Supplément à la vie de Barbara Loden (French 2012, English 2015)
I discovered Nathalie Léger thanks to Rebeccah Hussey’s newsletter and I loved the first book I tried well enough to want to try another of her “trilogy”. I can’t say that I fell in love with her books, because these are not so easy to love, and they are clearly out of my usual comfort zone, but I found in them something very original and a subtlety of feelings that made me want to dig deeper. Both are short and non-fiction and utterly difficult to classify.
The White Dress was about a performance artist. This book is about another visual artist, an American filmmaker who was also an actress and the wife of Elia Kazan. I had not heard of her before this book, and although her husband’s name and movies’ names are familiar to me, I haven’t watched them myself. Barbara Loden has made a very unique film, Wanda, which is about a woman who is drifting away. In Léger’s book it is sometimes difficult to separate Wanda from Barbara Loden, and also from Nathalie Léger herself.
Just as the previous book, the story is meandering and fragmentary. Léger is given the job to write a biographical notice about Barbara Loden for a film encyclopedia, something brief and to the point, and she finds it unable to achieve this goal. To describe the life of any individual in a few sentences is an impossible task. Instead she dives deep into the tenuous traces of Loden’s life, the few memories gathered here and there from people who knew her (some refuse to talk altogether). So Léger obsessively watches Loden’s movie Wanda, with the hope to understand the woman behind it. The movie, starring Loden as the main character, is based on real events, where a woman participated against her will to a bank robbery.
The tone of the book is melancholy. Wanda is helpless and unloved, she follows a tragic path on her own, she’s not the strong heroine that we would love to see. Barbara Loden will make only one movie in her life, will not meet success and recognition, and will die of cancer in 1980. Ultimately it is about loneliness and freedom, but it is still mysterious to me what Léger wanted to achieve with this series of books. We also get to read a bit more about Léger’s mother and her disastrous marriage and divorce. I still preferred the book White Dress because I felt more connected with both the narrator and the subject than in this book. I guess my reaction would have been different if I had watched the movie itself. I will gladly read the third book about yet another female artist: the Countess of Castiglione.