Review: Hotel du Lac by Anita Brookner

hotel du lac book cover Hotel du Lac [1984] – ★★★★1/2 

From the window all that could be seen was a receding area of grey. It was to be supposed that beyond the grey garden, which seemed to sprout nothing but the stiffish leaves of some unfamiliar plant, lay the vast grey lake, spreading like an anaesthetic towards the invisible further shore, and beyond that, in imagination only, yet verified by the brochure, the peak of the Dent d’Oche, on which snow might already be slightly and silently falling” [Brookner, 1984: 7], so begins the short novel by Anita Brookner, who was the recipient of the Man Booker Prize in 1984. Clearly, after such an opening, one would expect a rich, highly-descriptive, beautifully-written observational novel of some insight, and this is exactly what the reader gets. Those who are after some fast-paced action in their books should look elsewhere because Hotel du Lac is a quietly powerful, almost reflective, character-driven novel at the heart of which is one embarrassingly unmarried female heroine Edith Hope, an idealistic writer, who abandons her London home for a holiday getaway to be spent in a respectable hotel-establishment in Switzerland. At the Hotel du Lac, Edith encounters a puzzling-to-her company until she finally meets Mr Neville, a gentleman who may finally help our hopeless heroine to gain esteem and respectability in their eyes of the society. 
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Ferdinand Hodler: Symbolism

Ferdinand Hodler (1853-1918) was a Swiss painter known for his realistic and later symbolic paintings. He is also said to have “shaped the image and identity of Switzerland” through his artistic creations. Hodler invented the style of painting – “parallelism” to describe his own way of arranging and presenting his figures in painting. That style focuses on symmetry, harmony and rhythm.

ferdinand_hodler_die_lebensmüden

I. The Tired of Life [1892] by Ferdinand Hodler. This painting shows five old men sitting on the bench facing the viewer, without looking or communicating with each other. The striking feature is their symmetrical positions and their expressionless, tired faces. They are different men, but dressed in similar clothing and adopting similar sitting positions, which may hint at them being united in their destiny and outlook on life past. All this produces an arresting impression, and the near-naked man in the middle emphasised this symmetry and collective hopelessness even more. There is something too honest and isolated in these men’s gazes, probably letting the viewer know that each person’s end is pretty much solitary, definite and final.   Continue reading “Ferdinand Hodler: Symbolism”