me, but the bleak lives of these dysfunctional people, without any redeeming graces, eventually grated enough that I was glad the short novel was finally over. Not for the fun-read, or inspirational crowd. 4-stars.
6 of 7 people found the following review helpful.
Read "Voyage in the Dark" First
By Gio
Jean Rhys's first four novels are sequential, slightly fictionalized confessions of her own sad, sordid life. Here's what I wrote about the first novel, Voyage in the Dark:
[A stern warning to my teenage son: Stay clear of wistful waifs who exude sexy depression and masochistic neediness, especially if they seem to be talented with words; you won't like yourself in the novel they write about you.
Certainly Ford Madox Ford, a great unhappy writer on his own hook, would second that advice after reading the portrayal of his relationship with Jean Rhys in her second novel, Quartet. Rhys's first four novels - Voyage in the Dark, Quartet, After Leaving Mr. Mackensie, and Good Morning Midnight - are all essentially chapters in her self-excoriating semi-autobiography, the agonizing tale of her life-spiral into degradation and suicidal depression. As a pretty-but-not-beautiful young white girl from the Afro-Caribbean island of Dominica, our heroine takes one step toward shaping her life by de-exiling herself to England. From that step on, it's all adrift, from sexual exploitation (two-way) to exploitation, grimmer and grimier with each episode. She's a sad, sick kitty, this self-hating waif. She also writes with a poignant, painful realism that was way ahead of her time (the 1920s in London and Paris) in terms of confessional literature. There's something in almost every chapter of Rhy's fictionalized desolation that makes me want to run a few miles in the hills, take a cold shower, and listen to a Bach cantata to revitalize myself. There's also something so honest in her that I come back for more desperation on the page.
That's not what I expected when I bought the complete novels. I'd just spent two weeks in Dominica, hiking, snorkling, bird-watching on that beautiful volcanic cone of an island, where equal parts are blended of pitiful colonial detritus and indomitable Black joyousness. I'd never read a word of Rhys, but I noticed a shabby house with her name on a plaque in Roseau, the mildewed rubble-heap that passes for a port city. I expected something on the order of Jamaica Kincaid, or even better, the early hilarious novels of VS Naipaul. Ooo-wee, was I on the wrong track!
I seldom urge people to read depressing novels or down-hearted poems. The world has a way of supplying each of us as much despair as we need. Rhys is an exception. Her sorrow is so pure than it exonerates her degraded life. I haven't read her last novel yet - Wide Sargasso Sea, written 30 years later and considered her masterpiece - but I will. If ever a life required a redemption, it was Jean Rhys's.]
The persona Rhys assigned herself in Voyage was more attractive, or at least more sympathetic, than the 'heroine' of Quartet. In fact, Rhy's fictional life becomes so tangibly unbearable by the end of Quartet that most readers will need a year or two before confronting the next episode, titled After Leaving Mr. Mackenzie. But don't give up! However agonizing Rhy's confessions are, her voice is true and her writing is potent.
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