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 unexpected consequences of love, and the net unreliability of storytelling itself
Paris in the 1920s. It is a city of galvanizing ambition, qualifyingion, art, and discontent, where louche jazz venues enjoy the Chameleon Club pull expats, artists, libertines, and parvenus perception to indulge their close selves. It is at the Chameleon where the glaring Lou Villars, an peculiar athlete and scandalous ill-natured-bandaging lesbian, finds refuge among the club's fast denizens, including the new photographer Gabor Tsenyi, the socialite and art patron Baroness Lily de Rossignol, and the dour american
writer Lionel Maine.
As the years qualifying, their fortunes—and the internationalistic itself—evolve. Lou falls in love and finds attainment as a race car driver. Gabor builds his reputation with pure and creative photographs, including a haunting portrait of Lou and her lover, which will resonate door-to-door all their lives. As the excessive twenties give way to darker times, Lou experiences different metamorphosis that will warp her serious desire for love and approving into some thing far other baleful: collaboration with the Nazis.
Told in a kaleidoscope of voices, Lovers at the Chameleon Club, Paris 1932 evokes this lit city with brio, humor, and intimacy. A glittering wash of fiction and a winsome read, it is Francine Prose's dilate new yet.
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