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Ice Cream for the Soul or Reading for Pleasure

ICE CREAM FOR THE SOUL: ANNE SEBBA ON READING FOR PLEASURE

Council member Anne Sebba reflects on reading for pleasure.

I fell asleep last night with a book in my hands. There were just 40 pages to go until the end but, after a long and tiring day, much as I was desperate to know who lived and who died, I just failed to make it to the finish. Luckily I woke at 5am, before the rest of the household, and raced to the end, sorry it was over but happy to have shared a few days of my life with those heroic yet flawed characters. It was the most gripping and poignant story I have read for ages and urge anyone looking for a beautifully written tale in an original voice, who wants to understand how the heart functions and learn something about twentieth century history along the way (thats all of us, right?) to read Ayelet Gundar-Goshen’s novel, One night, Markovitch although you have to get to the end of the book to find out why it is so named.

It’s hard to convey, in a black and white, matter-of-fact sentence why reading can bring such intense pleasure. Why getting immersed in a good book really does take you to other places, other times. Why, when youre engrossed in a good book, you really cant put it down. Like most things (playing an instrument, running or hiking) the more you do, the better you get and the more you like it but, unlike most things, you dont need any training to start. Reading is not exactly therapy but reading about someone who has experienced the same pain, sorrow, jealousy, elation, fear as you may be experiencing is a wonderfully comforting feeling. We are not, after all, entirely alone in the world.

I realise how lucky I am to have a job (as a writer) where I have to read. But most of what I read for work is factual, has source notes and demands that I take notes as I read. It has its own delights of discovery of course but it simply isnt the same pleasure as reading a novel. I cannot imagine a life where I dont have several books on the go, some on my bedside table, one always in my bag (how often have I been stuck on a train or even in a broken lift?) and others in various places.

But mostly, when we try and tell others, especially children who havent yet caught the bug, about the delights of reading the phrases that creep in have an earnest ring to them: reading is good for you, reading will help you do well at school, etc. That may be true but now at last here is a report that tells you yes, people who read for pleasure do benefit from a huge range of wider outcomes including increased empathy, alleviation or reduction in the symptoms of depression and dementia, as well as an improved sense of wellbeing. People who read for pleasure also have a higher sense of social inclusion, a greater tolerance and awareness of other cultures and lifestyles, possess better communication skills and are better able to access information. But, above all, reading is a pleasure. So why deny yourself?

Go on, have fun – read a book. Its ice cream for the soul.

Get involved

Share the report (commissioned by The Reading Agency) and your responses online using the hashtag #readingforpleasure.

About the author

I’ve got prison on my mind right now!

I’ve got prison on my mind right now!

This weekend I spoke in the beautiful old Town Hall in Devizes and right next to the entrance way was the old lock up cell for the town, ‘more of a dungeon than a prison,’ I was told. ‘You wouldn’t want to spend a night in there.’ I don’t suppose anyone who got thrown in to it especially wanted to either. But rough and ready justice was often doled out a hundred or so years ago.

And my current reading material is a book I picked up at San Francisco airport called ‘Orange is the new Black’ and was completely hooked throughout a long flight before I knew anything about the current phenomenon of the TV series based on the book.

For those who aren’t watching, the story concerns a pretty young middle class woman, Piper Kerman, who foolishly delivered a suitcase of drug money as a young jobless graduate from the prestigious Smith University keen to earn money. Ten years later, engaged to be married, her past caught up with her and she is convicted and sentenced to 15 months inside.

What saves her are books. Books by every post. Books from her adored family and books from people she doesn’t know. Books that she lends out in prison. Books that enable her to stay sane and enter another world.

Yet, bizarrely, the British government recently ordered that prisoners are no longer allowed to receive any small packages, which effectively means that books are banned in UK prisons. Yes there are libraries, but these are often not open at the brief time when a prisoner might visit and the book selection is often old and torn. Books are one of the few means prisoners have to improve their life inside and prepare for a life beyond. Often the books needed are legal books to help them prepare their cases for appeal. Or just books to read to pass the interminable time of day. Many leading writers, actors and poets have campaigned against the government’s bizarre ruling. Next week six leading figures from the publishing world are hoping to spend a night in a cell themselves to highlight the need to overturn this ban. I hope to be one of the ‘lucky’ ones who can spend a night on a cold stone floor in this important cause. If you want to support me please do NOW go to www.justgiving.com/AnneSebba1 where you can read more about the campaign, press the button for Anne and donate. Thank you!

Museums and Women!

Blog on Museums and WomenAs book titles go, Museums and Women is about as boring as it gets. But in John Updike’s hands, of course it is emotional and sensuous, intellectual and erotic. It is the title of a short story (and subsequent volume) about a small boy first visiting a museum with his mother which morphs into a tale of adultery with a woman working in a museum. It is beautifully written.  It was left on a table for me to read at the club in New York where I am staying this week. I had plenty of other reading material with me but, waking early from jet lag, this fifty- year old volume spoke to me.

One of my favourite cities for visiting Museums is New York and today was no different. I was aware of the newly opened Memorial to 9/11 Museum on the site of the tragedy which announces that it “will display artifacts associated with the events of 9/11, while presenting stories of loss and recovery.”  There is an associated gift shop selling T Shirts and other memorabilia. Not surprisingly,  it is deeply controversial and it wasn’t a difficult decision for me to go instead to the Metropolitan Museum of Art on Fifth Avenue. There I looked at all the children thronging the Egyptian galleries of the Met and wondered what their memories of childhood visits to admire ancient statuary would be. What could they possibly make of the faces with no noses, the bodies with no arms and magnificent jewellery?

I was there to see the amazing ball gowns designed by legendary 20th century Anglo-American couturier, Charles James. One of his 1950’s creations would cost around $12,000 in today’s money so they were a true “investment piece” as the phrase goes. James was born in England in 1906 to a British army father who never understood his creative son and treated him cruelly and a Chicago socialite mother, almost wealthy enough to be called a dollar princess and whose contacts among American high society were to prove invaluable when her son set out in Paris, first as a milliner.

He returned to England during the war but Post-war established himself in New York.

What’s not to like about a designer who says: “My dresses help women discover figures they didn’t know they had.”

Or this “All my work was inspired by women who were not merely lovely or rich but personalities and who seemed to share some of my own feeling about life in general.”

But it’s not just that I warmed to the man. The inaugural exhibition of the newly renovated Costume Institute Charles James: Beyond Fashion is spectacular technically and visually. http://www.metmuseum.org/exhibitions/listings/2014/charles-james-beyond-fashion/images

By using robotic electronic cameras, most of the ball gowns on display are individually deconstructed on an adjacent screen which explains and explores James’s design process, focusing on his use of sculptural, scientific, and mathematical approaches to construct his revolutionary and magnificent ball gowns.

The exhibition is not just entertainment for women. James himself saw himself as a creative artist on a par with many famous writers and musicians of the day. He is also an inventor. He needed women for his art but, as the Met curators rightly recognise, this story is not just about fashion, it goes way beyond fashion.

Charles James : Beyond fashion is at the Metropolitan Museum of Art in New York until August 8th 2014

Paris in the springtime

Worth La Belle Dame sans MerciParis in the springtime may be a romantic cliché but the day I have just spent in the city was everything the song promised. It was one of those blue sky sunny days which offer so much hope for the summer to come. And it was in the middle of Paris fashion week so the city was full of statuesque women wearing platform soles and 6 inch heels, painted nails and powdered faces, bizarre hair styles and outrageously wonderful clothes. There was also a half marathon so hundreds of muscular types were wandering around looking dazed in their blue plastic wraps declaring their achievement. And of course, the inevitable Paris traffic chaos.

Paris is fighting hard to keep its title as the fashion capital of the world. London, bursting with the creative fashion talent of so many young British designers, is intent on chasing it into second place. But as one designer described it to me: ‘Paris is still where you are judged at the highest level. To succeed in Paris is still the greatest challenge.’

He has a point. Somehow Paris has an allure, an allure that perhaps still trades on its glory days of The Belle Époque, the days when rich Americans with shiny new fortunes would bring their daughters to Paris to give them some old world polish, hoping to take the brassy look off their very nouveau fortunes before launching them onto impoverished British aristocrats. They were the dollar princesses and nothing defined their superiority over their English sisters better than their fabulous clothes and their ability to wear them with style, ease and confidence. They knew how to cause a stir when they entered a room. Edith Wharton advised any young American girl preparing for a grand marriage to have approximately eleven Worth gowns in her trousseau; Jennie Jerome had twenty three, a fact which caused her fiancée, Lord Randolph Churchill, no end of difficulties in finding a house big enough for them all.  Wharton also advised young women to keep this year’s model for a year before wearing so as to let the ostentation fade a little.

Charles Frederick Worth, born in Bourne, Lincolnshire in 1825, an Englishman who reinvented himself in Paris, is the man responsible for establishing the idea of haute couture as we know it today. Blame him for the idea of a brand as he labelled all his creations – a small critical rectangle of fabric usually sewn in the waistband – cultivated an international clientele of aristocrats, royals and actresses and plenty of mystique. He saw himself as an artist and created out of the commercial transaction of buying a gown a theatrical experience. But he also had responsibilities to ensure that his aristocratic clients never encountered his courtesan or actress clients, of whom there were many. Some of these were given a special prix d’artiste, the forerunner of film stars borrowing gowns from famous houses in the hope of bringing them fame.

In 1850, just as Worth was starting out in Paris (he had left England just five years before and was not yet established) there were an estimated 158 couturiers in Paris and 67 maisons de nouveates confectionées. By 1895 that figure had risen dramatically to 1,636 couturiers and 296 maisons de nouveates confectionées, the best of them, as Maison Worth, clustered around Place Vendôme and Rue de la Paix.

This week sees the publication of a fabulous book about Worth* with truly lavish illustrations thanks to the Victoria and Albert’s unique archive of over 7,000 official house records. And it is full of interesting tidbits. On one occasion Grace Elvina, the Marchioness of Kedleston and a loyal Worth client, found herself wearing an identical Worth gown as the Queen of Spain, a woman she had invited to dine at her home. She went quickly upstairs to change and chided the master afterwards. But he was not especially penitent. He did not need to be.

One of the loveliest museums in Paris is the Musée Carnavalet, in the fashionable Marais where it is always a pleasure to be a flanêur, currently has an exhibition entitled **Roman d’une Garde-Robe, or Tales from a Wardrobe, which brings alive in a wider sense the world of haute couture in Paris for its privileged clientele and those who served them.  The show is based on the wardrobe of Alice Alleaume, head saleswoman at Chéruit, rival to Worth and in fact the first couture house to set up in Place Vendôme. Her sister, Hortense, was head saleswoman at Worth. The whole family was immersed in fashion and the exhibition brilliantly captures the spirit of la Belle Époque as well as the freedom of the twenties and the difficult years of the depression. It’s especially good at showing the links between artists and photographers who were clearly fascinated by elegant Parisiennes who shopped not only at Worth but at Paquin, Doucet and Chéruit and one painting illustrates how a whole family would be involved in the dressmaking process – children too. Dressing to the best of one’s financial resources is a tenet deeply engrained in the psyche of a Parisienne. It’s a sacred duty, what they owe themselves. But, oh, where did they find the time for all these fittings and  regular changes of outfit throughout the day.

Parisian haute couture did not end in 1939, with the outbreak of War, nor even in 1940 with the German occupation.  Lucien Lelong, President of the Chambre Syndicale de la Haute Couture had to negotiate with the occupying German regime. He courageously refused Nazi demands to take the entire couture industry to Germany and made a spirited fight to keep Parisiennes well-dressed in gowns made by French houses as well as hundreds of seamstresses working in small ateliers. But there were also important sales to Nazi wives which helped keep the industry alive during the war years but meant that after liberation some couturiers were tainted with the collaborationist brush. Thus the flame never burned out and after the war Christian Dior with his ‘New Look’, but others too, breathed new life into an industry vibrantly alive today.

 

*The House of Worth Portrait of an Archive V& A Publishing  £35.00

**Roman D’Une Garde-Robe  Musée Carnavalet until March 16

 

 

What Brighton means to me

One of the most powerful images from the Vienna Portraits exhibition currently at the National Gallery is by Egon Schiele of himself and his pregnant wife dying of Spanish ‘flu. He was to succumb to it himself three days later, aged just 28, later described by the Nazis as a ‘degenerate’ artist. I cannot empty my mind of this picture and the thought of all that lost brilliance. Yet in an exhibition where death is continually hovering and suicide ever present,  it’s impossible to know how would he have dealt with all that was to follow after 1918?

Between 50 and 100 million people across the world died of what became known as Spanish ‘flu.  One of the most shocking aspects was the way it could sometimes claim its victims in a day and was especially virulent among the previously healthy young.  After waking up with a shivery twinge, victims might find by lunchtime that their skin had changed colour to a vivid purple and a few hours later they were dead, sometimes choking on thick scarlet jelly that suddenly clogged the lungs. The pandemic has been described as “the greatest medical holocaust in history” and may have killed more people than the Black Death killed in a century.

I have often thought of this pandemic as my own aunt, my father’s older sister, Irene, died aged 12 in 1918. My father’s family had moved to Brighton hoping this would be safer than London because of the new terror of Germany’s doodlebugs. But Brighton, being a port, was in fact more dangerous as the disease was thought to have been carried ashore by travellers. My grandfather, a Lithuanian Jewish immigrant who had been in England less than 20 years, never recovered from the loss of a favourite daughter and gave up on joy and God.  They were buried with my aunt in a Brighton cemetery.

Brighton can never for me be simply a seaside resort.  I have always known that my father was deeply scarred from the loss of the sister he barely knew when he was six and the consequent suffering endured by his family for whom emotions must have been ‘unexploded’ and so I relished a book which looked at the town twenty years later during World War Two.  Alison MacLeod’s  Unexploded is partly about attitudes to Jews and immigrants in Britain at the end of the thirties but it is also a deeply felt examination of repressed emotions waiting to explode as of course they do in the course of the novel. The background history is fascinating, never intrusive, but there is plenty to learn here about politics and history of art. For example Picasso’s Guernica is on show at the Whitechapel Gallery from December 1938 to mid-January 1939, the hero, Otto,  is a ‘degenerate’ artist and Virginia Woolf, whose suicide frames the book, enters to give sparsely attended lectures. I shan’t tell the story but it’s a powerful, often painful, read and Evelyn and her defective husband Geoffrey are utterly believable protagonists.

One other book I have read this week is Robert Harris’s brilliant thriller,  An Officer and a Spy. In this retelling of the Dreyfus affair virulent anti-Semitism in France is overt, barely repressed and with consequences which have shuddered down the ages. Even those of us who thought we knew this tale cannot fail to see it through fresh eyes.