The White Dress is the final part of a trilogy of works by Nathalie Léger that began with Exposition, translated by Amanda DeMarco, and published by Les Fugitives in 2019.
Brides on Tour: peace not war
On 8 March 2008, Pippa Bacca, a 33-year-old Italian feminist artist, decided to hitchhike from Milan to Jerusalem wearing a white wedding dress to symbolise “marriage between different peoples and nations.” Her aim was to promote world peace and she intended to document her experiences by video. However, on 31 March, having temporarily separated from her fellow bride on tour, Silvia Moro, Pippa was picked up by Murat Karataş in Gezbe, Turkey. He raped and strangled her and dumped her body in a shallow grave among some bushes. Léger /Léger’s narrator meditates on Bacca’s sorrowful journey and interweaves the story of a mother and daughter’s relationship. Natasha Lehrer’s perceptive English translation was notably published on the twelfth anniversary of Bacca’s death.
Continue reading Guest Review | Lucy Popescu | The White Dress, Nathalie Léger | Les Fugitives
Article first published on posthumous publication of On the Wilder Shores of Love: A Bohemian Life by Lesley Blanch,15 January 2015 by virago.co.uk
As far as godmothers go, Lesley Blanch (1904-2007) was as good as it gets. She was an understanding and generous friend; listening without judging. She opened up new ways of seeing the world and was modern and free, with tremendous wit and style. Seductive and glamorous, she was a superb storyteller. A scholarly romantic, her passion was for all things Russian and Oriental. She never apologized for who she was, took risks and relished writing about her adventures. Resilient and alert to the end of her long life, she stood firm and dignified in the face of back-biting and envy.
Lesley was ahead of her time, and prescient in the way she attempted to bridge West and East: especially the West and Islam. Although most people today associate her with the classic book which pioneered a new approach to history writing, The Wilder Shores of Love, her greatest work is The Sabres of Paradise. The way she writes about the struggle of the people of the Caucasus to remain independent of Russia is dramatic and disturbingly relevant to our world today. As Philip Marsden put it: “Like Tolstoy’s, her [Lesley Blanch’s] sense of history is ultimately convincing not because of any sweeping theses, but because of its particularities, the quirks of individuals and their personal narratives, their deluded ambitions, their vanities and passions.” Continue reading Lesley Blanch Archive | Lesley Blanch: One of a Kind | virago.co.uk
The book has become a luxury item, production is costly, and then there is Amazon which has radically changed the publishing landscape. A prize, a gift, a gorgeous object: the book has an irresistible allure. Publishers have learned that it is well worth sending their writers on tour around the country to promote their work and engage with readers at live events.
While the bigger book festivals like Hay, Cheltenham or Oxford have something of a showbiz atmosphere, with audiences queuing to see their favourite ‘celebrity’ author, the smaller festivals like Bridport are more ‘real’ and benefit readers who can get more from an intimate event.
Continue reading Spotlight | Georgia de Chamberet at the 2015 Bridport Literary Festival
Far To Go and Many To Love: People and Places by Lesley Blanch, edited and with an introduction by Georgia de Chamberet (Quartet, 9780704374348, hb illus £25, 1 June 2017)
On the Wilder Shores of Love: A Bohemian Life by Lesley Blanch, edited and with an introduction by Georgia de Chamberet (Virago, 9780349005461, pb illus £10.99, 12 January 2017)
It was the best of perfumes, it was the worst; it was the trademark of the grande cocotte, it was worn by the femme du monde. It was the heaviest of scents, it was the lightest. It was the worst of taste, it was the height of fashion. It drove men mad, it tamed the beasts of the jungle. It was an aphrodisiac, it was an emetic. It came from India — from Haiti. It smelled of newly sharpened pencils; of Victorian boudoirs. It preserved furs from moth; it was something to eat. It was divine; it stank.
These were some of the ways patchouli was described to me when I set out to discover what precisely was the nature and history of this long-forgotten perfume which reached its apogee of popularity about a century ago — and which, suddenly, is in demand once more. Patchouli — pucha-pat to the India of its origin — belongs, in Europe, essentially to the mid-nineteenth century; it is the essence of its age, as frangipani evokes the eighteenth and musk and ambergris belong to the sixteenth and seventeenth centuries, a time of perfumed gloves — and poisoned ones too. Each age has its characteristic expression, found as much in some minor aspect as in a heroic gesture, or great personality. A tune, a colour, a manner of speaking, like a way of moving, or standing, or a particular piece of clothing is as telling as a line of thought or a code of conduct. And nothing is more memorable than a perfume.
Patchouli was the quintessential nineteenth-century perfume, as the shawl was its quintessential garment. The two are indissolubly linked, for patchouli first came out of India because of and with the cashmere shawls which were then the cornerstone of every woman’s wardrobe.
Continue reading Lesley Blanch Archive | Patchouli