In Deborah Levy’s clever and playful exploration of narrative, she presents a unique work that defies conventional categorization as either a “fiction” or a “novel.” The voice of the narrator contemplates the potential camaraderie between Gertrude Stein and Sigmund Freud, envisioning them enjoying cigars while their spouses engage in light conversation. One wonders if Frau Freud might have traded her boiled beef recipe with Alice B. Toklas’s hashish fudge. Though Stein and Freud never crossed paths, their shared interests in the subconscious and character dynamics suggest they would have had much to discuss. This book is rich with imaginative scenarios, unconventional relationships, and musings that blur the line between reality and fantasy.
The narrative begins with a cat named “it,” a choice that breeds confusion and illustrates the flexibility of language. The term “it” serves various meanings throughout the text, from trivial to profound, encompassing the narrator’s mental state, her relationship with Ernest Hemingway, and even the challenge of expressing unconventionality akin to Stein. The repeated phrase “lost it” reflects a range of interpretations, including one’s artistic struggles, societal pressures, and the complexities of love and identity, including the titular cat with its unique features.
While the story lacks a traditional plot, it revolves around three female characters residing in Paris. The narrator, who is English and single, wrestles with writing an essay on Stein. Eva, a Spanish-Danish graphic novelist married to a man in Seattle, connects with the narrator through their shared literary pursuits. Fanny, a French financier engaged in polyamorous relationships, often distracts herself with her phone but exhibits a deeper emotional fragility stemming from her father’s rejection of her identity.
Fanny’s impatient demeanor contrasts with her hidden vulnerabilities, and when the narrator has a mishap on her bike, it is Fanny who steps in to assist, bringing a thoughtful treat in the process. Meanwhile, Eva, who presents an innocent facade due to her preoccupation with her lost cat, reveals a shrewd and detached nature. She transforms from a supportive friend to a domineering figure, ultimately claiming the narrator’s essay project as her own without prior discussion.
Amidst these dynamics, the narrator, feeling older and more isolated, finds herself wandering through Père Lachaise Cemetery, grappling with her inability to grasp the essence of Stein’s life. As the story unfolds, a hint of romance emerges when the trio encounters a man who shares a connection with the narrator, yet this interaction quickly dissipates when he expresses interest solely in obtaining Eva’s contact information.
Set during the month of November 2024, the backdrop includes the looming re-election of Donald Trump, juxtaposed with the narrator’s observations of global conflicts viewed on her phone, often interrupted by advertisements, creating a stark contrast to the serenity of their Parisian surroundings.
Most of the narrative is steeped in the historical context of Stein’s lifetime, as the narrator reflects on her life and thoughts. Levy does not aim to compete with Stein’s biographers; instead, she offers a contemplative examination rather than a straightforward account. The narrator believes that despite Stein’s focus on simple language, her intent was not necessarily to be comprehended fully. She poignantly expresses her struggle to connect with Stein through photographs, feeling unable to access her inner world.
Through Levy’s evocative writing, readers are transported to the Paris of Stein’s era, enriched by carefully chosen quotes that succinctly capture the essence of various literary figures. With a keen eye for detail, Levy paints vivid portraits of individuals, such as Chaïm Soutine, whose peculiarities and interactions with others are both entertaining and revealing. Stein herself is depicted as a visionary who, despite her progressiveness, struggled with practical matters.
While the narrator is not a direct representation of Levy, the work itself stands as a testament to the essay about Stein that Eva claims will never materialize, ultimately emerging as a unique and engaging exploration of creativity and friendship.
My Year in Paris With Gertrude Stein: A Fiction by Deborah Levy is available from Hamish Hamilton for £18.99.
