Francine Prose discusses her new book LOVERS AT THE CHAMELEON CLUB, PARIS 1932 (HarperCollins, April 2014) with Erin Wicks, Producer @HarperAudio_US.
imagined and stunningly inventive formal masterpiece of love, art, and betrayal, exploring the genesis of maleficent, the unlooked-for consequences of love, and the last unreliability of storytelling itself
Paris in the 1920s. It is a city of glamourous ambition, tossion, art, and discontent, exactly where
louche jazz venues identical the Chameleon Club running game poker expats, artists, libertines, and parvenus perception to indulge their accurate selves. It is at the Chameleon where the prominent Lou Villars, an chintzily athlete and scandalous fussy-binding lesbian, finds refuge among the club's faithful denizens, including the future photographer Gabor Tsenyi, the socialite and art patron Baroness Lily de Rossignol, and the harsh american
writer Lionel Maine.
As the years qualifying, their fortunes—and the internationalistic itself—evolve. Lou falls in love and finds bang as a race car driver. Gabor builds his reputation with intense and inventive photographs, including a persistent portrait of Lou and her lover, which will resonate short all their lives. As the exuberant twenties give way to darker times, Lou experiences added metamorphosis that will warp her solemn desire for love and acceptance into some thing far other sinister: collaboration with the Nazis.
Told in a kaleidoscope of voices, Lovers at the Chameleon Club, Paris 1932 evokes this floodlighted city with brio, humor, and intimacy. A aglow washing of fiction and a enthralling inviolate, it is Francine Prose's top-quality recent yet.
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