Suite for Barbara Loden
(Adobe EPUB eBook, Kindle Book, OverDrive Read)
“I believe there is a miracle in Wanda,” wrote Marguerite Duras of the only film American actress Barbara Loden ever wrote and directed. “Usually, there is a distance between representation and text, subject and action. Here that distance is completely eradicated.” It is perhaps this “miracle”—the seeming collapse of fiction and fact—that has made Wanda (1970) a cult classic, and a fascination of artists from Isabelle Huppert to Rachel Kushner to Kate Zambreno. For acclaimed French writer Nathalie Léger, the mysteries of Wanda launched an obsessive quest across continents, into archives, and through mining towns of Pennsylvania, all to get closer to the film and its maker. Suite for Barbara Loden is the magnificent result.
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Nathalie Léger. (2016). Suite for Barbara Loden. New York Review Books.
Chicago / Turabian - Author Date Citation (style guide)Nathalie Léger. 2016. Suite for Barbara Loden. New York Review Books.
Chicago / Turabian - Humanities Citation (style guide)Nathalie Léger, Suite for Barbara Loden. New York Review Books, 2016.
MLA Citation (style guide)Nathalie Léger. Suite for Barbara Loden. New York Review Books, 2016.
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| Shared Digital Collection | 1 | 0 |
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- bioText: Nathalie Léger is the award-winning author of Suite for Barbara Loden and The White Dress, as well as an editor and archivist. She has curated exhibitions on Roland Barthes and Samuel Beckett for the Centre Pompidou, and is Director of the Institut Mémoires de l’Édition Contemporaine, an organization dedicated to preserving the archives of modern French writers.
Natasha Lehrer is an award-winning writer and literary translator. She has written features and book reviews for a variety of newspapers, including The Guardian, The Times Literary Supplement, and The Observer.
Cécile Menon is a translator between French and English and the founder of the London-based publisher Les Fugitives. - name: Nathalie Léger
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- The second in Nathalie Léger’s acclaimed genre-defying triptych of books about the struggles and obsessions of women artists.
“I believe there is a miracle in Wanda,” wrote Marguerite Duras of the only film American actress Barbara Loden ever wrote and directed. “Usually, there is a distance between representation and text, subject and action. Here that distance is completely eradicated.” It is perhaps this “miracle”—the seeming collapse of fiction and fact—that has made Wanda (1970) a cult classic, and a fascination of artists from Isabelle Huppert to Rachel Kushner to Kate Zambreno. For acclaimed French writer Nathalie Léger, the mysteries of Wanda launched an obsessive quest across continents, into archives, and through mining towns of Pennsylvania, all to get closer to the film and its maker. Suite for Barbara Loden is the magnificent result. - reviews
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August 1, 2016
In Léger’s associative, meditative novel, what we can know of one another is whatever we can imagine. Asked to write a short encyclopedia entry about the American actress and filmmaker Barbara Loden, Léger’s narrator becomes “carried away,” unable to stick to the basic, established facts of Loden’s life, or even to what appears “imperfect, individual, accidental” about her subject. Accordingly, Léger eschews the brief encyclopedia assignment, instead structuring the text like a musical composition in which certain notes sound again and again. Unable to access Loden’s journals, the narrator writes scene-by-scene descriptions of Loden’s single film, 1970’s Wanda, interspersing these with scenes from her own investigation, which brings her to New York, Connecticut, and “soot-stained” Pennsylvania coal country, where Wanda was shot. A novel by Loden’s husband, the director Elia Kazan, seems to be full of “things Barbara used to talk about,” and an actress friend quotes Flaubert, suggesting that “everything we invent is the truth.” But Barbara herself remains elusive: “A woman... pretending to be another, in a role she wrote herself, based on another... playing not herself but a projection.” Loden said she made her film “as a way of confirming my own existence”; brief appearances by the narrator’s mother, another woman who, like Wanda’s heroine, once found herself adrift, will suggest to readers that the search for another is also our common, constant labor: the creation of a self.
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French writer Leger muses on the life and work of American filmmaker Barbara Loden (1932-1980).Loden directed one film, Wanda, which she wrote and starred in. Assigned to write "a short entry" about the movie for a film encyclopedia, Leger says she,"kept being carried away by the subject." Her interest grows after learning Loden based Wanda on "a newspaper story she had read about a woman convicted of robbing a bank," who "thanked the judge" when given a 20-year prison sentence. "[What] pain, what hopelessness could make a person desire to be put away?" Leger wonders, "How could imprisonment be relief?" Moving descriptions of Loden's performance in Wanda dot the narration as Leger struggles to reveal joy or pain Loden may have hidden, beyond her early work as a pin-up girl, her marriage to Elia Kazan, and a 1964 Tony Award for her role in Arthur Miller's After the Fall. Translators Lehrer and Menon give Leger's voice immense verve in English as her small task becomes an obsession. "You think you're dealing with pure formalities, footnotes...then somehow you end up with endless decisions to make, with abandoned hopes and collapsed hyphotheses." Even a trip to the Pennsylvania coal-mining towns where Wanda was filmed yields no eureka moment. While Leger accepts that Loden is an elusive myth, this hybrid text mirroring that elusiveness fails to reveal what Leger actually found so fascinating. "When Wanda came out in 1970 feminists hated it," Leger notes, saying it had "no self-awareness, no pioneering mythology of the free woman." But the film had fans in Europe, including Marguerite Duras, who said of the final scene in Wanda, "I see a kind of glory there, a very powerful glory, very violent, very profound."Loden fans will enjoy Leger's riffs; others may find the obsession mystifying. COPYRIGHT(1) Kirkus Reviews, ALL RIGHTS RESERVED.
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August 15, 2016
French writer Lger muses on the life and work of American filmmaker Barbara Loden (1932-1980).Loden directed one film, Wanda, which she wrote and starred in. Assigned to write a short entry about the movie for a film encyclopedia, Lger says she, kept being carried away by the subject. Her interest grows after learning Loden based Wanda on a newspaper story she had read about a woman convicted of robbing a bank, who thanked the judge when given a 20-year prison sentence. [What] pain, what hopelessness could make a person desire to be put away? Lger wonders, How could imprisonment be relief? Moving descriptions of Lodens performance in Wanda dot the narration as Lger struggles to reveal joy or pain Loden may have hidden, beyond her early work as a pin-up girl, her marriage to Elia Kazan, and a 1964 Tony Award for her role in Arthur Millers After the Fall. Translators Lehrer and Menon give Lgers voice immense verve in English as her small task becomes an obsession. You think youre dealing with pure formalities, footnotes...then somehow you end up with endless decisions to make, with abandoned hopes and collapsed hyphotheses. Even a trip to the Pennsylvania coal-mining towns where Wanda was filmed yields no eureka moment. While Lger accepts that Loden is an elusive myth, this hybrid text mirroring that elusiveness fails to reveal what Lger actually found so fascinating. When Wanda came out in 1970 feminists hated it, Lger notes, saying it had no self-awareness, no pioneering mythology of the free woman. But the film had fans in Europe, including Marguerite Duras, who said of the final scene in Wanda, I see a kind of glory there, a very powerful glory, very violent, very profound.Loden fans will enjoy Lgers riffs; others may find the obsession mystifying.COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.
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“I believe there is a miracle in Wanda,” wrote Marguerite Duras of the only film American actress Barbara Loden ever wrote and directed. “Usually, there is a distance between representation and text, subject and action. Here that distance is completely eradicated.” It is perhaps this “miracle”—the seeming collapse of fiction and fact—that has made Wanda (1970) a cult classic, and a fascination of artists from Isabelle Huppert to Rachel Kushner to Kate Zambreno. For acclaimed French writer Nathalie Léger, the mysteries of Wanda launched an obsessive quest across continents, into archives, and through mining towns of Pennsylvania, all to get closer to the film and its maker. Suite for Barbara Loden is the magnificent result. - sortTitle
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