Showing posts with label The Lantern. Show all posts
Showing posts with label The Lantern. Show all posts

Thursday, 25 May 2017

"But what are they eating?"

 
I was delighted to be asked this question by US blogger and writer Shelley Workinger, about my characters Eve and Dom in The Lantern. With some relish, I supplied what I hope is a lip-smacking answer in a guest post over on her foodie matters and book blog But What Are They Eating?

Food is a vital part of Eve and Dom’s sensuous life in the South of France. The naïve translator and the worldly older man connect on an instinctive level that seems - at first - set apart from the bleak realities of the lives they are both trying to escape. They fall in love and move into a crumbling Provencal hamlet, set apart on a hillside, where they lose themselves in the heat and light, in music and the imagination – and the fruits of the landscape.
 
That summer the house and its surroundings became ours, a time reduced in my memory to separate images and impressions: mirabelles, the tart orange plums like incandescent bulbs strung in forest green leaves, a zinc-topped table under a vine canopy; the budding grapes; the basket on the table, a large bowl; tomatoes ribbed and plump as harem cushions. 
 
You can read the whole piece by following the link to But What Are They Eating?
 
The photo was taken at the time I was writing The Lantern, and so has the tang of absolute authenticity. It's late summer and the table is laid for dinner outside the music room. In the winter, we eat in the kitchen, or if guests are invited, we set up a table in the sitting room. If I were to imagine Eve and Dom hosting an October supper party, the menu might follow one of ours that proved a great success with local friends:
 
Spicy butternut squash soup
Turkey escalope with a chestnut and mushroom cream sauce
Steamed syrup pudding
 
It was seasonal, which the French always appreciate, and the classic English pudding went down a storm - though I did make it as light as possible! Served with a restrained amount of crème anglaise, custard, for the full experience.

Saturday, 25 February 2017

Historical fiction anthology

 
Where do works of historical fiction find their starting points? How are those seeds refined into story? What are the gifts and challenges of using the past as source, and how can both be most inventively addressed? Where does historical accuracy end and fictional power begin? How do authors today make a given moment in history compelling to contemporary readers?

These are the questions posed by Stories of Inspiration: Historical Fiction Edition edited by publishing industry veteran Suzanne Fox, and I was delighted to contribute an essay.

Fox has collecting insights from both established authors and new voices and charts the often surprising journey from an original point of departure to a finished work of historical fiction, spanning the genres from literary fiction to mystery, romance, and more.

Stories of Inspiration is available from Amazon UK, Amazon USA and other good booksellers.

Saturday, 1 October 2016

The Scent of Night, a short story


The sun cut sharp as a blade across the floor tiles. Penny felt the warmth on her face as she padded to the window and pushed open wooden shutters to embrace the morning. Beyond the courtyard and the garden below, the wide blue ripples of the Luberon hills hung like a great curtain across the landscape. The only sounds came from the first sleepy cicadas.

Perfection: the beauty and peace of a month in Provence; the summer heat and light. This rambling farmhouse they had rented hadn’t disappointed, far from it. Inside and out, there was space to breathe and long, calming views from the hillside.

Trees whispered in cooling breezes. Sunk into the garden was a swimming pool with water the colour of glacier melt.

“Are you going down to get the bread or am I?” John’s voice carried a plea, a hungover-sounding appeal to her good nature.

He was still a sheeted walrus on the bed.

“It’s your turn,” said Penny. “And they’re your guests.”

And I wish they’d go, she thought. Not even in the sense of “leave”, just go to the boulangerie one morning for once instead of expecting to be waited on as if they were staying in a hotel. Because this holiday was supposed to be their anniversary treat (twenty-five years married!) but it hadn’t quite been the paradise she’d hoped for.

It had been fun while Sam and Lottie were staying, but they were adults now with jobs and commitments of their own, and plans that didn’t include spending too much time with Mum and Dad. After the children, their partners and assorted friends had gone, Penny and John had a huge empty house in the South of France to themselves. That was fine with Penny.

She had visions of sitting in the shady courtyard under a fragrant fig tree and reading, or wandering round gorgeous villages looking at brocante markets, and drinking glasses of light, fruity rosé at lunchtime, all the things she never seemed to have time to do at home.

But it hadn’t worked out like that.
 

Instead of drifting dreamily around lavender fields and spending long lazy afternoons doing whatever we want, Penny thought as she scooped up the car keys and her straw basket for the bread and croissants, I have been running a small hotel and restaurant for all the friends and family John invited to drop by as it seemed a shame not to make the most of it. It was amazing how many of them had taken up the offer.

And now, after three weeks of hot-flush-fuelled cooking and cleaning and bed-making, John’s old workmate Simon was the final straw. He had turned up, newly divorced, with a younger woman in tow – and she was awful. Her name was Sassie (Saskia), she was a pin-slim, groomed corporate lawyer in her early thirties, and she lay by the pool all day checking her Blackberry. And it went without saying she never lifted a finger to help and looked with pity at Penny and the cellulite that no sarong could mask – though not enough pity actually to get dressed and volunteer to do the supermarket run for a change, of course.

She was waiting for Penny downstairs, a vision of blonde good health in a wisp of beachwear.

“Are you going into town?” she asked. “Because if you are, could you get me some more sun cream?” Saskia studied one slim bronzed arm. “Factor 15 ought to do it.”

Penny opened her mouth to suggest that perhaps Sassie might like to go herself, as the chemist was only a few doors away from the bread shop, but closed it again as she realised that left to Sassie there would be probably be no breakfast. She seemed to exist on hot water and slices of lemon.

“Who owns this place, again?” asked Sassie. Penny had the impression their guest had had a good nose around while she was alone downstairs.

“A composer and his wife.”

“It’s all a bit of a mish-mash, isn’t it?”

“I rather like it,” Penny said, beginning to walk off. She supposed some of the old French furniture had seen better days. The large splashy paintings on the walls were flaking. And the brown wood statue of a monk in the hall was a little unsettling, as was the wall sconce of an arm reaching out of the iron frame with a candle. But it was shabby chic, wasn’t it? It was perfect for this house of white walls speckled with the patina of time and gleaming terracotta tiles on the floors, as were the rusty garden chairs and odd stone artefacts outside.
 

Anyway, Penny thought but didn’t say, if this doesn’t suit you, go somewhere else. But after three days Sassie and Simon showed no sign of moving on.

Later that morning Penny had returned with the supplies (and the sun cream which Sassie had just picked up from the kitchen island and hadn’t even offered to pay for), and was making a cheesecake for dinner. She absent-mindedly licked the mixing spoon then started to scrape the bowl. She felt fat and dragged down. It is a truth universally acknowledged (though not nearly often enough), thought Penny, that a woman approaching 50 is in need of a husband who likes a good armful because, by God, that was what he’d be getting.

Through the kitchen window she noticed that Sassie had taken her bikini top off. John – straining to hold his stomach in – was eagerly adjusting the parasol above her and taking his time about it, while Simon handed her a drink. Unless he leaves me for a younger model, of course, Penny hastily revised her homely assumption. He was still a good-looking man, big and broad with a lovely, generous nature. A younger woman would be lucky to have him.

The drinking went on throughout the lunch Penny laid out on the terrace: a vibrant tomato salad on a deep cobalt plate, goat’s cheese and sweet onion tartlets, pâté and fresh bread. The sun seared down from the bluest of skies. When everyone else slunk off for a siesta, a sober Penny cleared the dishes away, made herself a cup of coffee and went down to the pool with her book.

She tipped her face up to the heat, luxuriating in the time alone.
 

That evening, sunset burned a rosy tangerine streaked with gold. Everyone assembled expectantly by the table on the terrace. Penny produced more chilled wine and a sumptuous dinner, and repeated the catering process. Sassie only picked at the sea bream and ribbons of courgette. She was comfortably installed on a cushioned chair telling the men about the high-profile cases she had worked on, making them laugh and admire her even more with tales of defeated opposition and great men brought down, as Penny got up and cleared away.

In the kitchen she cut herself a hefty misery slice of cheesecake as she surveyed the stacks of plates. A light tinkling of laughter from Sassie wafted through to the kitchen. Penny drowned her out by crashing pans loudly, but no one seemed to notice.

After midnight, Penny lay in bed unable to drop off to sleep. Next to her, John had started to snore gently. The trouble was, Penny thought, I’m on my own with this. I am just myself, and Sassie is a sex goddess and invincible career woman. She tried not to think about what was going on in the bedroom down the corridor. But all that success shouldn’t stop her from behaving with basic courtesy, even if friendliness was too much to hope for.

Perhaps a fellow grumpy old woman might have noticed Sassie’s selfishness, but the men wouldn’t have a clue. And in comparison, there was no doubt about it: Penny had let herself go. She was wondering rather reluctantly whether she might have to start going to some kind of gym, when she gradually became aware of a scent carried on the air. It was a lovely perfume, of vanilla and sweet lavender, which then became a kind of chocolate smoke. Minute by minute it was becoming stronger, until it seemed to pervade the room.

It was either coming through the open window from outside, from some night-fragrant plant down in the courtyard – or was it a scented candle that Sassie had lit? Penny got out of bed and went out on to the terrace outside the bedroom and breathed in deeply. The scent was carried off by a faint breath of wind in the dark. Above was a luminous arc of silver stars, bright and burning in the black sky. All was still and quiet.
 
 
It was strange; the scent didn’t seem to be coming from the garden. Penny waited a while, enjoying the profound silence, then went back to bed. In the darkness, she lay on her back enveloped by the lovely scent from a source that was still mysterious and closed her eyes.

But when she mentioned it the next day, Sassie didn’t know what Penny was talking about.

“I can assure you it was nothing to do with me,” she insisted.

“It was quite pungent – lavender and rose and vanilla and chocolate and burnt almonds. Really strong and smoky. I was wondering if it was a candle or something…” persisted Penny.

But Sassie shook her head, and denied everything. “I only ever wear a very light delicate perfume. I absolutely loathe anything strong and smoky. The very thought gives me a headache and makes me want to run.”

That evening, at Simon’s suggestion, they went out to a restaurant on the edge of a beautiful hill-top village. Penny had put on a new maxi-dress and pulled herself together. She took a little more time and trouble with her make-up and decided that whatever happened she would make an effort. It was so lovely to be taken out to eat this evening instead of taken for granted.
 

From their table outside under a vine canopy, they could see for miles. All down the valley, the distinctive vertical crevices in the ridge of the mountain darkened as the air softened, until they seemed to be great dusky rivers cascading down to the valley floor.

“To Penny,” said Simon, raising his glass, “Who has looked after us so beautifully. Very much appreciated.”

It was so unexpected, Penny forgot any lingering annoyance. Candles were lit, and dishes of mouth-watering Provençal food arrived. Under the table, John squeezed her hand. Penny felt herself relax in the warmth of the evening and the effect of the wine, and let Sassie be the centre of attention.
They all drank too much. Simon constantly leaned back in his seat and ordered fresh bottles of palest rosé. Penny, sitting next to him, noticed the criss-cross patterns of red veins in his cheeks, and the way he looked at Sassie as if he couldn’t believe his luck that she was with him.

Everyone except Sassie finished with a trio each of crème brûlées, infused with lavender, thyme and peach. Penny sat back, replete and glowing from a glorious afternoon in the sun. But when the bill came and Simon tried to pay, his credit card was refused and it was John who settled up.

Back at the house, another bottle was freed from John’s stock.

“Push on through, eh?” roared Simon, pulling the cork.

“I’m going to bed,” said Penny. She didn’t want so much as another sip. She heard Sassie coming up about half an hour later, but the men stayed up into the early hours, drinking in the garden.

The next morning, though the sky was cloudless again and the heat rising, there was a distinct chill in the atmosphere.

Sassie was fuming.

“We are leaving, as soon as we can,” she hissed as they came downstairs.

Simon blanched. It was clear from her tone she expected to get her way.

“And as for you,” she said to Penny, though barely acknowledging her with a glance, “Drenching our room with that suffocating scent in our room after I’d specifically said I can only tolerate the lightest of fragrances… It gave me the most appalling night, made me physically sick. I can’t think why you did that.”

“But I didn’t –”

Sassie waved her words away imperiously. “You obviously don’t want us here, so we’re leaving, and that’s that.”

Penny decided to offer no resistance.
 

An hour later they were saying goodbye: Simon reluctantly and apologetically, struggling with the bags. Sassie strode ahead towards Penny, but the four-inch heels she’d put on for travelling caught on an uneven paving stone as she approached, throwing her towards Penny and forcing them to embrace far more closely than either intended. She was bony as a starved child, thought Penny, as they pulled apart awkwardly and exchanged thin smiles. She smelled of lemon pith, sharp and bitter.

“Bye, then,” said Penny.

“Was it you?” asked John. He didn’t seem concerned in the slightest.

“No, it wasn’t! I didn’t go near their room, not since I delivered the fresh towels Sassie asked for, but that was yesterday morning.”

She wondered whether to mention the mysterious perfume, but then John said: “Poor old Simon.”

“What?” Poor old Simon, the successful entrepreneur with the stunning younger woman? Had her hearing gone now?

John was positively jaunty as he measured out coffee and filled the pot with water. “He poured it all out last night. He’s pining for his ex-wife and he’s taken a massive loss on his last deal. There’s not much left, and no doubt when Sassie finds out, she’ll be off permanently. I know her sort.”

“I thought you thought she was marvellous,’ said Penny.

“I was being nice, for Simon’s sake. He hasn’t had much luck lately.”

Penny sat down with relief. “She was so irritating,” she said.

“Not a woman of substance,” smiled John, reaching out for her.

“Like me,” she said sadly.

John bent his head and kissed her gently. “In all the best ways.”

“Three whole days left to ourselves,” said Penny happily.

She pottered into the sitting room and noticed a book had fallen off a shelf. It was an illustrated history of lavender growing and she opened it instead of putting it straight back. The first picture was a photograph of a house, this very house. A piece of paper covered in handwritten notes fluttered out. “Marthe Lincel, creator of perfumes,” Penny read, “was inspired by her childhood home, Les Genévriers. Lavande de Nuit, her most famous fragrance, was said to capture the spirit of Provence…”

Penny took the book outside and spent the whole day reading in the garden. The tranquillity and the books she dipped into were balm for her soul.

That night, she woke and smelled the perfume again. It was a soft warm caress all around her, and it was heavenly.
 
 
This is a story I wrote some years ago  for Woman and Home magazine in the UK, and it appears in the anthology The Coffee Shop Book Club. I posted it in short episodes over the course of last week on Instagram, as part of the Bookstagram Gala, and I thought I ought to post the whole story here in case anyone missed a bit. I hope any readers who know The Lantern and The Sea Garden enjoyed the nod to the setting and the characters who appear in them. 
 
My latest novel 300 Days of Sun is available in the UK for only £2.99 on Kindle and at all good retailers in the USA, including here on Amazon.com.

Wednesday, 16 March 2016

Special offer on The Lantern

 
Just to let you know there's currently a special offer on the ebook of The Lantern, a modern gothic novel of love, secrets, and murder—set against the lush backdrop of Provence. The offer runs until next Monday, March 21, and it's for USA readers only.
 
The exciting part is that the ebook now includes an excerpt from 300 Days of Sun. Download The Lantern for just $1.99 - all the details are on the HarperCollins website: https://goo.gl/3LO7Jp
 

Tuesday, 16 June 2015

An old postcard from Céreste


To celebrate the paperback publication today of The Sea Garden, I'm taking you to Céreste, a quiet village at the eastern end of the Luberon, on an intriguing trail.

This charming backwater plays a crucial part in the middle section of my novel, where we renew acquaintance with Marthe Lincel, the perfumier who first appeared in The Lantern. Just up the road, the Vaucluse ends and the signs announce the department of Alpes-de-Haute-Provence. In real life, as The Sea Garden, Céreste was a Resistance stronghold during the Second World War, secret headquarters of "Captain Alexandre", the poet René Char, as I wrote here in a previous blog post.

A couple of years ago, while I was writing the novel, I found a stall selling old postcards at a market in Simiane-la-Rotonde. Naturally, I stopped to sift through the boxes marked with the names of places I knew, and pulled out this one of Céreste:


 
Now this may sound a bit crazy, but when I'm writing a book, I always look for signs that I'm on the right track. I'm sure there are plenty of people who will say that we see what we want to see, and it's all a lot of nonsense. They are probably right, but that doesn't stop me enjoying a nice moment of coincidence, synchronicity, call it what you will. But look at the name on the right: Monsieur Gabriel Brachet, Marseille. If you haven't read the book, I'm not giving anything away, but be sure to make a note of the first name. If you have read the book, I hope it gives you a pleasant frisson!

The words were written on July 23, 1931, and they're not terribly interesting - it seems to me they could well have been written to a child, as the sender urges "Gaby" to take care to fill in a form and to write with news of what he's been doing. The intriguing part is that the sender gives his own name, "Mr Et. Paul" - Etienne? - and address as the Château des Guis at St-Martin-de-Castillon.

St Martin de Castillon is another lovely, quiet village that sits opposite the ripples of the Great Luberon, a few kilometres along the road and higher in the hills than Céreste. I know it well, but I'd never heard of the Château des Guis. Of course, I bought the postcard and scoured a large scale map when I got home. I couldn't find the château. An internet search found nothing, either.

But I never like to give up...and when I was looking at the my files of photos and background info the other week, wondering what I could use for my blog, I remembered this postcard - and this time, with a bit more online detective work, I managed to find the property in St-Martin. It is a grand old residence, though it's not called a château but a "bastide", which is denotes an imposing old house, possibly once fortified.

And here it is, The Bastide Les Guis:
 

 
The Bastide Les Guis is even available to rent, and there are details and more pictures on the Janssens Immobilier site and on Made in Provence

Wednesday, 2 April 2014

A purple lantern

 
This picture of a papier maché lantern pinged into my email inbox a few days ago. It was made as a symbol of my novel The Lantern by a high school student who sent me a message, out of the blue, back in February. "I am about to do a research project on your novel, being that we were allowed to choose a book. However, I have to cite my sources and I thought the best resource involving the author would be the author, herself," she wrote.
 
Well, as you can imagine, I was thrilled. I loved her approach, and the fact that she liked my book so much and thought there was something to say about it - and I wished I'd had her chutzpah when I was her age. We began exchanging emails, and she responded with more questions about literary conventions and inspirations and themes, which I did my best to answer. I was very conscious that I was once a student of English lit, and this was a fascinating reversal for me. All those essays about an author's intent and technique that I could only try to imagine when I was 18, and here I was giving a first-hand account. 
 
The project has now been completed and submitted for grading. It includes a visual: this purple lantern with a quote from the novel on one window; the photo of it sent with thanks for my help. Isn't that wonderful? If this doesn't get an A for effort, I don't know what will! 

Friday, 4 October 2013

Knowing when to let go



    "The shepherd’s body was found up on the steep slopes where the lavender made its last wild clutches at the mountain peak.

    Each year the sheep were moved across the high meadows above the lavender fields. Here men still adhered to the old ways: hardy men with gnarled and twisted limbs as if they had been carved by the same winds as the rock sculptures.

   One of them was the shepherd Pineau. Alone under the blue citadel of the sky, he guided his flock from one ancient stone borie to the next. All the farmers knew him: Old Pineau in his ragged clothes was part of the landscape when the great surge in lavender growing for the perfume industry had begun, when the Mussets and others began staining the slopes purple. The shepherd was a man who knew every stone and tree of the ridges, a man who had seemed part of nature: part mountain, part stream, part animal, living his life by the turn of the seasons, solitary with his sheep, walking from rocky ledge to pasture, valley to plateau as they fed. He sang as he went, songs that had been sung for centuries.

   That summer day in 1943, when small puffs of his flock broke away and drifted in lazy clouds down the hill, the lavender farmers knew something was wrong. In the uplands men and women had always relied on one another. They went up looking for him."

                                                                                    from The Sea Garden

No sooner had I started to immerse myself in research for a new novel last week, than the copy edits on the book to be published next summer arrived on my desk and I had to put the notebook away to re-focus on the previous story.

Quite a good thing, I think, to have started to move on from the completed work. I'm sure it sharpens the critical facilities. Sometimes, when I've spent too much time continuously a manuscript, it feels as if I can't see the wood for the trees, or the sense for the words on the page. The terror at the copy-editing stage is in wanting to change everything, and I'm sure there are authors who give in to temptation.

The art is doing enough, but knowing when to let go. Now is not the time for wholesale rewrites but for trust in yourself and your primary editor, and the work that has already been done.

A tiny glimpse inside The Sea Garden, then. I chose this extract because I know many of you enjoyed the lavender sequences in The Lantern and this gives a flavour of the link between the two novels. I hope it's not too misleading, though: the new book as a whole is not a prequel, but one section does relate the story of Marthe Lincel as a young woman and how exactly she became a perfume maker. And it gives me a chance to post one of the lavender photos I took in the summer! 

Wednesday, 20 March 2013

Sea shells in the mountains



 They say this region was once under the ocean, many millions of years ago, that the rocks were shaped by the tides, and the stones contain the outlines of forgotten sea creatures from the dawn of time. I would say there are days when all history stands still and all the spirits gather.

   You can feel it when the air in the valley is so hot it ripples the horizon. The blue hills rise and fall in waves, a mirage of the sea, and the breezes rush and expire like rollers as they form and collapse on distant shores.

                                                     From The Lantern

The snow last week reminded me that I still hadn't shared a photo I took up in the mountains at Risoul of the frieze above the main entrance of the village church. Hearts and scallop shells - I was intrigued. It also seemed a perfect illustration of what I tried to convey in the passage, quoted here, from my last novel.

A little research, of course, provided the explanation for the shell iconography: the scallop shell represents the baptism in the Christian tradition, and a scallop-shaped dish is often used, to this day, to hold the water that will anoint the head of the baptised. It is also a symbol of pilgrimage, worn round the neck by the faithful on their journey, both for the link with the Church and also, perhaps, for use as a bowl when asking for food.

 
Readers of earlier posts might remember that is was inside this church that I stumbled across the trail of perfume and holy apparitions.

Sunday, 25 November 2012

A winter perfume



It would be hard to persuade anyone looking into a writer’s study  - desk, notes, books, cups of tea – that writing was very exciting when hard graft was in progress. At its best, writing can be a sensuous experience, a chance to retreat into an inner life and make connections from impressions and scraps of thought.
Invoking the senses while writing can be helped by playing music. I’ve always enjoyed background music while working and tend to have favourite soundtracks for each novel. The Lantern, for example, was written largely to Debussy and Fauré. This time, though, I’ve been less inclined to write with music. I don’t know why, but I’ve found myself turning the CD player off because it’s become a unwelcome distraction.

However, I have been working enveloped in a perfume. Liz Earle’s Botanical Essence No. 15 Eau de Parfum is a warming winter perfume described by its creator as a “softness and warmth like cashmere on the skin”.
I read the list of ingredients before spraying. I was thrown at first because I thought this must be No. 15 Vetiver. But no, the fragrance is a blend of all of these (and the clever packaging is based on old facsimile botanical drawings of all the natural elements in the blend):


The perfume begins to unfurl with a surprisingly citrus sparkle but it’s a Christmassy citrus that mellows into clove and cinnamon like a heady mulled wine. There are strong notes of pink pepper and musky cedarwood. This is a bold blast of oriental, the scent of red rooms and candles glowing. It’s spicy with a hint of blowsy floral and my favourite amber is plumped up with a rich base of vanilla from the tonka bean. The perfect scent for cosy days as autumn fades into winter darkness.
And thanks to the unique relationship between perfume and memory, this is the scent that will bring back the months of working on The Night Flight.

Sunday, 6 May 2012

Forever Ambre


Perfume news: Ambre is back! A few years ago the Provence beauty product company L’Occitane discontinued their Ambre scent, to universal dismay. Well, maybe not universal, but dismay was certainly widespread. I made a point of asking about it in every L’Occitane shop I entered – in France and England, just to add my voice – and the response was always the same: I wasn’t the only customer asking for its return.

We missed this rich, beguiling amber fragrance with its wonderful sweet warmth and lingering caramel comfort. What had once been an everyday spritz, especially in winter, was now being guarded and used like a rare essence on special days.

It’s a scent that begins with top notes of bergamot and white flowers then quickly brings in the sweet tobacco of tonka bean and labdanum. The labdanum is the key – no, not laudanum, the opiate of past poets – labdanum is the sticky brown resin derived from the cistus shrub Cistus ladanifer, a type of rock rose. Even growing in the garden, this plant releases a wonderful scent, sweet yet citrus, and instantly reminiscent of warm Mediterranean evenings.

After about an hour on the skin, the base notes of amber, vanilla and cedarwood come into play. From there on in, it’s all musky wood and honeyed earthiness with more than a hint of maple syrup.  This is a scent that lasts but manages never to cloy. It develops into slightly oriental spice and caramel.


Centuries ago, amber perfume was produced from ambergris, the origins of which were very much less appealing. Ambergris was a waxy substance produced in the digestive system of sperm whales and excreted. As it aged it developed a distinctive heavy sweet scent. It was also, for obvious reasons, extremely rare and expensive.

But in Provence, where the cistus grows wild, are ideal conditions to produce a labdanum substitute for ambergris. It could be made by boiling the leaves and twigs, or as an essential oil extracted by steam distillation.

My novel The Lantern and the novella The Lavender Field have their roots in the use of local plants in the perfume industry in Provence and I have L’Occitane to thank not only for returning Ambre to its shelves but for a small but vital detail that provided inspiration.

The idea of a blind perfumer, Marthe Lincel, came from the realization that there were strips of Braille on the packaging used by beauty product brand L’Occitane en Provence, based at Manosque. In 1997 the company created the foundation Provence dans tous les Sens (All the Senses of Provence) to introduce visually-impaired children to the world of perfume creation. In the novel, Marthe finds her true talent as a perfume “nose” after a visit to the Distillerie Musset from the school for the blind she attends in Manosque, although this episode takes place in the 1930s.


For most of the 20th century in this region, there was a gradual erosion of traditional farming as young people moved to the towns to seek work in the new industries and factories. The Luberon valley is celebrated for its fruit production – from cherries, apricots, peaches and melons, to apples and pears – and the local specialty is candied fruits, produced on an industrial scale.

The fight to survive was intense for those left behind on the hill farms in a region that was poor until the advent of mass tourism. In The Lantern, Pierre - the only brother - takes off for better-paid work, Bénédicte struggles on at the farmstead Les Genévriers while Marthe finds increasing success in Paris.

But how did Marthe really make the leap from a small distillery making scent and soap in the back hills of Provence to Paris? What did her signature perfume Lavande de Nuit mean to her? This is the story told in The Lavender Field…and which will provide a surprising link to the next full-length novel in progress.

Sunday, 29 April 2012

Cassis revisited


When you think of the glamorous coastal resorts of the South of France, the first names to spring to mind are the really famous ones like Nice and Cannes, St Tropez and Juan-les-Pins. Then you discover Cassis, along the coast to the east of Marseille. This, you feel, as you wander down to the harbour in the warm evening, is what St Tropez must have been like fifty years ago.

Once a fishing village, Cassis is now a fashionably charming mooring for yachts and centre for sea trips. I wrote about it several times when I first started this blog - it has, after all, a relevance to The Lantern - and then haven't returned because I haven't returned in real life either for the past couple of years.

So instead of rewriting earlier posts, I'm just going to leave the links here, starting with what I wrote about the French artist Olivier Boissinot's stinging blue and turquoise painting (above) of the nearby Calanques.

Link: The Calanques: jazzy blue


Here's an early post about Cassis's literary connections. The Bloomsbury set came to the town in the 1920s, as did D H Lawrence to the equally enchanting resort of Sanary-sur-Mer further along the coast. Then there was Edith Wharton at Hyeres, where she wrote several novels, including The Age of Innocence.

Link: Red rocks at Cassis

And finally here's a very short post, mainly to illustrate the other-worldly red rocks in the wilder parts of this rocky Mediterranean coastline, as described by Eve in the opening chapter of my book.

Link: The rocks glow red



Thursday, 22 March 2012

Warm lavender almond cakes


Books, good food and exotic places – could there be anything more irresistible? Over at her Kahakai Kitchen blog, Deb Christensen writes: “Kahakai is a Hawaiian word for beach. Living in beautiful Hawaii, I like to spend time at the beach and in the kitchen. This blog is about cooking, eating and living (mostly healthy) in Paradise.”

Imagine how thrilled I was to find that she’d turned her attention to The Lantern…and some little Warm Lavender Almond Cakes! Here’s an extract from her blog with the recipe, with a shout-out to the excellent cookery writer Jerry Traunfeld.
 “We had some unusual weather for Hawaii several days last week. Heavy rains, multiple thunderstorms with lightening, hail... even a tornado not that far from where I live. It was perfect weather to tuck into a Gothic mystery novel like The Lantern…

“For a dish inspired by the novel, although there were plenty of wonderful sounding dishes, meals and ingredients throughout the book it was obvious from the cover alone that it had to be something involving lavender. Plus, lavender plays heavily in Bénédicte's story. I had a few recipes tagged to make, even a savory fish dish, but I decided to crack open The Herbal Kitchen: Cooking With Fragrance and Flavor by Jerry Traunfeld (a cookbook that I would also describe as lush and beautiful) and I was immediately drawn to the Warm Lavender Almond Cakes.
“Jerry Traunfeld says, "These cakes are miraculous. You whiz everything up in a food processor, pop the batter into the refrigerator overnight, and then scoop into ramekins or muffin tins to bake. You'll be amazed. The warm slightly chewy cakes have a light crisp crust and a dense, moist interior suffused with the deep flavors of nuts, lavender, and honey, almost like a cross between a cake and a macaroon. Serve them in summer with lightly sweetened, softly whipped cream and fresh berries, or end a winter meal with the same cream and a fruit compote. Or simply cut them in quarters and serve them with coffee, tea, or a glass of sherry in any season."


Warm Lavender Almond Cakes
Recipe from The Herbal Kitchen by Jerry Traunfeld
(Makes 6-10 small cakes--depending on size of pan)

1 cup raw sliced almonds
4 teaspoons lavender buds (fresh or dried)
2 cups powdered sugar
1/2 cup all-purpose flour
1/4 teaspoon fine salt
3/4 cup egg whites (about 6 large)
1/4 cup honey
8 tablespoons (4 ounces) unsalted butter, melted & cooled
2 tablespoons softened butter, for prepping the molds

Note: Begin preparation at least 1 day before serving.

Put the almonds and lavender buds in a food processor and pulse until they are finely chopped. Add the powdered sugar and continue to process for 30 seconds. Add the flour and salt and process briefly. Pour in the egg whites and honey and process until combined. Add the melted butter and process for an additional 15 seconds. Scrape the batter into a plastic storage container, cover, and refrigerate for at least 12 hours, or as much as a week.


To Bake: Preheat oven to 350°F.

Generously butter 10 (4 or 6 oz.) ovenproof ramekins or custard cups and place them on a baking sheet, or use a standard muffin tin. Divide the batter evenly among the cups. Bake until the cakes are evenly puffed and the tops crack and turn a deep walnut brown color, 30-40 min., depending on the molds and the temperature of the batter. Cool slightly and tip the cups out of their molds. Serve them while still warm, whole or cut into quarters.

A note on the result from Deb: “ These are lovely little cakes. I always wonder if the lavender will be too strong in a recipes (I have had some lavender-infused dishes that were like eating potpourri--not a good thing), but in these cakes it comes across in a subtle way at first, getting a little stronger but not overpowering, towards the end. I used larger ramekins for these (about 6 oz.) and filled them 3/4 full, so I got six cakes from the batter. Instead of whipped cream, I used
this whipped cashew cream, using up the leftover thick cashew cream from Sunday's soup, and garnished with some fresh organic blueberries. (I adapted the linked Tal Ronnen cashew whipped cream recipe slightly, by using honey as the sweetener and adding almond extract to enhance the flavors in the little cakes.)”


You can read Deb’s blog, and her review of The Lantern by clicking on this link:
Kahakai Kitchen

Thursday, 1 March 2012

The Lantern giveaway!


A gorgeous deluxe paperback edition of The Lantern has been published this week by Harper in the US – the same size and interior design as the hardback, the same lovely deckled edge to the pages, but with the new lavender field jacket.

There’s some excellent news too: it’s the March Book Pick at Costco, which means it’s available there at a very competitive price as well as through bookstores.
To mark the event I’m offering two signed copies as a giveaway. I’ll send anywhere in the world so you have a chance of winning wherever you are. All you have to do is go over to my Author page on Facebook, “like” the page and say hello in the comments under the picture of the cover.  Or you can follow the blog here and leave a greeting. In a week’s time I’ll pick two names out of a hat. Easy!

If you need further persuading, here’s an excerpt from Kathy Blumenstock’s review in the Washington Post:
“The Lantern…offers a vivid escape to an intriguing place… The split-screen tales unfolding in alternating voices than span half a century eventually converge, with disturbing and surprising answers to questions that haunt both narrators… Lawrenson embellishes her merging stories with description of the rich scents surrounding the hamlet: rosemary, ripe figs, and a breath of lavender so fresh that readers might close their eyes and inhale, expecting a faint whiff of the purple-flowering plant.”

Wednesday, 25 January 2012

New editions, new covers


The summer I was fifteen I went up towards the mountains to Valensole for the lavender harvest. It was Marthe’s idea, she who persuaded our parents to let me go to see for myself how the ridged uplands had been transformed into purple carpets where the scent was born.

                                                              from The Lantern

Two new covers for The Lantern - one for the paperback edition in the US, and one for the Dutch translation - both of which will be available in a matter of weeks. It's always fascinating for authors to see the covers chosen by publishers. Occasionally distressing too, though thankfully that's absolutely not the case with either of these! What is interesting here are the different aspects of the novel the publishers have chosen to emphasize, reflecting not only the book but the current feel and fashion of each home market.

The US version (shown above) is completely changed from the hardback cover, and highlights the book's sensuous involvement with lavender and the sense of place in the French countryside. In the Netherlands, there's greater play on the gothic, personal element.

 

Everyone wants answers and tidy conclusions, but in life they don’t always materialize. You settle for the best outcome you can manage, and accept that you can’t explain everything. The subconscious mind sometimes makes surreal connections, like the ones in dreams. Tricks of the light were all around. Look how the sun slanted as the sun set in the west, carving blood red clefts in the hills that then turned to black rivulets.
                                                                               from The Lantern

The Dutch is the first to be published of the many foreign editions for which the rights have been sold. In the coming months, I can't wait to see the different cover designs for the Brazilian, the Italian, the Polish, the Hungarian and many other territories. What fun! What do you think?

Sunday, 18 September 2011

Autumn "Au Revoir"


The vine canopy is starting to drop russet leaves over the summer dining table. Clouds hang in the valley before the sun warms the morning. Autumn is definitely in the air, even if it’s still summer at midday in Provence.

It’s the time of new beginnings, work-wise, as nature dies back. Like many, I feel energised at this time of year, full of ambitious new plans and determined to bring them to fruition. This is when I always start my books, fired up with a full notebook of research and ideas that may or may not work but have to be tried.


This post is by way of an “Au Revoir” for a while, or at least fair notice that I won’t be blogging as regularly during the coming months while I give my full attention to the first draft of a new novel that has been bubbling under all year. And to do it, I have to disappear to my study and block out everything else.

All writers write in different ways, and mine is in concentrated isolation. Sometimes it’s hard enough to fit in real life, let alone any other writing which can only be a distraction. I don’t like to mess around. Writing a first draft is like digging the foundations of a house: it’s hard and precise work, and a great deal rests on it. If the structure is wrong now, the building will never be quite right and ever harder to put right later.

If anyone asks me now what qualities I think writers need to have, I would have to say: persistence, determination and sheer stubbornness to succeed. You also have to love what you do, playing around with words and the use of language to create something new.


For me, there’s no better time to do that than when the skies become heavier, and the colours fade beyond the window where my desk stands. If it’s raining, so much the better. Then there’s nowhere I’d rather be than making bright pictures in my head and trying to find the words to pin them down.

I hasten to assure you, all my lovely blog pals I’ve made this year, I’m not abandoning my blog completely, and that I will still be touring around reading yours when I need a break. I have so enjoyed all your comments, and appreciated your support, for which huge thanks, and am delighted that we found each other. But this one will revert to its original function, which was an add-on to my website to use for any news updates.

Please do come and find me on my official Facebook page, though – the “Like” link at the side here will take you there. That’s much easier to keep going, and we have some lovely little chats about books, Provence and life in general.

Back soon – but for now, cheerio!  



Wednesday, 31 August 2011

Circle of life: The professor, the painter, the musician and me


Yet another of life’s mysterious circles. My life always seems to abound in connections and coincidences, and here is the latest. My New York publishers (rather rashly) sent a review copy of The Lantern to the eminent author, art historian and literary critic Mary Ann Caws, who is currently Distinguished Professor of English, French and Comparative Literature at the Graduate School of City University in New York.

Well, not only did she like it, but I am honoured and delighted that she wrote the following review which generously highlights points of comparison between her work as a translator and summer life in Provence, and Eve’s story in the novel. She also asked me a few questions, and posted the interview on her blog, New York, Provence, Poetry (click here).

It turns out that she too knows the artist Julian Merrow-Smith, whose marvellous, luminous paintings have often adorned these pages, and his wife Ruth Phillips, the ‘cellist and writer. So, as I never need much excuse to include a Merrow-Smith picture and direct you to his Shifting Light daily painting blog (click here), the illustrations on this post are from his recent archive: High Lavender and Lavender Field in the Drôme.

Here is Mary Ann’s review:

"I have just finished an advance copy of Deborah Lawrenson's The Lantern, about the Luberon and Cassis, near me in my summers and both etched in my mind and writings -- and the too-good-to-be-trueness of a relationship -- and essentially about the haunting of a place and a self by a memory, or several. Living my summers, as I do, in a It Had To Be Fixed house, that is, my cabanon that has seen 300 years of life, and death, and horses and peasants and, now, us, every page spoke to me of much. The descriptions are, each one, themselves a haunting -- the smell of lavender and of almond biscuits, the taste of the various winds in their howling and their gentleness, the sight of the squirrel-like loirs or dormice scuttling about and dislodging the tiles on the roof.

The narrator, one of the heroines, if you see it like that, is a translator (me too), and so her sense of words is terribly acute-- perhaps that explains the haunting quality of not just the lavender scent so permeating throughout,but of the exactness of the language bringing it all into presence. It is particularly moving for me on two accounts: because I live there in  my summers, and know every inch of that sight and smell. The second is that my great friends, the cellist Ruth Phillips (daughter of another friend, Tom Phillips, painter, translator, knower of many things) and her husband, the painter Julian Merrow-Smith, have both produced recently two volumes equally baked in Provence, the Provence to which I am  so passionately committed, and they are present in my reading and seeing of anything about this countryside and mindscape. Julian's paintings, one done each day and many appearing in his Postcard from Provence, and Ruth's Cherries from Chauvet's Orchard (both published by the Red Ochre Press at the Hameau des Cougieux in Bedoin -- a village exactly 7 kilometers from my cabanon) are with me now in New York, preserving what I most love about the Vaucluse. Keeping its scent and its sight: although The Lantern turns about a blind woman, who becomes the "nose" of a perfume establishment which has the whiff of present-day L'Occitane...I can smell her creation, "Lavande de Nuit" now, even here. It will last the winter."
 



Mary Ann Caws (born 1933) is an American author, art historian and literary critic.
She is currently a Distinguished Professor of English, French and Comparative Literature at the Graduate School of the City University of New York. She is an expert on Surrealism and modern English and French literature, having written biographies of Marcel Proust, Virginia Woolf, and Henry James. She works on the interrelations of visual art and literary texts, has written biographies of Pablo Picasso and Salvador Dalí, edited the diaries, letters, and source material of Joseph Cornell. She has also written on André Breton, Robert Desnos, René Char, Yves Bonnefoy, Robert Motherwell, and Edmond Jabès. She served as the senior editor for the HarperCollins World Reader, and edited anthologies on Manifestos - Isms, Surrealism, Twentieth Century French Literature. Among others, she has translated Stéphane Mallarmé, Tristan Tzara, Pierre Reverdy, André Breton, Paul Éluard, Robert Desnos, and René Char.
Among the positions she has held are President, Association for Study of Dada and Surrealism, 1971-75 and President, Modern Language Association of America, 1983, Academy of Literary Studies, 1984-5, and the American Comparative Literature Association, 1989-91.
In October 2004, she published her autobiography, To the Boathouse: a Memoir (University Alabama Press), and in November 2008, a cookbook memoir: "Provencal Cooking: Savoring the Simple Life in France" (Pegasus Books).
 
If you would like to find out more about the Surrealist Movement, there is an excellent introduction here on Artsy.net.




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