Finding herself with little money and no plan after Stephan's arrest, Marya accepts an invitation to stay with the Heidlers in their studio on the Avenue de l’Observatoire. In the book we are told that the Heidlers 'lived on the second floor of a high building half-way up the street'. The studio is situated near the Luxembourg Gardens, and at night they walk together through the ‘lovely, crooked silent streets’. I find the tall, elegant houses of the Avenue de l'Observatoire, leading away from the gardens, and walk along trying to decide in which building the studio might have been located.
The city streets themselves are often figured as rivers, full of reflections of light and water that suggest a fluidity, a crossing of boundaries. The great dark river is the other of the streets. At night the river becomes like the streets, a living presence, as suggested in the idea of the street walking in which forms the overarching image for my project.
The book is semi-autobiographical, and recreates aspects of Colette's life on the stage. I am fascinated by her portrayal of the music hall, and the people she met there, and her bringing to life of the streets and locale of Montmartre and Paris. Mostly for her use of language, her words like a gift, with their warmth, grace, ease and clarity. With its poetic, vivid and direct style of writing, this is a voice which feels alive and never dated. Intoxicated, I am under its spell.
The sense of unreality that comes from walking within an invented form, a tangle of signs and symbols, and all the time knowing that it isn’t real. The labyrinth is part of the circle of time, of finding myself back at the place I started, of living within an illusion, a figure of the imagination. The streets are not really a labyrinth, and at the same time when I look at a map, they appear circular, so that walking around and the names of the streets create a sense of repetition, like being caught in a recurring dream.
The road to Skyllberg is the turning we take off the main road on the last day of our trip. Not just a location on the map, but a symbol, found somewhere between the past and present. Each recall of memory is like a draft worked over and over. Each time I want to recreate the moment when we turn the corner and find the lake hidden behind trees.
The Palais de Justice is located on the Quai des Orfèvres on the Île de la Cité by the river Seine. Stretching out along the river bank, it dominates the scenery, grand and forbidding. It is one of the oldest official buildings in Paris, a site of great historic events, and revolution; the palace of justice, a monument to justice and injustice, looking out across Paris.
Now I follow the Rue de Rome towards the old port. Everywhere the buildings with shutters, white and pastel, as if the sun has drained and turned everything a faded white. The harbour lined with boats, their sails blue and white; in lines they point upwards, their forms definite and leaving shadow. The reflections in the water are gentle ripples which turn them back to trees, they are branches bending gently with the movement of water. There is a big wheel circling slowly and up into the blue. I take photographs into the sun to see how they are drenched by light, as though the sun has pulled all the colours out and left only reflected lights.
From her balcony in the Hotel de l’Univers, Marya’s view is elevated. She can look over the rooftops and down to the Place Blanche and beyond, across the rooftops of the city. She can watch the lights coming out and the movement of the streets below. The hill of Montmartre provides a vantage point. This perspective reflects the sense of Montmartre as distinct, set apart from Paris, its history and status.
This is the first of Rhys's Paris hotels and I have chosen my location well. I am staying on Rue Constance, on the next street along from Rue Cauchois; both streets are just off Rue Lepic. The streets join together and I can walk around the corner into Rue Cauchois.The hotel of the universe is inhabited by people of many different nationalities, reflecting the area's status as a place of arrival. It was a part of the city Rhys explored when she first lived in Paris, and she is able to draw on this area in writing Quartet.
My project is concerned with how Rhys uses place and the topography of her streets and rooms to address and reflect the interior feeling and state of mind of her protagonists. When Stephan is arrested suddenly, the landscape of Paris reflects Marya’s lost and uncertain status. The city streets appear labyrinthine, the mist, rain and reflections of light and dark, play into her sense of finding herself alone in the city, unsure of where to turn. The city streets become a place where it might be possible to vanish without a trace, to fade into the background along with the invisible and unknown. This accords with the status of refugees as invisible, often falling outside historical accounts of nation-states, and the stateless as undocumented, anonymous and absent from history.