Simone de Beauvoir

Thursday

Franklin Nelson

Is there ever a good time to discuss the care of the elderly?

From our UK edition

Not far into The Life, Old Age, and Death of a Working-Class Woman, Didier Eribon quotes from this balladesque 1980 track by the French singer-songwriter Jean Ferrat: We have to be reasonable You can’t go on living like this Alone if you fell sick We would be so worried You’ll see, you’ll be happy there We’ll sort through your affairs Find the photos you love It’s strange that a whole life Can be held in one hand With the other residents You’ll find lots to talk about There’s a TV in your room A pretty garden downstairs With roses that bloom In December as in June You’ll see, you’ll be happy there ‘You’ll see, you’ll be happy there’ presents us with an adult gently addressing a parent about the latter.

Thursday

Hermione Eyre

The rediscovery of the art of Simone de Beauvoir’s sister

From our UK edition

An exhibition of the art of Hélène de Beauvoir (1910-2001), sister of the great Simone, opened in a private gallery near Goodge Street last week. It was the first time Hélène’s work had been shown or received any attention in London, and young people in alternative clothing gathered to sip orange wine and listen, rapt, to the 75-year-old biographer and friend of the de Beauvoir sisters, Claudine Monteil, as her recollections helped elucidate Hélène’s abstract paintings. The reclamation of a new ‘lost’ artist was under way. De Beauvoir’s cubist self-portrait is quite good – but ‘Simone in red jacket’ must never be seen It is possible, these days, for gallerists to do good work – self-defining as allies and activists – while making a good fortune.

Thursday

Alexander Larman

Is Paris the world’s most bookish city?

After I ventured to New York in May 2024, bound for a discerning literary journey round the city’s bookshops, libraries and hotels, I received some lively and constructive feedback from Spectator readers. Many, thankfully, agreed with my arguments about its bookish charms, but a consistent theme in the comments I received was, “How can you claim that New York is the quintessential literary city? Have you forgotten Paris?” To which my reply was reasonably simple: “What about Oxford, London, Rome, Edinburgh, Dublin, Santiago or San Francisco?” All of them hugely distinguished citadels of the written word, both present and historic alike. Yet I felt uneasy at my response.

Paris

Thursday

Tomoé Hill

The life and legacy of Mavis Gallant, an American in Paris

"God help the English if she ever starts on us,” remarked Jonathan Keates in a blurb for Mavis Gallant’s Paris Notebooks. Far from being the ubiquitous “love letter” to a city, the essays and reviews within revealed people and their lives as they were, not as ideals. What Keates didn’t realize was that in Gallant’s short stories, everyone, regardless of nationality or gender, was fair game for her sometimes vicious, often dryly funny, always unblinking gaze. When she died in 2014, aged ninety-one, an obituary noted her profound irritation at her critics’ focus on The Collected Stories of Mavis Gallant: “Everyone who has reviewed it so far mentions exile.

Gallant

Saturday

Casey Chalk

Why can’t a woman be a man?

Sex and gender were supposed to be allies in the identitarian march of the feminist left. But gender, it appears, keeps butting up against the reality of sex. "I will say this and everyone's gonna hate me,” singer Macy Gray recently told Piers Morgan, “but as a woman, just because you go change your (body) parts, doesn't make you a woman, sorry.” (She subsequently apologized for her comments.) Bette Midler also elicited censure for her recent tweet: "WOMEN OF THE WORLD! We are being stripped of our rights over our bodies, our lives and even of our name!" (She later qualified that her comments were not intended to be “transphobic.”) Women, generations of feminists have been telling us, are supposed to be powerful. They’re supposed to be capable.

Thursday

Francesca Peacock

Lost in translation

Picture the scene: a twenty-something college student, desperately trying to impress a girl he’s met for a date. He's early, but that isn’t a problem as it gives him a chance to sit nonchalantly with his ever-so-artfully-battered paperback. It’s Rimbaud’s Collected Poems: intellectual, sensual, rebellious — everything he wants to be perceived as. He props the book up so that the poet’s name is visible and waits for his delicate intellectualism to be applauded. The only thing missing from this tableau is the name of the poems’ translator, assuming that the student isn’t pretentious enough to be carrying around the original French. A smaller name on the fragile paperback, the translator is generally unmentioned, forgotten, and obscured.

translation

Sunday

Ben Sixsmith

When child abuse was avant-garde

Last month the New Yorker published an essay about a grotesque experiment that took place in West Germany in the 1970s, in which young boys who had been taken from, or abandoned by, their parents were placed with known pedophiles. It was no accident. It was quite deliberate. The powerful sexologist Helmet Kentler believed that pedophilic guardianship would foster an open and unashamed attitude towards sex that would preclude the development of fascistic attitudes. As the New Yorker says: ’Kentler’s goal was to develop a child-rearing philosophy for a new kind of German man. Sexual liberation, he wrote, was the best way to “prevent another Auschwitz.”’ A sensible reader could guess what happened to the boys.

pedophilia child abuse