The Terror of Lust

“Don’t let yourself die without knowing the wonder of fucking with love.”
Gabriel García Márquez
Memories of My Melancholy Whores

 
 

Wasserschlangen I or Freundinnen I (Water Serpents I), 1904 Gustav Klimt’s painting on the book cover of the English version of 眠れる美女

 
 

House of the Sleeping Beauties is a 1961 novella by the Japanese author Yasunari Kawabata. A story about a lonely man, Old Eguchi, who continuously visits the House of the Sleeping Beauties in hope of something more. As the great Japanese writer Yukio Mishima expresses it perfectly in his introduction, this book is a pregnant reflection on ‘the terror of lust by the approach of death.’

Memories of My Melancholy Whores, Gabriel Garcia Márquez’s last written work, has some similarities to Kawabata’s short novel, which Marquez even quotes in the epigraph:

 

“He was not to do anything in bad taste, the woman of the house warned old Eguchi. He was not to put his finger into the mouth of the sleeping girl, or try anything else of that sort.”

 

Kawabata’s book is about an old man who watches sleeping young women and feels himself overwhelmed by desire for them. Marquez’s book is about an even older man who first desires a sleeping young woman, and then feels himself overwhelmed by platonic love. Thus, Marquez inverts Kawabata’s painful yearning into a sentimental fantasy.

And of course he replaces Kawabata’s old man with the typical Marquez protagonist. Marquez protagonists are men who invariably possess amazing virility, miraculous longevity, and larger-than-life charisma. They are never good-looking, but they can always get any woman they want. In this book, the protagonist explains that he had been with 514 different women by the age of fifty. It is also typical for Marquez to give the exact number. It’s not enough for his character to have had great success with the ladies, he has to have had exactly 514 of them. Marquez did this exact thing in Love In The Time Of Cholera, where Florentino Ariza filled some similarly huge number of notebooks with descriptions of his romantic conquests.

In 1982 Gabriel García Márquez wrote a story, Sleeping Beauty and the Airplane, in which Kawabata is specifically alluded to. Seated in the first-class cabin of an airplane crossing the Atlantic beside a young woman of extraordinary beauty who sleeps throughout the flight, García Márquez’s narrator is reminded of Kawabata’s novel. As a work of fiction the “Sleeping Beauty” story is undeveloped, no more than a sketch. Perhaps for this reason, García Márquez feels free to reuse its basic situation —the no longer young admirer side by side with the sleeping girl— in Memories of My Melancholy Whores.

House of the Sleeping Beauties is a study of the activities of eros in the mind of a sensualist of an intensive and self-aware kind, acutely—perhaps morbidly—sensitive to odors and fragrances and nuances of touch, absorbed by the physical uniqueness of the women he is intimate with, prone to brood on images from his sexual past, not afraid to confront the possibility that his attraction toward young women may screen desire for his own daughters, or that his obsession with women’s breasts may originate in infantile memories.

 
 

FILM ADAPTATIONS

 
 

Das Haus der schlafenden Schönen (Vadim Glowna, 2006)

 
 

Sleeping Beauty (Julia Leigh, 2011). The film is based in part on the novel House of the Sleeping Beauties. In writing the script, Leigh drew from several literary inspirations— Yasunari Kawabata’s novella; Memories of My Melancholy Whores by Gabriel Garcia Marquez; a story in The Bible in which King David as an old man spends the evening alongside sleeping virgins; and the eponymous fairytales by Charles Perrault and The Brothers Grimm. She also noted the phenomenon of images of sleeping girls on the internet, presumably in somnophilia pornography. Mia Wasikowska was originally cast as Lucy but she dropped out when offered the title role in the adaption of Jane Eyre.

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The Sleeping Mistress

Le Rêve (The Dream), Pablo Picasso. Portrait of his then 22-years old mistress Marie-Thérèse Walter. It is said to have been painted in one afternoon, on 24 January 1932. The erotic content of the painting has been noted repeatedly, with critics pointing out that Picasso painted an erect penis, presumably symbolizing his own, in the upturned face of his model.

 
 

To Lucien Fabre

What heart’s hot secrets is my young girlfriend keeping
in soul that through the mask of flowers must breathe?
What vain food will natural warmth conceive
to make the radiance of woman sleeping?

The breath of dreams and silences is deepening
to peace more forcible than tears may leave
when heavy fullnesses of sleep receive
conspiracies that breast of foe is reaping.

A feared repose of shadows and surrenders
responds with golden gifts of sleep as hers.

A doe extended in its languorous clusters
where soul is lost and busy in infernos:
her form throws out a fluid arm, and musters
a wakefulness to tell me that it knows.

 Paul Valéry

 
 

La Dormeuse or The Sleeper appeared in Paul Valéry’s 1922 Charmes ou poèmes, the collection also containing Le Cimetière marin. La Dormeuse contrasts various aspects of a sleeping mistress: abstract beauty against carnal desire, the woman’s desire for love against the poet’s wish to remain detached and independent, the secrets being consumed by the dreamer just as the body takes nourishment.

The Dream of A Romanian Princess

“De nouveau la guerre. Il y a ici un tel cafard, une angoisse générale qui vient de tout ce qui se dit et répète sur la prochaine occupation de Nice que j’en suis très affecté par contagion et que mon travail est particulièrement difficile. Heureusement je viens de finir presque un tableau commencé il y a un an et que j’ai mené à l’aventure -en somme chacun de mes tableaux est une aventure. D’abord très réaliste, une belle brune dormant sur ma table de marbre au milieu de fruits, est devenue un ange qui dort sur une surface violette -le plus beau violet que j’aie vu, -ses chairs sont de rose de fleur pulpeuse et chaude -et le corsage de sa robe a été remplacé par une blouse roumaine ancienne, d’un bleu pervenche pâle très très doux, une blouse de broderie au petit point vieux rouge qui a dû appartenir à une princesse, avec une jupe d’abord vert émeraude et maintenant d’un noir de jais. Que tu es belle, ma messagère au bois dormant! tes yeux sont des colombes derrière leurs paupières. Et elle rêve d’un prince français prisonnier d’antan dont j’ai lu et relu les poèmes pour en faire un choix. Je me suis toujours méfié de la littérature, mais je ne l’ai pas seulement illustrée, je l’ai soigneusement, amoureusement recopiée, et l’on en trouve l’émerveillement dans mes thèmes.”

 

(“The war, again. We live such dark thoughts, such general anguish, which is fueled by anything which is being said and repeated about the imminent occupation of Nice. This rather affects me adversely and I find it difficult to work. Fortunately I just about finished a painting which I started a year ago and which was quite an adventure, in fact each of my paintings represent an adventure. Above all, very realistic, a beautiful woman with dark hair, who was asleep on my marble table, among the fruit. She had metamorphosed into an angel sleeping on this violet surface – the most beautiful violet colour which I had ever seen – her pink flesh of bulbous hot flowers ; her corsage had been replaced by a Romanian blouse, of ancient design, of a pale, very soft blue, a blouse embroidered with old ochre stitches, which must have belonged to a princess, with an emerald skirt which now was of a black jade. How wonderful you are my sleeping beauty of a messenger – your eyes so like doves behind their closed eyelids. And she dreams of a French prince of yore, whose poems I read and reread in order to set my choice. I was always reticent about literature, but now, not only have I illustrated it, here I have lovingly recopied it, so that you could marvel in my theme.”)

Henri Matisse

 
 

Le rêve (The Dream), Henri Matisse, 1940

 
 

So the great Master, Henri Matisse, now nearly 70, dreams of a Romanian Princess in the guise of a Sleeping Beauty, who was bringing solace during the uncertainties of war and old age. The scene he conjures is borrowed from the pre-war Paris and even much earlier on, from La Belle Epoque, before the First World War, to which Matisse was acquainted in his youth. This was the time when Romanian princesses were mesmerizing the French. They were the ‘Egerias’ of the Parisian intellectual society and there were several of them:

Helene Vacaresco, whose love poems were sung by Tino Rossi (Si tu voulais) and her love life inspired Pierre Loti’s best selling novel L’Exilee and gave the name to a prestigious literary prize ; Le Prix Vacaresco-Femina (now known as the Prix Femina).

Or the much lionized Comtesse de Noailles, nee Princess Brancovan, the first woman to become a Commander of the Legion d’Honneur. Anne de Noailles’s poems were awarded the first Prize of the Academie Francaise, at the turn of the century.

Or her cousin, the Parnassian poetess and hostess Marthe Bibesco, who inspired Marcel Proust, Jean Cocteau, Paul Valéry and Gabrielle D’Anunzio and who attracted to her entourage all the contemporary names that mattered, with the zest of a consummate entomologist, who would pin coleopterans in his prized cabinet.

Or, perhaps the rombustious Elvire Popescu, Countess de Foy, of the Theatre du Colombier and later of the Comedie Francaise, who delighted the public with her appearance in Ma cousine de Varsovie and became known by the endearing sobriquet of “Notre Dame du Theatre”. Popesco played with Sasha Guitry in the Paradis Perdu … Doubtless the Lost paradise was the object of much anxiety for Matisse and his bringing back to life the memory of these etheral Romanian muses in the form of the La Blouse Roumaine was an act of faith.

The war was going to put an end to this fertile liaison between Romania and the Paris Literary and artistic circles as the natural link between Romania and the West was fractured by the Iron Courtain. Now the country was going to live ,for five decades, the dark ages of ideological censorship, imprisonment and extermination.

The gap caused by this withdrawal from the French scene was filled to an extent by a number of exiles, who refused to reintegrate their fallen country, but their zest of life was blunted by the anxieties of sheer survival. On rare occasions, after the Cold War, a Romanian soprano or a ballerina might reappear on the French stage, but, by that time, the fire and the imagination of the public had changed and the impact was no longer the same. Besides, Romania would no longer conjure an image of intellectual excellence, but rather one of inept dehumanising, of the Prison of History. There the Romanian women not only shared their husband’s, brother’s and son’s prisons, but they were further condemned, through their bodies to fulfill the expectation of the “Demiurge”, for population growth… like some interminable genetic experiment of Kafkaesque proportions.

 
 

“An entire people,
Not yet born,
But condemned to birth,
In columns before birth
Foetus beside foetus,
An entire people,
Which does not see, does not hear, does not understand,
But moves forward.
Through writhing bodies of women,
Through the blood of mothers
Unconsulted.”

Ana Blandiana

The Children’s Crusade, 1984

 
 

With it, for nearly half a century the spirit of La Blouse Roumaine suffered a long period of eclipse, but survived to tell the story: these are the voices of Romanian women, which we bring about in this Anthology – some famous, other infamous, and most of them with the unconscious freshness of the unknown heroines – simple peasant farmers who languished in Siberian camps, pastor’s wives who suffered for their religious beliefs, self-effacing wives who were sent to concentration camps to expiate the politics of their husbands, or for no other sin than for having edited their spouse’s work – women, who in the normal course of events would have passed through life unnoticed, but whose torment under a genocidal regime, brought them to the fore of their country’s consciousness, for their bravery, their lyrical expression of their suffering, women who had to be buried under an assumed name, many others whose bodies were thrown in an unmarked, common grave – The names of these heroines are countless but their roll call, deserves our attention.

After Ceausescu’s demise the image of La Blouse Roumaine gradually came back into its own, slowly, like the awakening from a surreal nightmare: is the transition real? Is it for true? Is the past going to repeat itself?

Are the Romanian women, one may ask, going to regain their glittering reputation, which they had enjoyed before the war? For now, the answer is not simple and the road is tortuous. The only reputation which so far seems to have gained currency in the West was sadly one of poverty and desperation, which pushed the statistics of the young women from the “Balkan Vortex” to high levels of prostitution. Long after Ceausescu was put down, Ceausescu’s children who were once “condemned to birth” are now destined to begging for their subsistence, by selling their bodies…
It will take a while before The Sleeping Beauty of Matisse’s canvass will wake up to enchant the world stage, once again.

This day will come, but in the meanwhile the princess from La Blouse Roumaine will keep vigil that this dream may come true, like the angel enjoined by the French Master, in his war-time diary..