The Elegance of the Hedgehog

Hedgehogs aren't native to America, but you don't have to be French to sniff out at least some of the contradictions in the title of Muriel Barbery's European bestseller. Her novel both depicts and hopes to appeal to the connoisseur of humanity who can appreciate exquisite qualities unacknowledged by others. One of her two Parisian diarist heroines is a concierge, the other a suicidal adolescent. They sound conventional, but that's precisely the point: they both work very hard to achieve stereotypicality. As the frumpy concierge Renée says, "I correspond so very well to what social prejudice has collectively construed to be a typical French concierge that I am one of the multiple cogs that make the great universal illusion turn, the illusion according to which life has a meaning that can be easily deciphered." From her position as a teenager, Paloma casts a jaundiced eye: "In our world...you must constantly rebuild your identity as an adult,...it is wobbly and ephemeral, so fragile, cloaking despair and, when you're alone in front of the mirror, it tells you the lies you need to believe." Renée appears to be a prickly, homely hedgehog, but that appearance is a deliberately crafted façade masking her inner elegance of taste and sensibility. Her life's work has been to appear the perfect cat-owning, cabbage-stewing, television-blaring concierge so that she can really spend her time reading philosophy, cooking delicious morsels, critiquing grammatical solecisms, and watching the old Japanese movies of Yasujiro Ozu. Rather charmingly, she also likes Blade Runner. Every now and then in her interchanges with the tenants her mask slips -- she refers, say, to a relatively obscure work by Marx and Engels -- but, as she caustically notes, the privileged tenants' conditioning conspires to conceal her: "I find this a fascinating phenomenon: the ability we have to manipulate ourselves so that the foundation of our beliefs is never shaken." Her waspishness can take on the overtones of Diogenes, revealing dishonesty and inauthenticity in unexpected corners: Colombe Josse is...a sort of tall blond leek who dresses like a penniless Bohemian. If there is one thing I despise, it's the perverse affectation of rich people who go around dressing as if they were poor.... Not only is it ugly, it is also insulting: nothing is more despicable than a rich man's scorn for a poor man's longing. As the novel opens, Paloma, because of her disgust with the world around her, has decided to kill herself on her 13th birthday. Mme. Renée isn't exactly happy in her life, but she has become comfortable with her private arrangements. In their diaries, both Renée and Paloma specialize in recognizing naked emperors -- about philosophy: "Phenomenology is a fraud"; about a food critic: " To write entire pages of dazzling prose about a tomato...without ever seeing or holding the tomato is a troubling display of virtuosity." As the novel pingpongs back and forth between their diaries, there's a reader's pleasure in seeing -- being privileged to see -- the quirky tastes and judgments Renée and Paloma share. These are among the most fascinating moments of the book, allowing us to play the discerning detective, letting us exercise our qualities of connoisseurship. The scene -- sidelong and subtle -- in which the two finally find each other is, to my taste, the most moving in the book. We are not the only ones to appreciate these tangy yet supersensitive souls. Things begin to change when one tenant dies and a new tenant moves in: a single Japanese man, a distant relative of the director Ozu. He turns out to be another exquisitely perceptive connoisseur. Yes, our Cinderellas will get to go to the ball. Whatever rags of cynicism and fear Renée and Paloma share will fall away; they become clothed in shiny hopefulness. "Don't worry, Renée," concludes Paloma, "from now on, for you, I'll be searching for those moments of always within never." Barbery has written an inspiring and heartwarming tale -- unless, that is, you happen to practice the virtues of caustic clearsightedness that Mme. Renée and Paloma preach. Then you might notice that their targets are too easy. After all, no one's surprised to find skinny, shallow, and sexually squeamish matrons in the 7th Arrondissement. I might have been more impressed with Paloma and Renée's discernment if they'd found a spark of humanity on the upper floors of 7, rue de Grenelle. Instead, Barbery has stacked the deck. All the characters who are meant to be authentic -- in an existential sense, of course -- are either poor or oddities among the haute bourgeoisie. It is obviously impossible to be self-aware if you have money -- unless you happen to be Japanese. You might also notice the book is, under the prickles of its cultural sophistication, deeply sentimental. Plotlines and backstories, including an absurdity straight from a Victorian melodrama, pop up just in time to tug a heartstring and prompt a tear. I have to admit it's flattering to be thought the sort of reader who has an eye for social satire, a yen for art, culture, and philosophical ideas, and a warm heart, to boot. For the first two-thirds of this novel, I was rooting for Mme. Renée, our elegant hedgehog. In fact, when I first began reading this book, I thought Barbery might be alluding to the famous book on Tolstoy by the philosopher Isaiah Berlin, who was himself quoting the Greek poet Archilochus (Barbery's name-dropping thing is easy once you try): "The fox knows many things but the hedgehog knows one big thing." So I'd like to persuade myself that one of Barbery's satirical targets was precisely the kind of sentimentality that takes over the last third of her book and that there's one big profound message here. Alas, I cannot make my thinking as wishful as that. Now -- based on the end of the novel, which I cannot possibly under any circumstances reveal -- I'm reminded that a leading cause of hedgehog deaths in Europe is being squished in the middle of the road. --Alexandra Mullen Alexandra Mullen left a life as an academic in Victorian literature to return to her roots as a general reader. She now writes for The Hudson Review (where she is also an Advisory Editor), The New Criterion, and The Wall Street Journal.

\ Caryn JamesThe Elegance of the Hedgehog, a best seller in France and several other countries, belongs to a distinct subgenre: the accessible book that flatters readers with its intellectual veneer…Renee's story is addressed to no one (that is, to us), while Paloma's takes the form of a notebook crammed with what she labels "profound thoughts." Both create eloquent little essays on time, beauty and the meaning of life…Even when the novel is most essayistic, the narrators' kinetic minds and engaging voices (in Alison Anderson's fluent translation) propel us ahead.\ —The New York Times\ \ \ \ \ Michael Dirda[Renee Michel and Paloma Josse] provide the double narrative of The Elegance of the Hedgehog, and you will—this is going to sound corny—fall in love with both. In Europe, where Muriel Barbery's book became a huge bestseller in 2007, it has inspired the kind of affection and enthusiasm American readers bestow on the works of Alexander McCall Smith. Still, this is a very French novel: tender and satirical in its overall tone, yet most absorbing because of its reflections on the nature of beauty and art, the meaning of life and death. Out of context, Madame Michel's pensees may occasionally sound pretentious, just as Paloma might sometimes pass for a Gallic (and female) version of Holden Caulfield. But, for the most part, Barbery makes us believe in these two unbelievable characters.\ —The Washington Post\ \ \ Publishers WeeklyThis audio version of the surprise French bestseller hits the mark as both performance and story. The leisurely pace of the novel, which explores the upstairs-downstairs goings-on of a posh Parisian apartment building, lends itself well to audio, and those who might have been tempted to skip through the novel's more laborious philosophical passages (the author is a professor of philosophy) will savor these ruminations when read aloud. Tony Award–winning actress Barbara Rosenblat positively embodies the concierge, Renée Michel, who deliberately hides her radiant intelligence from the upper-crust residents of 7 rue de Grenelle, and the performance of Cassandra Morris as the precocious girl who recognizes Renée as a kindred spirit is nothing short of a revelation. Morris's voice, inflection and timbre all conspire to make the performance entirely believable. A Europa paperback. (June)\ \ \ \ \ La RepubblicaThe formula that made more than half a million readers in France fall in love with this book has, among other ingredients: intelligent humor, fine sentiments, an excellent literary and philosophical backdrop, good taste, sophistication and substance.\ \ \ \ \ Marie Claire (France)Enthusiastically recommended for anyone who loves books that grow quietly and then blossom suddenly.\ \ \ \ \ Elle (Italy)An exquisite book in the form of a philosophical fable that has enchanted hundreds of thousands of readers.\ \ \ \ \ Le MondeNobody ever imagined that this tender, funny book with a philosophical vein would have enjoyed such incredible success. For some, it is part Sophie's World by Jostein Gaarder, part Monsieur Malaussene by Daniel Pennac. While for others it resembles a written version of the film Amelie. Either way, readers are responding in vast numbers.\ \ \ \ \ Library JournalPublished in France in 2006, this work quickly captured the European imagination, and the advance praise is sufficiently glowing to guarantee attention in the English-speaking world. The novel itself is more problematic. Philosophy professor Barbery-the author of one previous novel, Une gourmandise-has fashioned a slow and sentimental fable out of her own personal interests-art, philosophy, and Japanese culture-about a widow who serves as caretaker of a Parisian apartment building and a troubled girl living in the building. Barbery attempts to make the story appear more cutting-edge by introducing dizzying changes in typography, but the effect seems precious from the outset and quickly grow tiresome. Recommended for public libraries where literature in translation is in demand and for academic libraries to complement their French collections.\ —Sam Popowich\ \ \ \ \ \ Kirkus ReviewsA companion to the Orange Prize nominee Old Filth (2006). When Gardam first introduced Sir Edward Feathers, his wife Betty was already dead. This book tells her story, and it's magnificent. Elisabeth Macintosh is a brave, resourceful and unconventional young woman. Like Eddie, she was born in Asia in the early 20th century, and she spent World War II in a Japanese internment camp. Both Betty and Eddie are orphans when they meet in Hong Kong, and Eddie's proposal is compelled by a singular mix of love, need and survival instinct. Gardam's characters-even those who appear for a few lines-are all fully formed and intriguing, and she has an impeccable way with nuance and detail. But her subject is not just a single couple: It is also their way of life. Betty and Eddie are the last representatives of a crumbling empire. Even when they retire to a Wiltshire village, they are "lifetime expats." They are never at home in England, but they embody an idea of Englishness that is rapidly disappearing. They have lived through war, and they know how to endure. They have been bred to eschew selfishness and self-pity, but Gardam-without making her characters maudlin or pathetic-gives voice to the feelings they would never express aloud. As they walk together through a Hong Kong slum, Betty's friend-another expat and a missionary-tells her, "You need a cause . . . We must forget ourselves, Bets. Our Englishness." Betty's response is to think, "Amy had not been in the Camps." With this silent sentence, Gardam speaks volumes about her heroine, and she offers a quiet elegy for an entire generation. Funny, intelligent and immensely moving.\ \ \ \ \ Sarasota Herald-Tribune“Lo and behold, yet another work that is more captivating . . . when read aloud than read off the page.”\ —Sarasota Herald-Tribune\ \ \ \ \ The Washington Post“Gently satirical, exceptionally winning and inevitably bittersweet.”\ —The Washington Post\ \ \ \ \ New York Times Book Review“Both [characters] create eloquent little essays on time, beauty and the meaning of life, Renée with erudition and Paloma with adolescent brio.”\ —New York Times Book Review\ \ \ \ \ Time magazine“The novel wins over its fans with a life-affirming message, a generous portion of heart and Barbery’s frequently wicked sense of humor.”\ —Time\ \ \ \ \ BookPage“. . . a nuanced audio presentation that perfectly captures the unique eloquence, mordant wit and charm of its protagonists.”\ —BookPage\ \ \ \ \ Providence Journal“The invaluable Rosenblat, winner of 40 Golden Earphone Awards for superior recordings, invests Renée’s part of the story with the warmth and élan that always characterizes Rosenblat’s work. And Morris, a twenty-something actress who is able to sound uncannily like a 12-year-old, makes Paloma precocious but not bratty, a worthy partner in her half of the book.”\ —Providence Journal\ \ \ \ \ The Barnes & Noble ReviewHedgehogs aren't native to America, but you don't have to be French to sniff out at least some of the contradictions in the title of Muriel Barbery's European bestseller. Her novel both depicts and hopes to appeal to the connoisseur of humanity who can appreciate exquisite qualities unacknowledged by others. One of her two Parisian diarist heroines is a concierge, the other a suicidal adolescent. They sound conventional, but that's precisely the point: they both work very hard to achieve stereotypicality. As the frumpy concierge Renée says, "I correspond so very well to what social prejudice has collectively construed to be a typical French concierge that I am one of the multiple cogs that make the great universal illusion turn, the illusion according to which life has a meaning that can be easily deciphered." From her position as a teenager, Paloma casts a jaundiced eye: "In our world...you must constantly rebuild your identity as an adult,...it is wobbly and ephemeral, so fragile, cloaking despair and, when you're alone in front of the mirror, it tells you the lies you need to believe." \ Renée appears to be a prickly, homely hedgehog, but that appearance is a deliberately crafted fa?ade masking her inner elegance of taste and sensibility. Her life's work has been to appear the perfect cat-owning, cabbage-stewing, television-blaring concierge so that she can really spend her time reading philosophy, cooking delicious morsels, critiquing grammatical solecisms, and watching the old Japanese movies of Yasujiro Ozu. Rather charmingly, she also likes Blade Runner. Every now and then in her interchanges with the tenants her mask slips -- she refers, say, to a relatively obscure work by Marx and Engels -- but, as she caustically notes, the privileged tenants' conditioning conspires to conceal her: "I find this a fascinating phenomenon: the ability we have to manipulate ourselves so that the foundation of our beliefs is never shaken." Her waspishness can take on the overtones of Diogenes, revealing dishonesty and inauthenticity in unexpected corners:\ Colombe Josse is...a sort of tall blond leek who dresses like a penniless Bohemian. If there is one thing I despise, it's the perverse affectation of rich people who go around dressing as if they were poor.... Not only is it ugly, it is also insulting: nothing is more despicable than a rich man's scorn for a poor man's longing.\ As the novel opens, Paloma, because of her disgust with the world around her, has decided to kill herself on her 13th birthday. Mme. Renée isn't exactly happy in her life, but she has become comfortable with her private arrangements.\ In their diaries, both Renée and Paloma specialize in recognizing naked emperors -- about philosophy: "Phenomenology is a fraud"; about a food critic: " To write entire pages of dazzling prose about a tomato...without ever seeing or holding the tomato is a troubling display of virtuosity." As the novel pingpongs back and forth between their diaries, there's a reader's pleasure in seeing -- being privileged to see -- the quirky tastes and judgments Renée and Paloma share. These are among the most fascinating moments of the book, allowing us to play the discerning detective, letting us exercise our qualities of connoisseurship. The scene -- sidelong and subtle -- in which the two finally find each other is, to my taste, the most moving in the book.\ We are not the only ones to appreciate these tangy yet supersensitive souls. Things begin to change when one tenant dies and a new tenant moves in: a single Japanese man, a distant relative of the director Ozu. He turns out to be another exquisitely perceptive connoisseur. Yes, our Cinderellas will get to go to the ball. Whatever rags of cynicism and fear Renée and Paloma share will fall away; they become clothed in shiny hopefulness. "Don't worry, Renée," concludes Paloma, "from now on, for you, I'll be searching for those moments of always within never."\ Barbery has written an inspiring and heartwarming tale -- unless, that is, you happen to practice the virtues of caustic clearsightedness that Mme. Renée and Paloma preach. Then you might notice that their targets are too easy. After all, no one's surprised to find skinny, shallow, and sexually squeamish matrons in the 7th Arrondissement. I might have been more impressed with Paloma and Renée's discernment if they'd found a spark of humanity on the upper floors of 7, rue de Grenelle. Instead, Barbery has stacked the deck. All the characters who are meant to be authentic -- in an existential sense, of course -- are either poor or oddities among the haute bourgeoisie. It is obviously impossible to be self-aware if you have money -- unless you happen to be Japanese. You might also notice the book is, under the prickles of its cultural sophistication, deeply sentimental. Plotlines and backstories, including an absurdity straight from a Victorian melodrama, pop up just in time to tug a heartstring and prompt a tear.\ I have to admit it's flattering to be thought the sort of reader who has an eye for social satire, a yen for art, culture, and philosophical ideas, and a warm heart, to boot. For the first two-thirds of this novel, I was rooting for Mme. Renée, our elegant hedgehog. In fact, when I first began reading this book, I thought Barbery might be alluding to the famous book on Tolstoy by the philosopher Isaiah Berlin, who was himself quoting the Greek poet Archilochus (Barbery's name-dropping thing is easy once you try): "The fox knows many things but the hedgehog knows one big thing." So I'd like to persuade myself that one of Barbery's satirical targets was precisely the kind of sentimentality that takes over the last third of her book and that there's one big profound message here. Alas, I cannot make my thinking as wishful as that. Now -- based on the end of the novel, which I cannot possibly under any circumstances reveal -- I'm reminded that a leading cause of hedgehog deaths in Europe is being squished in the middle of the road. --Alexandra Mullen\ Alexandra Mullen left a life as an academic in Victorian literature to return to her roots as a general reader. She now writes for The Hudson Review (where she is also an Advisory Editor), The New Criterion, and The Wall Street Journal.\ \ \