Feuille d’Album by Katherine Mansfield

James Jacques Joseph Tissot - Holyday

“Feuille d’Album” (1917) is a short story by Katherine Mansfield, included in the Bliss collection. The word ‘album’ comes from Latin, neuter of albus ‘white’, and used as a noun means ‘a blank tablet’. This is the story of a man who appears to have no personality. Because of this, a group of women become fascinated by him, imagining he has deep, dark secrets. They endeavour to find out how he lives.

James Jacques Joseph Tissot – The Rivals (aka In the Conservatory)

NARRATION OF “FEUILLE D’ALBUM”

The narrative voice of “Feuille d’album” has a strong personality. This is ‘the village voice’ of a subculture of women, society ladies, with the leisure to speculate about the life of an unfathomable young man of their acquaintance.

If this story were adapted for screen, I’d love Scottish actress Shirley Henderson to narrate in one of her English accents, for example that of Edith Dubarry in Miss Pettigrew Lives For A Day.

Although the viewpoint character is this nosy unseen narrator, the ‘main character’ is the story of Ian French. We must see her as unreliable. Here’s what she can know via the gossip mill:

  • He is socially awkward in the women’s presence.
  • He keeps a neat house (because some of them have visited)
  • He gave an egg to the young woman who lives opposite.
  • He may or may not have said “Excuse me Mademoiselle, you dropped this.” The gag is too perfect, a society tall tale (with a shaggy dog ending), and the result of many retellings.

Because she has such a distinctive voice, and feels so much a part of the society she describes, this narrator is clearly not omniscient. She is never present in Ian’s rooms. She doesn’t see him watching, scribbling things down. Therefore, the bulk of the story must be pure imagination on the narrator’s part. Highly imaginative narrators/characters are very useful in stories.

James Jacques Joseph Tissot – The Artist’s Ladies

STORY STRUCTURE OF “FEUILLE D’ALBUM”

WEAKNESS/NEED/PROBLEM

He is probably the son of a wealthy family, highly trained in the arts. He may have been sent to France as a ‘remittance man‘ to keep him out of the way, as he may be embarrassing, socially. (Some commentators have speculated that Katherine Mansfield might have been a remittance woman, sent to Europe because she was a woman who loves woman.)

Through my contemporary lens, I understand Ian French as autistic. At first I suspected social anxiety, but as the story progressed, a number of autistic-esque features hoved into view.

  • Ian is very good at what he does, and he does that thing a lot (painting).
  • He appears to freeze in social situations. Perhaps this is because he has a disability when it comes to reading social cues, and his way of dealing with this is to simply be quiet.
  • He has a surprisingly well-ordered house.
  • He has developed strategies to get things done on any given day. He writes himself notes, perhaps in the voice of a mother or nanny, who he still needs to hear from, if only in his head.
  • He fixates on the woman with few clues. Obsessive love is common across the breadth of human experience, but Ian seems to fixate on her motherly aspects. He seems to see someone who could take care of him. The details he fixates on are unusual.
  • Case in point, the egg. He (supposedly, and supposedly based on what the narrator has previously observed) really loves that egg, and he is perhaps attracted to it in a sensory kind of way. The flipside of sensory processing issues is that unexpected things can feel immensely pleasurable.

The character of Ian French was surely inspired by Mansfield’s interactions with human beings in real life, even if Ian French is a conglomeration. There is no ‘autism epidemic’ — in previous eras there was simply no name applied to neurodifference.

DESIRE

None of Ian’s issues would be a problem, except it appears he does want social connection, on his own terms, preferably one-on-one.

OPPONENT

Ian’s opponents are the society ladies who speculate about his private life, epitomised by the voice of the unseen narrator. These women position themselves as allies, checking up on him, but are counterproductive when it comes to Ian finding the social connections he wants. They clearly consider him a figure of fun. We deduce that he knows this, for he turns them away whenever they darken his door.

A man who is a figure of fun is unlikely to find his people. He must find a new connection, with a person outside the social clutches of these particular ladies of leisure.

Unfortunately for Ian, we can also deduce that whatever he said to the young woman about the egg has got back to the ladies of leisure. So in fact, the object of his affection has revealed herself (off the page) to be as dismissive as they are.

PLAN

Ian watches the girl until he knows her weekly schedule, then he plots a way to meet her. We don’t know he has plotted this, in the veridical truth of the story. Because of the unreliable narration, it’s possible he never talked to the young woman at all, and that the entire interaction with the egg is a comical fabrication. Nevertheless, that is the level zero story. Any metadiegetic discourse in which we’re told, “Psst, that’s not actually what happened!” is missing. We must check our own tendency to believe these stories. We must. not. listen. to this gossip. Leave the poor guy alone.

Back to the level zero story. Because Ian is so passive, the ‘planning’ comes from his opponents in the form of three women who visit his house. Notice how Mansfield is making use of the Rule of Three.

BATTLE

The climax of this story is the meeting with the young woman who likes eggs. The story finishes after this scene.

the last few paragraphs of a novel are relatively unimportant. … A short story is much different. The climax may be the ending.

Nancy Kress, Beginnings, Middles and Ends

Until this moment, the storyteller has invited us into her gossipy world. I confess that I was expecting some sort of dark act — a stabbing, perhaps? This is entirely set up, of course. Plus there’s the history of salacious stories about women murdered by stalker men. So this climax is an example of an anticlimax, which also subverts our expectations of crime and melodrama.

The story has closed with a perspectival shift. In many short stories, a notable change of perspective marks that the narrative may now come to a halt.

SELF-REVELATION

These final two steps are left for the reader to ‘write’.

The plot revelation, arrived at via deduction is the part where we realise the young woman may have gone back to the ladies of leisure and told them the story about the egg, making Ian look hopelessly silly and an object of fun.

NEW EQUILIBRIUM

Ian has found himself in the wrong society. He may find like-minded people eventually, perhaps in the art world. I hope he did.

Header painting is byJames Jacques Joseph Tissot – Holyday. I imagine Ian stands partially hidden by the tree trunk on the leftmost edge.

Symbolism of the Beach in Australian Literature

Sydney convict art beach

Iconic Examples of Australian Beach Stories

There are a great number of natural landscapes in Australia apart from beaches (rainforests, desert areas, snow-capped mountains) yet the beach has somehow become iconic.

In Australia, there is a cabal of writers who can be described as ‘Australian Coastal Gothic’.

  • Tim Winton
  • Robert Drewe
  • Peter Temple

These novels and short stories are often about men who retreat from inland areas to the coast. The storyworld is dark and brooding. The men have secrets. They are often in mourning over a woman’s death. They meet grotesque characters who almost personify their grief. Beaches are badlands.

What is distinctive about the Australian beach?

  • The term ‘beach’ in Australia has a wider meaning than its geographical qualities. 
  • Beaches exist all over the world but are an internationally iconic image of Australia. The beach is pervasive in Australian advertising, tourism and popular representation. The beach is presented as idyllic, almost nostalgic and beautiful.
  • Tourist photos of the Australian beach tend to focus on the natural aspects and remove amenities. The exception to this is The Gold Coast, in which the beach and urban cannot be disentangled. Images will include skyscrapers along the waterfront. 
  • Some beaches are far more hospitable than others. There is great variation. Water temperature varies a lot at any given time. Tasmanian beaches are more suitable for picnicking than swimming because the water is generally cold. Northern beaches near Darwin are unsafe because of crocodiles.
  • In Australia rural and urban areas tend to stand in opposition to one another (with preference for the rural). The beach falls into both camps — it is ‘natural landscape’ but it is also an extension of suburbia.
  • The beach is associated with leisure, hedonism pleasure, indolence. The beach is healing, a place of escape, a spiritual place.
  • When the beach is depicted as healing, there’s a big difference between characters who live at the beach and those who holiday there. Tourists don’t have to fit beach time around the ordinary aspects of their lives. The holiday is itself an escape.
  • But beach holidays often induce guilt. Characters feel guilty at what they leave behind. Guilt can provide the motivation to make big changes in a character’s ordinary, non-holiday life. The holiday itself triggers a character arc.
  • In fiction targeted at women, a holiday to the beach can make a female main character reassess who she is looking for as a romantic partner. She might be an uptight sort of character who loses her sexual inhibitions on holiday and is forever changed because of it. Beach holidays can let women reclaim parts of themselves that they’ve lost touch with (apart from sexual aspects). They can forget about societal expectations placed upon women in everyday life, giving them a feminist ideology.
  • In this way, the beach can act as a type of mirror. The natural beauty of the beach allows a woman to see the natural beauty in herself.
  • Beautiful places have been shown to be good for mental health. (We get the same effect in a forest.)
  • A beautiful setting allows for a binary to exist — beautiful versus non-beautiful. This is why the mythic natural beauty of the beach can symbolise heaven on earth. Horror films subvert this, juxtaposing a beautiful beach against death. The beautiful playground of a beach can become a kind of prison. Characters move from freedom to slavery.
  • The message of some horror beach films is that characters create their own fate by disturbing a pristine environment. They had no business being there. Nature (or supernature) shrugs them off.
  • Australia has no legend based on how we live as an urban coastal society, unlike the myth of the bush, which is a strong tradition. Yet for many modern Australians, the beach is a more familiar territory than ‘the bush’. 
  • British people tend to see natural landscape in terms of ‘countryside’ and ‘seaside’. At the ‘seaside’ you get resorts, relaxation and therapeutic results. But The Australian beach is a place for swimming and surfing. Australian beachgoers are not passive. Even when not swimming or surfing, Australians bring their beach furniture with them and decide where to sit. They are holidaymakers rather than beachgoers.
  • When compared to American beaches, Australian beaches feel ‘transient’. Australian holidaymakers are responsible for bringing everything — you can’t hire umbrellas and lounges like you can in Honolulu. Holiday resorts do exist in Australia (e.g. Byron Bay) but there is not much emphasis on those in literature. Australian beach culture is far more accepting of nature than in trying to impose human order onto it.
  • Bush mythologies tend to idealise individuality. You’re on your own out there. Survival in the bush is seen as a personal achievement. But the beach is all about pleasures shared with others. ‘Indecent’ pleasures challenge social norms in a community. Competitive sport flourishes.
  • The naturalness of the beach is part of the myth of the Australian beach. This is the beach of our imagination. In this imagined version of the beach, we’re the only person walking along pristine beaches of untouched sand.
  • In fact the beach is surveilled: The beach is under the eye of the lifeguard from the tower, and increasingly, the beach is also observed through technological means such as cameras installed to detect erosion.
  • Many Indigenous texts place more importance on fresh water than the beach. Yet there are still some important aspects of the beach that feature in the writing of Indigenous authors and in films that feature Indigenous characters.
  • Iconic Australian beaches: Surfers Paradise (Gold Coast, Queensland) and Bondi Beach (Sydney, New South Wales). These settings are also common in Australian stories.
  • Normally the word ‘badlands‘ conjures images of extensive tracts of heavily eroded, uncultivable land with little vegetation, for instance the barren plateau region of the western US (North and South Dakota and Nebraska). But the Australian beach can be used as a type of badlands.
  • In the 1960s the Beaumont children went missing. (Their mother recently died without ever knowing what happened to them.) They disappeared from Glenelg Beach near Adelaide, South Australia on 26 January 1966 (Australia Day)
  • Harold Holt went swimming in the sea and never returned. He was Australia’s prime minister. The fact that a prime minister can go missing like that is seen as a quintessentially Australian thing. We like to think this could never happen to the American president, whose body is protected, his every move monitored.
  • In the 1980s and 90s, infamous gay hate murders took place on Bondi beaches
  • Bra Boys is a movie about the Cronulla riots of 2005
  • Crime, assaults and kidnapped children continue to be plots in fictional texts with beach settings. 
  • The beach is often a horror setting e.g. The Long Weekend (1978) and Lost Things (2003). Sometimes the beauty of the beach juxtaposes against the horror that unfolds e.g. The Long Weekend (1978 movie), Lost Things (2003 movie). Like any good horror story, the setting (in this case the beach) is initially set up as an idyllic, beautiful place. Also true to the horror genre, these beaches are difficult to reach and isolated. The humans are plucked off from the herd. In a Love story, the beach can act as a mirror, showing the (female) main character the beauty in herself. In a horror story the beach can also act as a mirror, but this time it reflects the evil within the main character(s).
  • In either case, the beach has the power to reveal some sort of truth.
  • The beauty of the beach is sometimes cast as ‘tempting’ e.g. Two Hands (1999 film). Bondi Beach is depicted as a glittering ocean which entices Jimmy into the water, away from his tasks. 
  • The Australian beach is increasingly urban as the city and its suburbs encroach further onto the sand. 
  • Philip Drew, in his work The Coast Dwellers, believes that the Europeans brought their own understanding of space to Australia when they arrived in the late 19th century. Europeans journeyed here with a “conception of a closed centric world”. But this understanding that did not fit the geographical complexities of the country they found themselves in.
  • Even natural beach elements can be scary. Nature is unpredictable and we can’t control it (shark attacks, wild weather). 
  • The beach is considered a space of equality. Anyone can go there, whether rich or poor. No one owns the beach. Once at the beach, no one is judged on the norms of the rest of their lives — everyone is now just a person at the beach, perhaps stripped down without clothes as status symbols. Employment and wealth is discarded. However, in practice the classless beach isn’t real, sometimes made clear in fiction as well. In Puberty Blues Kathy Lette describes Green Hills beach as trendy while beaches at the sound end of Cronulla are family friendly (but not trendy).
  • Some texts objectify women on the sand. Surfing texts are very masculine. Some films objectify other kinds of bodies, including the bodies of men. 
  • Australian beach films are rarely financially or critically successful. (e.g. Newcastle) But still Australians keep trying to make beach movies and TV shows. 
  • The beach is neither marginal nor liminal. It allows the imaginative and the social to exist at once within the same landscape. This is called ‘Beachspace’. Liminal is all about the concepts of transition and shifting ambiguities, categorised by disorientation and a loss of belonging. In contrast, the beach can create a sense of belonging, or multiple belongings. 
  • Like high places, the beach can be used as a place to gain perspective, especially by going surfing. For surfers, waves can be a refuge and like driving, afford a sense of control. The main character of Breath by Tim Winton (2008) uses the surf in this way. He feels he can’t control death around him in his regular life.
  • Even though characters might try to use the beach as a safe space away from their ordinary lives, the beach isn’t always binary in that way. Floating in the shallows is similar to sitting in a bath, affording characters the space to think. Characters often have self-revelations in the water.

FURTHER READING

Header painting is a View of Sydney from the West side of the Cover painted in 1806 by a convict artist John Eyre. Some convicts were artists. Some of them were even convicted because of art — for forgery.

Psychology by Katherine Mansfield

Edwardian Interior c.1907 by Harold Gilman 1876-1919

“Psychology” is a short story by Katherine Mansfield, redolent with sexual tension which unexpectedly morphs into something else at the end. As expected from the title, the bulk of the story comprises a character’s interiority. After first setting the mood, Mansfield gets right into a woman’s feelings. Yet do we feel we know her? We must read between the spaces, what I call ‘Mansfield Gaps’. Everyone fills the gaps differently in a lyrical short story; this is my interpretation.

Katherine Mansfield liked to explore the theme of retaining one’s individuality. Characters seem terrified of losing themselves, of being subsumed by the roles expected of them. They wish for individuality. Mansfield’s stories, when taken as a whole, show that there are many pitfalls in love.

“Psychology” is an exploration into the emotional variability that goes hand in hand with intimacy. This variability is also pronounced in “The Swing of the Pendulum“, “Taking The Veil” and “The Singing Lesson“.

Continue reading “Psychology by Katherine Mansfield”

The Symbolism of Crossroads

Albert Ludovici - Mr. Pecksniff Leaves for London

Crossroads in storytelling often indicated the place/time of decision. A self-revelation occurs after the decision has been made. Character arc or penance follows. The ur-crossroads story features a character with special skills, who has supposedly traded his soul with the devil.

One such story, attached to an actual person, is the story of Robert Johnson, who was so good at guitar no one could believe he’d practised to get that expert. But the mythology of the Father of Jazz goes back much further. We can find an example in fairy tale:

So the retinue was increased, and now [the twin brothers] came to a crossroad, where they said, “We’ve got to separate here, and one of us should go to the right, and the other should head off to the left.”

“Johannes Waterspring and Caspar Waterspring”, a tale from the first Grimm collection

In folk magic and myth, crossroads are magical places. All sorts of supernatural and paranormal things were thought to take place at crossroads.

In other words, crossroads are a visual representation of a moral dilemma.

Examples From Children’s Literature

In 101 Dalmatians, a chase scene includes a crossroads shot, indicating that there are various possible routes. We don’t know if the villain will find the puppies because this is a maze-like world. It’s easy to get lost in this snowy landscape.

crossroads 101 Dalmatians

I made use of crossroads myself in our 2011 picture book app The Artifacts, to end the story, but also to create an aperture ending, which encourages the reader to extrapolate what happens next. After filling his mind with knowledge, there’s more than one path this young man could have taken in life. Armed with knowledge after a lifetime of reading, more than one choice opens before him.

The Artifacts sheep moon
The Artifacts, Slap Happy Larry, 2011.

We also see symbolic crossroads in:

Thomas Edwin Mostyn - Which Way to Bushey
Thomas Edwin Mostyn – Which Way to Bushey

FURTHER READING

The crossroads shot from North By Northwest
The crossroads shot from North By Northwest

Header painting: Albert Ludovici – Mr. Pecksniff Leaves for London