Again what I find fascinating about this novel is how it intertwines these discussions of literature and morality with a terrific plot that seems to be moving from soap opera to crime story. Also we finally meet one elusive and sinister character who turns out to be a kind of Fagin. I also wonder if Bernard is going to pass; his essay reminds me of all the in-class essays I had to write in school to prepare for the American AP exams.
How fascinating—when Bernard asks Edouard who the counterfeiters are in the book he is writing titled The Counterfeiters, Edouard doesn't know! What??? Also, it seems like foreshadowing when Bernard asks for his counterfeit coin back because he thinks Edouard is not interested in it but Edouard says he is interested and disturbed by it. And this exchange happens at the end of a section. Gide understands that readers remember mostly beginnings and endings. And speaking of beginnings, Bernard says he would start Edouard’s The Counterfeiters with the counterfeit coin. So many clues, but to what?
Am I in the right week? Or are these comments of mine for the week before? Sometimes reading this book through The Internet Archive makes this journey a bit more difficult. There is no easy way to go back and forth to find one’s place.
I think these moments are from Part Two, which we discussed last week – but great observations and comments! I really appreciate it. It does feel like wheels within wheels, doesn't it?
I learned that Parnassus is the mountain home of Greek muses - how lovely - Ann Patchett’s book store is called Parnassus Books. There are letters everywhere in this book - so many of them. And so many instances of people reading letters that weren’t meant for their eyes. Bernard does this twice. Now we know that George has some letters that he shouldn’t have. La Perouse’s wife used to give him a hard time for reading his late brother’s letters although I am not sure why. To which Edouard says “Because she loved you. There’s no jealousy without love.”
That's a good line, isn't it? Yes - you're right, the novel does feel very interested in 'material culture' - physical letters, journals, real and counterfeit coins, printed reviews.
Again what I find fascinating about this novel is how it intertwines these discussions of literature and morality with a terrific plot that seems to be moving from soap opera to crime story. Also we finally meet one elusive and sinister character who turns out to be a kind of Fagin. I also wonder if Bernard is going to pass; his essay reminds me of all the in-class essays I had to write in school to prepare for the American AP exams.
How fascinating—when Bernard asks Edouard who the counterfeiters are in the book he is writing titled The Counterfeiters, Edouard doesn't know! What??? Also, it seems like foreshadowing when Bernard asks for his counterfeit coin back because he thinks Edouard is not interested in it but Edouard says he is interested and disturbed by it. And this exchange happens at the end of a section. Gide understands that readers remember mostly beginnings and endings. And speaking of beginnings, Bernard says he would start Edouard’s The Counterfeiters with the counterfeit coin. So many clues, but to what?
Am I in the right week? Or are these comments of mine for the week before? Sometimes reading this book through The Internet Archive makes this journey a bit more difficult. There is no easy way to go back and forth to find one’s place.
I think these moments are from Part Two, which we discussed last week – but great observations and comments! I really appreciate it. It does feel like wheels within wheels, doesn't it?
I learned that Parnassus is the mountain home of Greek muses - how lovely - Ann Patchett’s book store is called Parnassus Books. There are letters everywhere in this book - so many of them. And so many instances of people reading letters that weren’t meant for their eyes. Bernard does this twice. Now we know that George has some letters that he shouldn’t have. La Perouse’s wife used to give him a hard time for reading his late brother’s letters although I am not sure why. To which Edouard says “Because she loved you. There’s no jealousy without love.”
That's a good line, isn't it? Yes - you're right, the novel does feel very interested in 'material culture' - physical letters, journals, real and counterfeit coins, printed reviews.