{"id":169018,"date":"2024-11-01T10:30:31","date_gmt":"2024-11-01T14:30:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=169018"},"modified":"2024-10-31T11:01:02","modified_gmt":"2024-10-31T15:01:02","slug":"suzanne-and-louise","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/11\/01\/suzanne-and-louise\/","title":{"rendered":"Suzanne and Louise"},"content":{"rendered":"

\"\"<\/p>\n

Originally published in 1980, <\/i>Suzanne and Louise\u00a0tells the <\/i>story of two sisters\u2014one widowed, the other never married, <\/i>recluses in a <\/i>h\u00f4tel particulier in Paris\u2019s fifteenth arrondissement. <\/i>The author, who is also their great-nephew, is one of the few <\/i>who visits them.\u00a0<\/i><\/p>\n

Suzanne takes a certain pride in having risen from the poor, uncultured working class to her position as the wife of a well-to-do shopkeeper, in having completed her studies and become a musician, after having traveled far and wide, reading Proust and listening to the \u201cgreat works\u201d of music. Louise respects this accession (her exclusion). \u201cI quit after elementary school,\u201d she says. Before entering Carmel, and then working at the pharmacy for her brother-in-law, Louise worked in Rheims for an insurance company. Louise loves frothy things: sparkling wines, sentimental magazines (on her bedside table, Nous Deux<\/em> is next to Catholic Life<\/em>), operetta music. <\/p>\n

Ten years separate Louise and Suzanne. They were not raised together. And yet they share the memory of a poverty-stricken childhood spent in the country, with a railroad switchman father and a mother from a penniless bourgeois family.<\/p>\n

Louise does everything: the cooking, the laundry, the cleaning, the shopping. It\u2019s she who dresses and bathes the partially disabled Suzanne. The water she throws on Suzanne\u2019s body is always too hot, the food she serves her overcooked and cold. The pair of scissors she uses to clip Suzanne\u2019s toenails often cut into her skin.<\/p>\n

Not necessarily in \u201cnarrative order,\u201d some minor events that end up disturbing their daily routine: a bell ringing, a bad dream, the dog dying. Suzanne refuses to take her daily walk for no reason. Louise overhears her talking to herself. Suzanne pays Louise, very little. Louise is her only heir. Louise puts her salary in the collection box during Mass. She squanders her money on wine and wishful thinking. No one will ever know why Louise entered Carmel, forty years ago, and why she left, eight years later.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

The play.<\/strong><\/p>\n

One Sunday, behind Louise\u2019s back, Suzanne says to me, \u201cThat play that you wrote about us, I\u2019d really like to read it, after all.\u201d She asks me to bring her a copy the following Sunday, and to hide it underneath my blazer when Louise comes to let me in, since she thinks Louise won\u2019t appreciate it. When I hand her the stack of stapled photocopies, she immediately hides it, without even looking at it, in a drawer of her bureau, saying, \u201cIf I die in the meantime \u2026\u201d Suzanne never calls me, out of a concern for saving money, perhaps, or for fear of bothering me; I\u2019m always the one who calls. But that Monday evening, as soon as Louise has left for Mass, Suzanne telephones me, and in a trembling but determined voice, says:<\/p>\n

\u201cMy heart is racing. I already tried calling you last night, but you weren\u2019t home. So, listen, you might not be happy about this, but you\u2019re going to have to change some things. First of all, our names aren\u2019t Louise and Suzanne, our names are Hortense and Patricia. We don\u2019t live in a mansion in the fifteenth arrondissement, we live in an apartment in a modern building, next to the Jardin des Plantes. We didn\u2019t used to be pharmacists, we ran an old hardware store. Also, change the dog\u2019s name, Whysky is too specific, someone might recognize him. Call him something like Sardanapalus. You say that I took a hundred francs from the drawer every day\u2014you must be crazy! We\u2019ll have the taxman after us. And then, that thing about the safe hidden behind a painting, you can\u2019t keep that in, someone will come here and torture us until we tell him where it is, regardless of what\u2019s inside \u2026 Take out that bath scene, too, it will hurt Louise\u2019s feelings \u2026 You know, when I say all these things, it\u2019s not for me, I don\u2019t care, it\u2019s for your sake, you know, you\u2019re just asking for a defamation suit \u2026\u201d<\/p>\n

Suzanne\u2019s legs.<\/strong><\/p>\n

Today, for the first time, Suzanne allowed me to photograph her legs, at the foot of the sofa that\u2019s fitted with a slipcover, she took off her slippers, she lifted her nightgown above her knees and said \u201cCall the photo Legs of a Cripple<\/em>,\u201d and I said, \u201cNo, it will be called Suzanne\u2019s Legs.<\/em>\u201d \u201cWell, so much for my modesty,\u201d she said. Next time, I\u2019ll photograph Louise\u2019s naked legs and feet, next to that huge bone with red teeth marks that Whysky chews.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

Photography.<\/strong><\/p>\n

I think things other than lenses make \u201cgood photos,\u201d ethereal things, of the order of love, or of the soul, forces that pass through and inscribe themselves, fatally, as the text that gets written in spite of ourselves, dictated by a higher voice \u2026<\/p>\n

 <\/p>\n

 <\/p>\n

From <\/em>Suzanne and Louise<\/a>, translated by Christine Pichini, to be published by Magic Hour Press in November.<\/em><\/p>\n

Herv\u00e9 Guibert (1955\u20131991) was the author of twenty-five books and published extensive texts and criticism on photography, primarily with the French newspaper <\/em>Le Monde. His bestselling novel\u00a0<\/em>To the Friend Who Did Not Save My Life\u00a0was inspired by his close friend Michel Foucault and the two men\u2019s experiences living with AIDS<\/small>, which tragically ended Guibert\u2019s life at the age of thirty-six.<\/em><\/p>\n

Christine Pichini\u00a0is an artist and translator based in Philadelphia.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI think things other than lenses make \u2018good photos.\u2019 \u201d<\/p>\n","protected":false},"author":2538,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30442],"tags":[67827,33318,30451],"class_list":["post-169018","post","type-post","status-publish","format-standard","hentry","category-document","tag-featured","tag-herve-guibert","tag-photo-essay"],"acf":[],"yoast_head":"\nSuzanne and Louise by Herv\u00e9 Guibert<\/title>\n<meta name=\"description\" content=\"November 1, 2024 \u2013 \u201cI think things other than lenses make \u2018good photos.\u2019 \u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2024\/11\/01\/suzanne-and-louise\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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