Getting a glimpse behind the story of a novel and an author’s inspiration is always a special treat for us. We love learning about the voyage of a novel. New York Times bestselling author Susan Vreeland gracefully combines her travels, research, and pure passion for her subjects. Her latest novel, Lisette’s List, is on sale August 26, 2014. Today she would like to share some “Inklings of Inspiration for Lisette’s List.”
You may wonder how I came to write this book, so different from my others.
It began with a feeling that in terms of my development as a writer, I must not write another novel centered on one artist, bringing to literary life part of a biography, and expanding into the artist’s friendships and associations. That approach has given me much joy for a decade, but recently I began to feel that it was too constraining. The new book came of a need to outgrow that mode and completely invent for myself, and to devote my imagination to creating characters whom I wanted to embrace.
Enter a Provence-loving friend who insisted that I see the village of Roussillon in Provence on an upcoming trip across the south of France with my husband. With only two hours there, and with rain deepening the red-ochre and rosy ochre and golden ochre of the village, I fell in love, recognizing this perch of harmonious houses high above ochre cliffs as a treasure of ultimate provincialism. I vowed to come again. And I did, with a novel swimming in my head.
It also began, before that trip, with a fascination with Varian Fry, the American who, during the German Occupation of France in World War II, orchestrated the clandestine housing and escape of Jewish artists and writers from the Villa-Bel and Marseille in Provence. Although neither Fry nor the villa nor Marseille appear in this novel, Marc Chagall, one of those escaping painters, does.
The rape of Europe of its art, as it has come to be called*, has disturbed me greatly. That entire nations could be deprived of the art of their native sons and daughters by a ruthless foreign tyrant with no appreciation for any painting beyond the Renaissance, was an injury and outrage I feel keenly. That would provide the historic context, and the passion to carry forward this new work.
And grounding my passion, like a seed in my soul, the novel grew from my deep love for France, for the French language, for French art, for Provence, and for the French people who have suffered unspeakably during war and its aftermath and whom I have found to be gracious lovers of beauty.
When I learned that near Roussillon there were ochre quarries and mines from which was extracted the ore which produced pigments in all the warm hues of the color wheel, I had a substantial artistic link to this region beyond mere love.
Art history looks at art works and the people who have created them. But what is it called, that exploration of the people who made the things that are the materials of art? The first thing: the pigments, that bright earth. The last thing: the frame around a finished painting. Both are elements in the novel. Because I knew no word for this area of study, that was the new terrain I wished to enter.
*Nichols, Lynn, The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War. New York: Vintage/Random House, 1994.
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