Flaubert's Parrot Julian Barnes

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Flaubert's Parrot

Julian Barnes

To Pat

When you write the biography of a friend,

you must do it as if you were taking revenge for him.
Flaubert, letter to Enest Feydeau, 1872


I am grateful to James Fenton and the Salamander Press for permission to reprint the lines from 'A German Requiem' on page 115. The translations in this book are by Geoffrey Braithwaite; though he would have been lost without the impeccable example of Francis Steegmuller.

1: Flaubert's Parrot
Six North Africans were playing boules beneath Flaubert's statue. Clean cracks sounded over the grumble of jammed traffic. With a final, ironic caress from the fingertips, a brown hand dispatched a silver globe. It landed, hopped heavily, and curved in a slow scatter of hard dust. The thrower remained a stylish, temporary statue: knees not quite unbent, and the right hand ecstatically spread. I noticed a furled white shirt, a bare forearm and a blob on the back of the wrist. Not a watch, as I first thought, or a tattoo, but a coloured transfer: the face of a political sage much admired in the desert.
Let me start with the statue: the one above, the permanent, unstylish one, the one crying cupreous tears, the floppy-tied, square-waistcoated, baggy-trousered, straggle-moustached, wary, aloof bequeathed image of the man. Flaubert doesn't return the gaze. He stares south from the place des Carmes towards the Cathedral, out over the city he despised, and which in turn has largely ignored him. The head is defensively high: only the pigeons can see the full extent of the writer's baldness.
This statue isn't the original one. The Germans took the first Flaubert away in 1941, along with the railings and door-knockers. Perhaps he was processed into cap-badges. For a decade or so, the pedestal was empty. Then a Mayor of Rouen who was keen on statues rediscovered the original plaster cast—made by a Russian called Leopold Bernstamm—and the city council approved the making of a new image. Rouen bought itself a proper metal statue in 93 per cent copper and 7 per cent tin: the founders, Rudier of Châtillon-sous-Bagneux, assert that such an alloy is guarantee against corrosion. Two other towns, Trouville and Barentin, contributed to the project and received stone statues. These have worn less well. At Trouville Flaubert's upper thigh has had to be patched, and bits of his moustache have fallen off. structural wires poke out like twigs from a concrete stub on his upper lip.
Perhaps the foundry's assurances can be believed; perhaps this second-impression statue will last. But I see no particular grounds for confidence. Nothing much else to do with Flaubert has ever lasted. He died little more than a hundred years ago, and all that remains of him is paper. Paper, ideas, phrases, metaphors, structured prose which turns into sound. This, as it happens, is precisely what he would have wanted; it's only his admirers who sentimentally complain. The writer's house at Croisset was knocked down shortly after his death and replaced by a factory for extracting alcohol from damaged wheat. It wouldn't take much to get rid of his effigy either: if one statue-loving Mayor can put it up, another—perhaps a bookish party-liner who has half-read Sartre on Flaubert—might zealously take it down.
I begin with the statue, because that's where I began the whole project. Why does the writing make us chase the writer? Why can't we leave well alone? Why aren't the books enough? Flaubert wanted them to be: few writers believed more in the objectivity of the written text and the insignificance of the writer's personality; yet still we disobediently pursue. The image, the face, the signature; the 93 per cent copper statue and the Nadar photograph; the scrap of clothing and the lock of hair. What makes us randy for relics? Don't we believe the words enough? Do we think the leavings of a life contain some ancillary truth? When Robert Louis Stevenson died, his business-minded Scottish nanny quietly began selling hair which she claimed to have cut from the writer's head forty years earlier. The believers, the seekers, the pursuers bought enough of it to stuff a sofa.
I decided to save Croisset until later. I had five days in Rouen, and childhood instinct still makes me keep the best until last. Does the same impulse sometimes operate with writers? Hold off, hold off, the best is yet to come? If so, then how tantalising are the unfinished books. A pair of them come at once to mind: Bouvard et Pécuchet, where Flaubert sought to enclose and subdue the whole world, the whole of human striving and human failing; and L'Idiot de la famille, where Sartre sought to enclose the whole of Flaubert: enclose and subdue the master writer, the master bourgeois, the terror, the enemy, the sage. A stroke terminated the first project; blindness abbreviated the second.
I thought of writing books myself once. I had the ideas; I even made notes. But I was a doctor, married with children. You can only do one thing well: Flaubert knew that. Being a doctor was what I did well. My wife…died. My children are scattered now; they write whenever guilt impels. They have their own lives, naturally. 'Life! Life! To have erections!' I was reading that Flaubertian exclamation the other day. It made me feel like a stone statue with a patched upper thigh.
The unwritten books? They aren't a cause for resentment. There are too many books already. Besides, I remember the end of L'Education sentimentale. Frédéric and his companion Deslauriers are looking back over their lives. Their final, favourite memory is of a visit to a brothel years before, when they were still schoolboys. They had planned the trip in detail, had their hair specially curled for the occasion, and had even stolen flowers for the girls. But when they got to the brothel, Frédéric lost his nerve, and they both ran away. Such was the best day of their lives. Isn't the most reliable form of pleasure, Flaubert implies, the pleasure of anticipation? Who needs to burst into fulfilment's desolate attic?
I spent my first day wandering about Rouen, trying to recognise parts of it from when I'd come through in 1944. Large areas were bombed and shelled, of course; after forty years they're still patching up the Cathedral. I didn't find much to colour in the monochrome memories. Next day I drove west to Caen and then north to the beaches. You follow a series of weathered tin signs, erected by the Ministère des Travaux Publics et des Transports. This way for the Circuit des Plages de Débarquement: a tourist route of the landings. East of Arromanches lie the British and Canadian beaches—Gold, Juno, Sword. Not an imaginative choice of words; so much less memorable than Omaha and Utah. Unless, of course, it's the actions that make the words memorable, and not the other way round.
Graye-sur-Mer, Courseulles-sur-Mer, Ver-sur-Mer, Asnelles, Arromanches. Down tiny sidestreets you suddenly come across a place des Royal Engineers or a place W. Churchill. Rusting tanks stand guard over beach huts; slab monuments like ships' funnels announce in English and French: 'Here on the 6th June 1944 Europe was liberated by the heroism of the Allied Forces.' It is very quiet, and not at, all sinister. At Arromanches I put two one-franc pieces into the Télescope Panoramique (Très Puissant 15/6o Longue Durée) and traced the curving morse of the Mulberry Harbour far out to sea. Dot, dash, dash, dash went the concrete caissons, with the unhurried water between them. Shags had colonised these square boulders of wartime junk.
I lunched at the Hôtel de la Marine overlooking the bay. I was close to where friends had died—the sudden friends those years produced—and yet I felt unmoved. 50th Armoured Division, Second British Army. Memories came out of hiding, but not emotions; not even the memories of emotions. After lunch I went to the museum and watched a film about the landings, then drove ten kilometres to Bayeux to examine that other cross-Channel invasion of nine centuries earlier. Queen Matilda's tapestry is like horizontal cinema, the frames joined edge to edge. Both events seemed equally strange: one too distant to be true, the other too familiar to be true. How do we seize the past? Can we ever do so? When I was a medical student some pranksters at an end-of-term dance released into the hall a piglet which had been smeared with grease. It squirmed between legs, evaded capture, squealed a lot. People fell over trying to grasp it, and were made to look ridiculous in the process. The past often seems to behave like that piglet.

On my third day in Rouen I walked to the Hôtel-Dieu, the hospital where Gustave's father had been head surgeon, and where the writer spent his childhood. Along the avenue Gustave Flaubert, past the Imprimerie Flaubert and a snack-bar called Le Flaubert: you certainly feel you're going in the right direction. Parked near the hospital was a large white Peugeot hatchback: it was painted with blue stars, a telephone number and the words AMBULANCE FLAUBERT. The writer as healer? Unlikely. I remembered George Sand's matronly rebuke to her younger colleague. 'You produce desolation,' she wrote, 'and I produce consolation.' The Peugeot should have read AMBULANCE GEORGE SAND.

At the Hôtel-Dieu I was admitted by a gaunt, fidgety gardien whose white coat puzzled me. He wasn't a doctor, a pharmacien or a cricket umpire. White coats imply antisepsis and clean judgment. Why should a museum caretaker wear one—to protect Gustave's childhood from germs? He explained that the museum was devoted partly to Flaubert and partly to medical history, then hurried me round, locking the doors behind us with noisy efficiency. I was shown the room where Gustave was born, his eau-de-Cologne pot, tobacco jar and first magazine article. Various images of the writer confirmed the dire early shift he underwent from handsome youth to paunchy, balding burgher. Syphilis, some conclude. Normal nineteenth-century ageing, others reply. Perhaps it was merely that his body had a sense of decorum: when the mind inside declared itself prematurely old, the flesh did its best to conform. I kept reminding myself that he had fair hair. It's hard to remember: photographs make everyone seem dark.
The other rooms contained medical instruments of the eighteenth and nineteenth centuries: heavy metal relics coming to sharp points, and enema pumps of a calibre which surprised even me. Medicine then must have been such an exciting, desperate, violent business; nowadays it is all pills and bureaucracy. Or is it just that the past seems to contain more local colour than the present? I studied the doctoral thesis of Gustave's brother Achille: it was called 'Some Considerations on the Moment of Operation on the Strangulated Hernia'. A fraternal parallel: Achille's thesis later became Gustave's metaphor. 'I feel, against the stupidity of my time, floods of hatred which choke me. Shit rises to my mouth as in the case of a strangulated hernia. But I want to keep it, fix it, harden it; I want to concoct a paste with which I shall cover the nineteenth century, in the same way as they paint Indian pagodas with cow dung.'
The conjunction of these two museums seemed odd at first. It made sense when I remembered Lemot's famous cartoon of Flaubert dissecting Emma Bovary. It shows the novelist flourishing on the end of a large fork the dripping heart he has triumphantly torn from his heroine's body. He brandishes the organ aloft like a prize surgical exhibit, while on the left of the drawing the feet of the recumbent, violated Emma are just visible. The writer as butcher, the writer as sensitive brute.
Then I saw the parrot. It sat in a small alcove, bright green and perky-eyed, with its head at an inquiring angle. 'Psittacus,' ran the inscription on the end of its perch: 'Parrot borrowed by G. Flaubert from the Museum of Rouen and placed on his work-table during the writing of Un coeur simple, where it is called Loulou, the parrot of Félicité, the principal character in the tale.' A Xeroxed letter from Flaubert confirmed the fact: the parrot, he wrote, had been on his desk for three weeks, and the sight of it was beginning to irritate him.
Loulou was in fine condition, the feathers as crisp and the eye as irritating as they must have been a hundred years earlier. I gazed at the bird, and to my surprise felt ardently in touch with this writer who disdainfully forbade posterity to take any personal interest in him. His statue was a retread; his house had been knocked down; his books naturally had their own life—responses to them weren't responses to him. But here, in this unexceptional green parrot, preserved in a routine yet mysterious fashion, was something which made me feel I had almost known the writer. I was both moved and cheered.
On the way back to my hotel I bought a student text of Un coeur simple. Perhaps you know the story. It's about a poor, uneducated servant-woman called Félicité, who serves the same mistress for half a century, unresentfully sacrificing her own life to those of others. She becomes attached, in turn, to a rough fiancé, to her mistress's children, to her nephew, and to an old man with a cancerous arm. All of them are casually taken from her: they die, or depart, or simply forget her. It is an existence in which, not surprisingly, the consolations of religion come to make up for the desolations of life.
The final object in Félicité's ever—diminishing chain of attachments is Loulou, the parrot. When, in due course, he too dies, Félicité has him stuffed. She keeps the adored relic beside her, and even takes to saying her prayers while kneeling before him. A doctrinal confusion develops in her simple mind: she wonders whether the Holy Ghost, conventionally represented as a dove, would not be better portrayed as a parrot. Logic is certainly on her side: parrots and Holy Ghosts can speak, whereas doves cannot. At the end of the story, Félicité herself dies. 'There was a smile on her lips. The movements of her heart slowed down beat by beat, each time more distant, like a fountain running dry or an echo disappearing; and as she breathed her final breath she thought she saw, as the heavens opened for her, a gigantic parrot hovering above her head.'
The control of tone is vital. Imagine the technical difficulty of writing a story in which a badly stuffed bird with a ridiculous name ends up standing in for one third of the Trinity, and in which the intention is neither satirical, sentimental, nor blasphemous. Imagine further telling such a story from the point of view of an ignorant old woman without making it sound derogatory or coy. But then the aim of Un coeur simple is quite elsewhere: the parrot is a perfect and controlled example of the Flaubertian grotesque.
We can, if we wish (and if we disobey Flaubert), submit the bird to additional interpretation. For instance, there are submerged parallels between the life of the prematurely aged novelist and the maturely aged Félicité. Critics have sent in the ferrets. Both of them were solitary; both of them had lives stained with loss; both of them, though full of grief, were persevering. Those keen to push things further suggest that the incident in which Félicité is struck down by a mail-coach on the road to Honfleur is a submerged reference to Gustave's first epileptic fit, when he was struck down on the road outside Bourg-Achard. I don't know. How submerged does a reference have to be before it drowns?
In one cardinal way, of course, Félicité is the complete opposite of Flaubert: she is virtually inarticulate. But you could argue that this is where Loulou comes in. The parrot, the articulate beast, a rare creature that makes human sounds. Not for nothing does Félicité confuse Loulou with the Holy Ghost, the giver of tongues.
Félicité + Loulou = Flaubert? Not exactly; but you could claim that he is present in both of them. Félicité encloses his character; Loulou encloses his voice. You could say that the parrot, representing clever vocalisation without much brain power, was Pure Word. If you were a French academic, you might say that he was un symbole de Logos. Being English, I hasten back to the corporeal: to that svelte, perky creature I had seen at the Hôtel-Dieu. I imagined Loulou sitting on the other side of Flaubert's desk and staring back at him like some taunting reflection from a funfair mirror. No wonder three weeks of its parodic presence caused irritation. Is the writer much more than a sophisticated parrot?
We should perhaps note at this point the four principal encounters between the novelist and a member of the parrot family. In the 1830s, during their annual holiday at Trouville, the Flaubert household regularly used to visit a retired sea-captain called Pierre Barbey; his ménage, we are told, included a magnificent parrot. In 1845 Gustave was travelling through Antibes, on his way to Italy, when he came across a sick parakeet which merited an entry in his diary; the bird used to perch carefully on the mudguard of its owner's light cart, and at dinnertime would be brought in and placed on the mantelpiece. The diarist notes the 'strange love' clearly evident between man and pet. In 1851, returning from the Orient via Venice, Flaubert heard a parrot in a gilt cage calling out over the Grand Canal its imitation of a gondolier: 'Fà eh, capo die.' In 1853 he was again in Trouville; lodging with a pharmacien, he found himself constantly irritated by a parrot which screamed, 'As-tu déjeuné, Jako?' and 'Cocu, mon petit coco.' It also whistled' J'ai du bon tabac.' Was any of these four birds, in whole or in part, the inspiration behind Loulou? And did Flaubert see another living parrot between 1853 and 1876, when he borrowed a stuffed one from the Museum of Rouen? I leave such matters to the professionals.
I sat on my hotel bed; from a neighbouring room a telephone imitated the cry of other telephones. I thought about the parrot in its alcove barely half a mile away. A cheeky bird, inducing affection, even reverence. What had Flaubert done with it after finishing Un coeur simple? Did he put it away in a cupboard and forget about its irritating existence until he was searching for an extra blanket? And what happened, four years later, when an apoplectic stroke left him dying on his sofa? Did he perhaps imagine, hovering above him, a gigantic parrot—this time not a welcome from the Holy Ghost but a farewell from the Word?
'I am bothered by my tendency to metaphor, decidedly excessive. I am devoured by comparisons as one is by lice, and I spend my time doing nothing but squashing them.' Words came easily to Flaubert; but he also saw the underlying inadequacy of the Word. Remember his sad definition from Madame Bovary: 'Language is like a cracked kettle on which we beat out tunes for bears to dance to, while all the time we long to move the stars to pity.' So you can take the novelist either way: as a pertinacious and finished stylist; or as one who considered language tragically insufficient. Sartreans prefer the second option: for them Loulou's inability to do more than repeat at second hand the phrases he hears is an indirect confession of the novelist's own failure. The parrot/writer feebly accepts language as something received, imitative and inert. Sartre himself rebuked Flaubert for passivity, for belief (or collusion in the belief) that on est parlé—one is spoken.
Did that burst of bubbles announce the gurgling death of another submerged reference? The point at which you suspect too much is being read into a story is when you feel most vulnerable, isolated, and perhaps stupid. Is a critic wrong to read Loulou as a symbol of the Word? Is a reader wrong—worse, sentimental—to think of that parrot at the Hôtel-Dieu as an emblem of the writer's voice? That's what I did. Perhaps this makes me as simple-minded as Félicité.
But whether you call it a tale or a text, Un coeur simple echoes on in the brain. Allow me to cite David Hockney, benign if unspecific, in his autobiography: 'The story really affected me, and I felt it was a subject I could get into and really use.' In 1974 Mr Hockney produced a pair of etchings: a burlesque version of Félicité's view of Abroad (a monkey stealing away with a woman over its shoulder), and a tranquil scene ofFélicité asleep with Loulou. Perhaps he will do some more in due course.
On my last day in Rouen I drove out to Croisset. Normandy rain was falling, soft and dense. What was formerly a remote village on the banks of the Seine, backdropped by green hills, has now become engulfed by thumping dockland. Pile-drivers echo, gantries hang over you, and the river is thickly commercial. Passing lorries rattle the windows of the inevitable Bar Le Flaubert.
Gustave noted and approved the oriental habit of knocking down the houses of the dead; so perhaps he would have been less hurt than his readers, his pursuers, by the destruction of his own house. The factory for extracting alcohol from damaged wheat was pulled down in its turn; and on the site there now stands, more appropriately, a large paper-mill. All that remains of Flaubert's residence is a small one-storey pavilion a few hundred yards down the road: a summer house to which the writer would retire when needing even more solitude than usual. It now looks shabby and pointless, but at least it's something. On the terrace outside, a stump of fluted column, dug up at Carthage, has been erected to commemorate the author of Salammbô. I pushed the gate; an Alsatian began barking, and a white-haired gardienne approached. No white coat for her, but a well-cut blue uniform. As I cranked up my French I remembered the trademark of the Carthaginian interpreters in Salammbô: each, as a symbol of his profession, has a parrot tattooed on his chest. Today the brown wrist of the African boules-player wears a Mao transfer.
The pavilion contains a single room, square with a tented ceiling. I was reminded of Félicité's room: 'It had the simultaneous air of a chapel and a bazaar.' Here too were the ironic conjunctions—trivial knick-knack beside solemn relic—of the Flaubertian grotesque. The items on display were so poorly arranged that I frequently had to get down on my knees to squint into the cabinets: the posture of the devout, but also of the junk-shop treasure-hunter.
Félicité found consolation in her assembly of stray objects, united only by their owner's affection. Flaubert did the same, preserving trivia fragrant with memories. Years after his mother's death he would still sometimes ask for her old shawl and hat, then sit down with them to dream a little. The visitor to the Croisset pavilion can almost do the same: the exhibits, carelessly laid out, catch your heart at random. Portraits, photographs, a clay bust; pipes, a tobacco jar, a letter opener; a toad-inkwell with a gaping mouth; the gold Buddha which stood on the writer's desk and never irritated him; a lock of hair, blonder, naturally, than in the photographs.
Two exhibits in a side cabinet are easy to miss: a small tumbler from which Flaubert took his last drink of water a few moments before he died; and a crumpled pad of white handkerchief with which he mopped his brow in perhaps the last gesture of his life. Such ordinary props, which seemed to forbid wailing and melodrama, made me feel I had been present at the death of a friend. I was almost embarrassed: three days before I had stood unmoved on a beach where close companions had been killed. Perhaps this is the advantage of making friends with those already dead: your feelings towards them never cool.
Then I saw it. Crouched on top of a high cupboard was another parrot. Also bright green. Also, according to both the gardienne and the label on its perch, the very parrot which Flaubert harrowed from the Museum of Rouen for the writing of Un coeur simple. I asked permission to take the second Loulou down, set him carefully on the corner of a display cabinet, and removed his glass dome.
How do you compare two parrots, one already idealised by memory and metaphor, the other a squawking intruder? My initial response was that the second seemed less authentic than the first, mainly because it had a more benign air. The head was set straighter on the body, and its expression was less irritating than that of the bird at the Hôtel-Dieu. Then I realised the fallacy in this: Flaubert, after all, hadn't been given a choice of parrots; and even this second one, which looked the calmer company, might well get on your nerves after a couple of weeks.
I mentioned the question of authenticity to the gardienne. She was, understandably, on the side of her own parrot, and confidently discounted the claims of the Hôtel-Dieu. I wondered if somebody knew the answer. I wondered if it mattered to anyone except me, who had rashly invested significance in the first parrot. The writer's voice—what makes you think it can be located that easily? Such was the rebuke offered by the second parrot. As I stood looking at the possibly inauthentic Loulou, the sun lit up that corner of the room and turned his plumage more sharply yellow. I replaced the bird and thought: I am now older than Flaubert ever was. It seemed a presumptuous thing to be; sad and unmerited.
Is it ever the right time to die? It wasn't for Flaubert; or for George Sand, who didn't live to read Un coeur simple. 'I had begun it solely on account of her, only to please her. She died while I was in the midst of this work. So it is with all our dreams.' Is it better not to have the dreams, the work, and then the desolation of uncompleted work? Perhaps, like Frédéric and Deslauriers, we should prefer the consolation of non-fulfilment: the planned visit to the brothel, the pleasure of anticipation, and then, years later, not the memory of deeds but the memory of past anticipations? Wouldn't that keep it all cleaner and less painful?
After I got home the duplicate parrots continued to flutter in my mind: one of them amiable and straightforward, the other cocky and interrogatory. I wrote letters to various academics who might know if either of the parrots had been properly authenticated. I wrote to the French Embassy and to the editor of the Michelin guide-books. I also wrote to Mr Hockney. I told him about my trip and asked if he'd ever been to Rouen; I wondered if he'd had one or other of the parrots in mind when etching his portrait of the sleeping Félicité. If not, then perhaps he in his turn had borrowed a parrot from a museum and used it as a model. I warned him of the dangerous tendency in this species to posthumous parthenogenesis.
I hoped to get my replies quite soon.
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