How Proust Can Change Your Life Page 2

  If we dismiss Marcel’s ambitions, it may have more to do with a particular skepticism about the therapeutic qualities of the literary novel than with all-encompassing doubts as to the value of the printed word. Even Dr. Proust, in many ways unsympathetic to his son’s vocation, was not hostile toward every published genre, and indeed turns out to have been a prolific author himself, for a long time far better known in the bookshops than his offspring.

  However, unlike his son’s, the utility of Dr. Proust’s writings was never in question. Across an output of thirty-four books, he devoted himself to considering a multitude of ways in which to further the physical well-being of the population, his titles ranging from a study of The Defense of Europe against the Plague to a slim volume on the specialized and, at the time, novel problem of Saturnism as Observed in Workers Involved in the Making of Electric Batteries. But Dr. Proust was perhaps best known among the reading public for a number of books conveying in concise, lively, and accessible language all that one might wish to know about physical fitness. It would in no way have contravened the tenor of his ambitions to describe him as a pioneer and master of the keep-fit self-help manual.

  His most successful self-help book was entitled Elements of Hygiene; it was published in 1888, was fully illustrated, and was aimed at teenage girls, who were deemed to need advice on enhancing their health in order to produce a vigorous new generation of French citizens, of whom there was a shortfall after a century of bloody military adventures.

  With interest in a healthy lifestyle having only increased since Dr. Proust’s day, there may be value in including at least a few of the doctor’s many insightful recommendations.

  H OW D R . P ROUST

  CAN CHANGE YOUR HEALTH

  ( I ) B ACKACHE

  Almost always due to incorrect posture. When a teenage girl is sewing, she must take care not to lean forward, cross her legs, or use a low table, which will squash vital digestive organs, interrupt the flow of her blood, and strain her spinal cord, the problem illustrated in a cautionary drawing:

  She should instead be following this lady’s example:

  ( II ) C ORSETS

  Dr. Proust did not hide his distaste for these fashion items, describing them as self-destructive and perverse (in an important distinction for anyone worried about the correlation between slimness and attractiveness, he informed readers that “the thin woman is far from being the svelte woman”). And in an attempt to warn off girls who might have been tempted by corsets, Dr. Proust included an illustration showing their catastrophic effect on the spinal cord:

  ( III ) E XERCISE

  Rather than pretend to be slim and fit through artificial means, Dr. Proust proposed that girls follow a regime of regular exercise and included a number of practical, unstrenuous examples—like, for instance, jumping off walls …

  hopping around …

  swinging one’s arms …

  and balancing on one foot.

  With a father so masterful at aerobic instruction, at providing advice on corsets and sewing positions, it seems as if Marcel may have been hasty or simply overambitious in equating his life’s work with that of the author of Elements of Hygiene. Rather than blame him for the problem, one might ask whether any novel could genuinely be expected to contain therapeutic qualities, whether the genre could in itself offer any more relief than could be gained from an aspirin, a country walk, or a dry martini.

  Charitably, one could suggest escapism. Marooned in familiar circumstances, there may be pleasure in buying a paperback at the station newsstand (“I was attracted by the idea of reaching a wider audience, the sort of people who buy a badly printed volume before catching a train,” specified Proust). Once we’ve boarded a carriage, we can abstract ourselves from current surroundings and enter a more agreeable, or at least agreeably different, world, breaking off occasionally to take in the passing scenery while holding open our badly printed volume at the point where an ill-tempered monocle-wearing baron prepares to enter his drawing room—until our destination is heard on the loudspeaker, the brakes let out their reluctant squeals, and we emerge once more into reality, symbolized by the station and its group of loitering slate-grey pigeons pecking shiftily at abandoned confectionery (in her memoirs, Proust’s maid Celeste helpfully informs those alarmed not to have made much ground in Proust’s novel that it is not designed to be read from one station to the next).

  Whatever the pleasures of using a novel as an object by which to levitate into another world, it is not the only way of handling the genre. It certainly wasn’t Proust’s way, and would arguably not have been a very effective method of fulfilling the exalted therapeutic ambitions expressed to Céleste.

  Perhaps the best indication of Proust’s views on how we should read lies in his approach to looking at paintings. After his death, his friend Lucien Daudet wrote an account of his time with him, which included a description of a visit they had once made together to the Louvre. Whenever he looked at paintings, Proust had a habit of trying to match the figures depicted on the canvases with people he knew from his own life. Daudet tells us that they went into a gallery hung with a painting by Domenico Ghirlandaio. It was called Old Man and Boy, it had been painted in the 1480s, and it showed a kindly-looking man with a set of carbuncles on the tip of his nose.

  Proust considered the Ghirlandaio for a moment, then turned to Daudet and told him that this man was the spitting image of the Marquis de Lau, a well-known figure in the Parisian social world.

  How surprising to identify the Marquis, a gentleman in late-nineteenth-century Paris, in a portrait painted in Italy in the late fifteenth century. However, a snap of the Marquis survives. It shows him sitting in a garden with a group of ladies wearing the kind of elaborate dress you would need five maids to help you into. He has on a dark suit, a winged collar, cuff links, and a top hat, and despite the nineteenth-century paraphernalia and the poor quality of the photo, one imagines that he might indeed have looked strikingly similar to the carbuncled man painted by Ghirlandaio in Renaissance Italy, a long-lost brother dramatically separated from him across countries and centuries.

  The possibility of making such visual connections between people circulating in apparently wholly different worlds explains Proust’s suggestion:

  Aesthetically, the number of human types is so restricted that we must constantly, wherever we may be, have the pleasure of seeing people we know

  .

  And such pleasure is not simply visual, for the restricted number of human types also means that we are repeatedly able to read about people we know, in places we might never have expected to do so.

  For instance, in the second volume of Proust’s novel, the narrator visits the Normandy seaside resort of Balbec, where he meets and falls in love with someone I know, a young woman with an impudent expression, brilliant laughing eyes, plump matt cheeks, and a fondness for black polo caps. Here is Proust’s portrait of what Albertine sounds like when she is talking:

  In speaking, Albertine kept her head motionless and her nostrils pinched, and scarcely moved her lips. The result of this was a drawling, nasal sound, into the composition of which there entered perhaps a provincial heredity, a juvenile affectation of British phlegm, the teaching of a foreign governess and a congestive hypertrophy of the mucus of the nose. This enunciation which, as it happened, soon disappeared when she knew people better, giving place to a girlish tone, might have been thought unpleasant. But to me it was peculiarly delightful. Whenever I had gone for several days without seeing her, I would refresh my spirit by repeating to myself: “We don’t ever see you playing golf,” with the nasal intonation in which she had uttered the words, point blank, without moving a muscle of her face. And I thought then that there was no one in the world so desirable

  .

  It is difficult when reading the description of a fictional character not at the same time to imagine the real-life acquaintance whom he or she most closely, if often unexpectedly, resembles. It has, for exa
mple, proved impossible for me to separate Proust’s Duchesse de Guermantes from the image of the fifty-five-year-old stepmother of an ex-girlfriend, even though this unsuspecting lady speaks no French, has no title, and lives in Devon. What is more, when Proust’s hesitant, shy character Saniette asks if he can visit the narrator in his hotel in Balbec, the proud defensive tone with which he masks his friendly intentions seems exactly that of an old college acquaintance of mine who had a manic habit of never putting himself in a situation where he might encounter rejection.

  “You don’t happen to know what you’ll be doing in the next few days, because I will probably be somewhere in the neighborhood of Balbec? Not that it makes the slightest difference, I just thought I’d ask,” says Saniette to the narrator, though it could equally well have been Philip proposing plans for an evening.

  How helpful of Proust to remark that “one cannot read a novel without ascribing to the heroine the traits of the one we love.” It lends respectability to a habit of imagining that Albertine, last seen walking in Balbec with her brilliant laughing eyes and black polo cap, bears a striking resemblance to my girlfriend Kate, who has never read Proust and prefers George Eliot, or Marie-Claire after a difficult day.

  Kate/Albertine

  Such intimate communion between our own life and the novels we read may be why Proust argued:

  In reality, every reader is, while he is reading, the reader of his own self. The writer’s work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have

  experienced in himself. And the recognition by the reader in his own self of what the book says is the proof of its veracity

  .

  But why would readers seek to be the readers of their own selves? Why does Proust privilege the connection between ourselves and works of art, as much in his novel as in his museum habits?

  One answer is because it is the only way in which art can properly affect rather than simply distract us from life, and that there are a stream of extraordinary benefits attached to what might be termed the Marquis de Lau phenomenon (MLP), attached to the possibility of recognizing Kate in a portrait of Albertine, Philip in a description of Saniette, and, more generally, ourselves in badly printed volumes purchased in train stations.

  T HE B ENEFITS OF THE MLP

  ( I ) T O FEEL AT HOME EVERYWHERE

  The fact that we might be surprised to recognize someone we know in a portrait painted four centuries ago suggests how hard it is to hold on to anything more than a theoretical belief in a universal human nature. As Proust saw the problem:

  People of bygone ages seem infinitely remote from us. We do not feel justified in ascribing to them any underlying

  intentions beyond those they formally express; we are amazed when we come across an emotion more or less like what we feel today in a Homeric hero.… [I]t is as though we imagined the epic poet … to be as remote from ourselves as an animal seen in a zoo

  .

  It is perhaps only normal if our initial impulse on being introduced to the characters of The Odyssey is to stare at them as though they were a family of duck-billed platypuses circling their enclosure in the municipal zoo. Bewilderment might be no less intense at the thought of listening to a louche character with a thick mustache, standing in the midst of antiquated-looking figures:

  But an advantage of more prolonged encounters with Proust or Homer is that worlds that had seemed threateningly alien reveal themselves to be essentially much like our own, expanding the range of places in which we feel at home. It means we can open the zoo gates and release a set of trapped creatures from the Trojan War or the Faubourg Saint-Germain, whom we had previously considered with unwarranted provincial suspicion because they had names like Eurycleia and Telemachus or had never sent a fax.

  ( II ) A CURE FOR LONELINESS

  We might also let ourselves out of the zoo. What is considered normal for a person to feel in any place at any point is liable to be an abbreviated version of what is in fact normal, so that the experiences of fictional characters afford us a hugely expanded picture of human behavior, and thereby a confirmation of the essential normality of thoughts or feelings unmentioned in our immediate environment. After we have childishly picked a fight with a lover who had looked distracted throughout dinner, there is relief in hearing Proust’s narrator admit to us that “as soon as I found Albertine not being nice to me, instead of telling her I was sad, I became nasty,” and revealing that “I never expressed a desire to break up with her except when I was unable to do without her,” after which our own romantic antics might seem less like those of a perverse platypus.

  Similarly, MLPs can make us feel less lonely. After we have been abandoned by a lover who has expressed in the kindest way imaginable a need to spend a little more time on her own, how consoling to lie in bed and witness Proust’s narrator crystallizing the following thought:

  When two people part it is the one who is not in love who makes the tender speeches

  .

  How comforting to witness a fictional person (who is also, miraculously, ourselves as we read) suffering the same agonies of a saccharine dismissal and, importantly, surviving.

  ( III ) T HE FINGER-PLACING ABILITY

  The value of a novel is not limited to its depiction of emotions and people akin to those in our own life; it stretches to an ability to describe these far better than we would have been able, to put a finger on perceptions that we recognize as our own, but could not have formulated on our own.

  We might have known someone like the fictional Duchesse de Guermantes and felt there was something superior and insolent in her manner, without knowing quite what, until Proust discreetly pointed out in parentheses how the Duchesse reacted when, during a smart dinner, a Madame de Gallardon made the error of being a little overfamiliar with the Duchesse, known also as Oriane des Laumes, and addressed her by her first name:

  “Oriane” (at once Mme des Laumes looked with amused astonishment towards an invisible third person, whom she seemed to call to witness that she had never authorised Mme de Gallardon to use her Christian name) …

  An effect of reading a book which has devoted attention to noticing such faint yet vital tremors is that once we’ve put the volume down and resumed our own life, we may attend to precisely the things the author would have responded to had he or she been in our company. Our mind will be like a radar newly attuned to pick up certain objects floating through consciousness; the effect will be like bringing a radio into a room that we had thought silent, and realizing that the silence only existed at a particular frequency and that all along we in fact shared the room with waves of sound coming in from a Ukrainian station or the nighttime chatter of a minicab firm. Our attention will be drawn to the shades of the sky, to the changeability of a face, to the hypocrisy of a friend, or to a submerged sadness about a situation which we had previously not even known we could feel sad about. The book will have sensitized us, stimulated our dormant antennae by evidence of its own developed sensitivity.

  Which is why Proust proposed, in words he would modestly never have applied to his own novel:

  If we read the new masterpiece of a man of genius, we are delighted to find in it those reflections of ours that we despised, joys and sorrows which we had repressed, a whole world of feeling we had scorned, and whose value the book in which we discover them suddenly teaches us

  .

  Whatever the merits of Proust’s work, even a fervent admirer would be hard pressed to deny one of its awkward features: length. As Proust’s brother, Robert, put it, “The sad thing is that people have to be very ill or have broken a leg in order to have the opportunity to read In Search of Lost Time.” And as they lie in bed with their limb newly encased in plaster or a tubercle bacillus diagnosed in their lungs, they face another challenge in the length of individual Proustian sentences, snakelike constructions, the very longest of which, located in the fifth volume, wou
ld, if arranged along a single line in standard-sized text, run on for a little short of four meters and stretch around the base of a bottle of wine seventeen times:

  Alfred Humblot had never seen anything like it. As head of the esteemed publishing house Ollendorf, he had, early in 1913, been asked to consider Proust’s manuscript for publication by one of his authors, Louis de Robert, who had undertaken to help Proust get into print. “My dear friend, I may be dense,” replied Humblot after taking a brief and clearly bewildering glance at the opening of the novel, “but I fail to see why a chap needs thirty pages to describe how he tosses and turns in bed before falling asleep.”

  He wasn’t alone. Jacques Madeleine, a reader for the publishing house Fasquelle, had been asked to look at the same bundle of papers a few months earlier. “At the end of seven hundred and twelve pages of this manuscript,” he had reported, “after innumerable griefs at being drowned in unfathomable developments and irritating impatience at never being able to rise to the surface—one doesn’t have a single, but not a single clue of what this is about. What is the point of all this? What does it all mean? Where is it all leading? Impossible to know anything about it! Impossible to say anything about it!”

  Madeleine nevertheless had a go at summarizing the events of the first seventeen pages: “A man has insomnia. He turns over in bed, he recaptures his impressions and hallucinations of half-sleep, some of which have to do with the difficulty of getting to sleep when he was a boy in his room in the country house of his parents in Combray Seventeen pages! Where one sentence (at the end of page 4 and page 5) goes on for forty-four lines.”