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The Romance of a Shop
The Romance of A Shop was fist published in 1888. Praised by Oscar Wilde who thought it 'admirably done ... clever and full of quick observation,' her little novel seemed to herald a brilliant career. The book is ostensibly the story of four young ladies who, after the death of their father, decide to open a photographic studio in the heart of London's bohemia (to the dismay of their more priggish relatives). Like much of Levy's work, the novel is concerned with the contradictions besetting the 'new' Victorian woman and her quest for independence despite being constrained by anachronistic social mores and conflicting values. Written just two years before her tragic suicide, a few months short of her 28th birthday, The Romance of A Shop, has a resonance that goes beyond its apparent innocence, echoing an undertone of despair and hunger for a liberation that, to Levy's misfortune, came only some years afterwards.
194 pages, Paperback
First published January 1, 1888
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About the author
Amy Levy
83 books40 followersLevy was born in Clapham, London, the second daughter of Lewis Levy and Isobel Levin. Her Jewish family was mildly observant, but as an adult Levy no longer practised Judaism; she continued to identify with the Jews as a people.
She was educated at Brighton High School, Brighton, and studied at Newnham College, Cambridge; she was the first Jewish student at Newnham, when she arrived in 1879, but left after four terms.
Her circle of friends included Clementina Black, Dollie Radford, Eleanor Marx (daughter of Karl Marx), and Olive Schreiner. Levy wrote stories, essays, and poems for periodicals, some popular and others literary. Her writing career began early; her poem "Ida Grey" appearing in the journal the Pelican when she was only fourteen. The stories "Cohen of Trinity" and "Wise in Their Generation," both published in Oscar Wilde's magazine "Women's World," are among her best. Her second novel Reuben Sachs (1888) was concerned with Jewish identity and mores in the England of her time (and was consequently controversial); Her first novel Romance of a Shop (1888) depicts four sisters who experience the pleasures and hardships of running a business in London during the 1880s. Other writings as well, including the daring Ballad of Religion and Marriage, reveal feminist concerns. Xantippe and Other Verses (1881) includes a poem in the voice of Socrates's wife; the volume A Minor Poet and Other Verse (1884) has dramatic monologues too, as well as lyric poems. In 1886, Levy began writing a series of essays on Jewish culture and literature for the Jewish Chronicle, including The Ghetto at Florence, The Jew in Fiction, Jewish Humour and Jewish Children. Her final book of poems, A London Plane-Tree (1889), contains lyrics that are among the first to show the influence of French symbolism.
Traveling in Europe, she met Vernon Lee in Florence in 1886, and it has been said that she fell in love with her. Vernon Lee (Violet Paget), the fiction writer and literary theorist, was six years older, and inspired the poem To Vernon Lee.
Despite many friends and an active literary life, Levy had suffered from episodes of major depression from an early age which, together with her growing deafness, led her to commit suicide on September 10, 1889, at the age of twenty-seven, by inhaling carbon monoxide. Oscar Wilde wrote an obituary for her in Women's World in which he praised her gifts.
-Wikipedia
She was educated at Brighton High School, Brighton, and studied at Newnham College, Cambridge; she was the first Jewish student at Newnham, when she arrived in 1879, but left after four terms.
Her circle of friends included Clementina Black, Dollie Radford, Eleanor Marx (daughter of Karl Marx), and Olive Schreiner. Levy wrote stories, essays, and poems for periodicals, some popular and others literary. Her writing career began early; her poem "Ida Grey" appearing in the journal the Pelican when she was only fourteen. The stories "Cohen of Trinity" and "Wise in Their Generation," both published in Oscar Wilde's magazine "Women's World," are among her best. Her second novel Reuben Sachs (1888) was concerned with Jewish identity and mores in the England of her time (and was consequently controversial); Her first novel Romance of a Shop (1888) depicts four sisters who experience the pleasures and hardships of running a business in London during the 1880s. Other writings as well, including the daring Ballad of Religion and Marriage, reveal feminist concerns. Xantippe and Other Verses (1881) includes a poem in the voice of Socrates's wife; the volume A Minor Poet and Other Verse (1884) has dramatic monologues too, as well as lyric poems. In 1886, Levy began writing a series of essays on Jewish culture and literature for the Jewish Chronicle, including The Ghetto at Florence, The Jew in Fiction, Jewish Humour and Jewish Children. Her final book of poems, A London Plane-Tree (1889), contains lyrics that are among the first to show the influence of French symbolism.
Traveling in Europe, she met Vernon Lee in Florence in 1886, and it has been said that she fell in love with her. Vernon Lee (Violet Paget), the fiction writer and literary theorist, was six years older, and inspired the poem To Vernon Lee.
Despite many friends and an active literary life, Levy had suffered from episodes of major depression from an early age which, together with her growing deafness, led her to commit suicide on September 10, 1889, at the age of twenty-seven, by inhaling carbon monoxide. Oscar Wilde wrote an obituary for her in Women's World in which he praised her gifts.
-Wikipedia
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Displaying 1 - 30 of 132 reviews
October 31, 2020
A really fascinating read, proto-feminist and clever and thought-provoking. One I heartily recommend!
October 15, 2023
Amy Levy died by suicide in 1889 when still in her 20s. However, she’d already started to make a name for herself both as a Sapphic poet and for Reuben Sachs her controversial, stylistically-innovative novel centred on middle-class, Jewish communities – partly based on personal experience. Levy was comparatively well-known in various political and literary circles. She had a love affair with fellow author Vernon Lee (aka Violet Paget), was friends with Olive Schreiner and Eleanor Marx, and Oscar Wilde was a devoted fan. The Romance of a Shop represents Levy’s attempt to write something accessible and commercial. It follows the fortunes of the Lorimers, four newly-orphaned, impoverished sisters trying to make their way in the world. Despite their relatives’ scandalised reactions, they rent a flat together above a central London shop and open a photography studio - taking on every assignment they can get from studio portraits to images of the recently dead for grieving families. Levy’s plot hinges on the sisters’ professional struggles, their growing connections in the bohemian art world, and emerging love interests.
Levy’s story is frequently compared to Little Women, and there are definite similarities - the youngest sister Phyllis reminded me a lot of Amy and family friend Fred is very much a “Laurie” figure. Although she doesn’t completely steer clear of the sentimental or melodramatic, Levy’s approach is often refreshingly direct - unlike Alcott who tends to lapse into overt, religious moralising. Levy can also be surprisingly waspish, particularly in her portrayal of the oldest Lorimer sister Fanny. Despite revolving around individuals, Levy’s narrative does raise wider political and social issues, many aligned to the concerns of the emerging ‘new woman’ novel. Fiction which focused on the growing body of women in late Victorian England who were attempting to break free of tradition, striving to carve out independent ways of living. Levy’s work’s clearly invested in exploring these choices and questions around gender in general. There are numerous reflections on the precarious existence of single women in London without a reliable source of income. But Levy’s ending, perhaps because of her desire to reach a wider audience, is surprisingly conventional threatening to undermine the earlier sections of the story. In addition, this is relatively short so the characters are a little too under-developed. But even with these flaws and contradictions I thought it was compelling, fluid, and entertaining.
Rating: 3 to 3.5
Levy’s story is frequently compared to Little Women, and there are definite similarities - the youngest sister Phyllis reminded me a lot of Amy and family friend Fred is very much a “Laurie” figure. Although she doesn’t completely steer clear of the sentimental or melodramatic, Levy’s approach is often refreshingly direct - unlike Alcott who tends to lapse into overt, religious moralising. Levy can also be surprisingly waspish, particularly in her portrayal of the oldest Lorimer sister Fanny. Despite revolving around individuals, Levy’s narrative does raise wider political and social issues, many aligned to the concerns of the emerging ‘new woman’ novel. Fiction which focused on the growing body of women in late Victorian England who were attempting to break free of tradition, striving to carve out independent ways of living. Levy’s work’s clearly invested in exploring these choices and questions around gender in general. There are numerous reflections on the precarious existence of single women in London without a reliable source of income. But Levy’s ending, perhaps because of her desire to reach a wider audience, is surprisingly conventional threatening to undermine the earlier sections of the story. In addition, this is relatively short so the characters are a little too under-developed. But even with these flaws and contradictions I thought it was compelling, fluid, and entertaining.
Rating: 3 to 3.5
July 25, 2016
This is a lovely story of four sisters, set in Victorian London.
They are the daughters of a photographer, and when he dies and leaves them with very limited means they decide that, rather being separated to make their homes with different relations they will use what capital they have to open a shop and follow in his footsteps.
Gerty was twenty-three years old and, though she dreamed of being a writer, she was bright enough and loved her sisters enough to put her own dreams aside so that they could live and work together.
Next came Lucy, who at twenty-years old was both sensitive and sensible. She was also the sister who showed the most skill as a photographer.
Seventeen year-old Phyllis was the youngest and the prettiest of the sisters. Because of that, and because her heath was fragile, she was spoiled and she was incline to be mischievous.
Fanny was half-sister to the other three, and though she dreamed of marriage and a home of her own she knew that at thirty her chance of catching a husband had probably gone. But she willingly offered up the small legacy she had from her mother to help the new household.
I liked all four, and I believed in them. Amy Levy captured their individual characters and the sisterly bonds between them.
Whenever I find four sisters in a novel I’m inclined to draw parallels with Louisa May Alcott’s March sisters. In the case of the Lorrimer sisters I saw parallels but I also saw significant points of difference; and I appreciated a nice touch late in the novel that suggested that Amy Levy was acknowledging the influence of the older author.
A photographer friend of their fathers’ made practical suggestions for the sisters’ new venture, as well as giving Lucy practical training. Family friends helped them to find suitable premises, a studio with a flat above, in Baker Street, and helped with the move and introducing potential clients too.
That was what kept them going in the difficult early days, when many potential customers were unwilling to offer work to women, or if they were willing expected to pay left. In time though they made contacts, and their professionalism and the quality of their work helped to establish them in London’s artistic circles.
‘The Romance of a Shop’ illuminates both the joys and the perils that faced independent women in London at the end of the 19th century. I learned a great deal about photography: that there was a fashion for photographing corpses; that artists wanted their work to be photographed; that many doors would be opened to the right photographer.
But there’s more to this book than photography; it balances the concerns of a new women novel with the elements of an older tradition very well, and there are as many ups and downs and as many incidents in the emotional lives of the four sisters as there are in their professional lives.
Their relationships with family and old friends change. They will cross paths with a neighbouring newspaper engraver, a widowed peer of the realm, a celebrated but amoral artist …..
This is a short novel, but there’s plenty going on. Amy Levy manages her plot beautifully, and she tells her story well, in pose that is simple, clear and lovely.
I was just a little disappointed that she – and her three sisters – were rather hard on poor Fanny.
The story, and the four sisters, were always engaging though. I loved sharing their emotions and their experiences.
The ending was beautifully judged. The afterword told me what happened next, and it was exactly as I would have wanted.
I can’t say that this is a lost classic; but I can say that it is a lovely little book, and that it had something to say.
They are the daughters of a photographer, and when he dies and leaves them with very limited means they decide that, rather being separated to make their homes with different relations they will use what capital they have to open a shop and follow in his footsteps.
Gerty was twenty-three years old and, though she dreamed of being a writer, she was bright enough and loved her sisters enough to put her own dreams aside so that they could live and work together.
Next came Lucy, who at twenty-years old was both sensitive and sensible. She was also the sister who showed the most skill as a photographer.
Seventeen year-old Phyllis was the youngest and the prettiest of the sisters. Because of that, and because her heath was fragile, she was spoiled and she was incline to be mischievous.
Fanny was half-sister to the other three, and though she dreamed of marriage and a home of her own she knew that at thirty her chance of catching a husband had probably gone. But she willingly offered up the small legacy she had from her mother to help the new household.
I liked all four, and I believed in them. Amy Levy captured their individual characters and the sisterly bonds between them.
Whenever I find four sisters in a novel I’m inclined to draw parallels with Louisa May Alcott’s March sisters. In the case of the Lorrimer sisters I saw parallels but I also saw significant points of difference; and I appreciated a nice touch late in the novel that suggested that Amy Levy was acknowledging the influence of the older author.
A photographer friend of their fathers’ made practical suggestions for the sisters’ new venture, as well as giving Lucy practical training. Family friends helped them to find suitable premises, a studio with a flat above, in Baker Street, and helped with the move and introducing potential clients too.
That was what kept them going in the difficult early days, when many potential customers were unwilling to offer work to women, or if they were willing expected to pay left. In time though they made contacts, and their professionalism and the quality of their work helped to establish them in London’s artistic circles.
‘The Romance of a Shop’ illuminates both the joys and the perils that faced independent women in London at the end of the 19th century. I learned a great deal about photography: that there was a fashion for photographing corpses; that artists wanted their work to be photographed; that many doors would be opened to the right photographer.
But there’s more to this book than photography; it balances the concerns of a new women novel with the elements of an older tradition very well, and there are as many ups and downs and as many incidents in the emotional lives of the four sisters as there are in their professional lives.
Their relationships with family and old friends change. They will cross paths with a neighbouring newspaper engraver, a widowed peer of the realm, a celebrated but amoral artist …..
This is a short novel, but there’s plenty going on. Amy Levy manages her plot beautifully, and she tells her story well, in pose that is simple, clear and lovely.
I was just a little disappointed that she – and her three sisters – were rather hard on poor Fanny.
The story, and the four sisters, were always engaging though. I loved sharing their emotions and their experiences.
The ending was beautifully judged. The afterword told me what happened next, and it was exactly as I would have wanted.
I can’t say that this is a lost classic; but I can say that it is a lovely little book, and that it had something to say.
September 6, 2022
Opera prima di una giovane autrice inglese sconosciuta in Italia, ma semi sconosciuta anche nella sua patria, La storia di una bottega pubblicato nel 1888, racconta la storia di quattro sorelle nella Londra di fine Ottocento che dopo la morte del padre si ritrovano in ristrettezze economiche. Le quattro sorelle Lorimer rimangono orfane all'improvvisa morte del padre e scoprono di essere in condizioni economiche molto difficili. Il padre è morto lasciandole senza protezione e senza sostegno economico. Sono costrette a vendere tutto, casa e suppellettili per saldare alcuni debiti; le uniche cose che non vendono sono alcune apparecchiature che servono a fare fotografie. Il loro padre era un amante e un grande appassionato di questa nuova arte che si stava affermando proprio in quegli anni; talmente appassionato da comprare l'attrezzatura e allestire un piccolo studio fotografico in casa; ed è riuscito a coinvolgere e insegnare alle sue figlie la fotografia, lo sviluppo delle pellicole e tutto il resto.
Le quattro sorelle, fermamente risolute a non separarsi, decidono di non volere dipendere dalla generosità dei parenti (che si sono offerti di dare loro ospitalità e protezione) o diventare istitutrici e governanti – come voleva per loro, figlie della borghesia impoverita, la società vittoriana – ma decidono di prendere in mano la loro vita, puntare sul loro talento e sfidare le convenzioni dell'epoca, andando contro il parere dei loro amici e familiari, soprattutto della zia Caroline, e cercare di mantenersi economicamente da sole attraverso la gestione di una piccola bottega fotografica. Gertrude e le sue sorelle sanno che la fotografia può essere la loro ancora di salvezza e tra lo sgomento generale di amici e parenti, si trasferiscono in un piccolo appartamento nella famosa via al centro di Londra, Baker Street cuore pulsante delle attività artistiche di quel periodo storico, aprono il negozio cercando di mandare avanti l'attività senza la supervisione di un uomo, cosa impensabile in quegli anni.
Le quattro ragazze, nonostante le difficoltà iniziali dovute soprattutto al fatto che molti hanno il pregiudizio che le fotografe siano delle donne, poco per volta riescono a ritagliarsi il loro posto nell'ambiente fotografico e a crearsi una certa fama, grazie alla loro abilità e capacità.
La storia di una bottega è un romanzo fra i tanti appartenenti alla letteratura vittoriana rimasto sepolto nel dimenticatoio. È ambientato in un periodo di grandi cambiamenti soprattutto della condizione femminile; sono anni, quelli di fine Ottocento, in cui le donne – soprattutto borghesi – iniziano ad affacciarsi al mondo del lavoro e in cui si assiste alla nascita di numerosi movimenti che chiedono il diritto al voto anche per le donne. L'autrice stessa, Amy Levy, è stata famosa per essere stata la prima donna ebrea ad essere stata ammessa all'università di Cambridge, nel 1879, e per le sue prese di posizione nelle rivendicazioni femministe.
La Levy, attraverso la storia e le vicende delle sorelle Lorimer, anticipa uno dei temi che sarà protagonista negli anni successivi: il ruolo della donna nella società; e ci permette di scoprire e conoscere questo aspetto un po' sconosciuto della società inglese dell'epoca e anche le prime avvisaglie dell'emancipazione femminile, argomento principale di questo breve romanzo.
Naturalmente quando ci si imbatte in un libro in cui le protagoniste sono quattro sorelle non si può fare a meno di pensare e fare un confronto con le sorelle March di Piccole donne della Alcott. Le somiglianze tra i due gruppi sororali sono però poche: il numero delle sorelle, le condizioni economiche, alcune somiglianze caratteriali (Gertrude è molto simile a Jo soprattutto per la sua passione di scrivere novelle che spedisce invano alle riviste letterarie); ma le somiglianze si fermano qui perché i due gruppi di sorelle affrontano le prove della vita in maniera diversa e naturalmente con esiti differenti.
Le Lorimer sono quattro sorelle ardimentose, appassionate, coraggiose, tenaci e unite da un legame molto forte; si aiutano tra loro e il loro rapporto è abbastanza sincero anche se spesso le loro decisioni non vengono condivise totalmente e unanimemente tra loro. Ognuna ha una personalità diversa: Gertrude, ha un carattere deciso e forte, saggia e con la testa sulle spalle, prende in mano le redini della famiglia ed è la più risoluta nel portare avanti il loro progetto di indipendenza; Fanny la maggiore, è quella più legata alle ferree convenzioni sociali; fragile e un po' bigotta, viene facilmente sottomessa dai caratteri più forti del suo; Lucy è una ragazza gentile, premurosa, tranquilla, che riflette sempre con maturità e freddezza (o almeno ci prova); Phyllis, la minore e la più bella delle quattro, è una ragazza dolce e sognatrice, con un carattere vivace e un po' superficiale, ama i bei vestiti e trascorrere il tempo a guardare dalla finestra per fantasticare sui vicini o passanti dall'aspetto misterioso.
Sono tutte e quattro delle personalità ben pensate e interessanti ma non rese al meglio dall'autrice, che le ha descritte in maniera scarna e superficiale; personalmente non sono riuscita ad immaginarmele pienamente in carne ed ossa e ad immedesimarmi o a simpatizzare con loro come mi è successo altre volte con le protagoniste di altri romanzi.
I personaggi secondari sono un po' sfumati e sottotono, in particolare i personaggi maschili sono rimasti un po' nell'ombra; una menzione speciale va alla zia Caroline che somiglia tantissimo a Lady Catherine De Bourgh, di “Orgoglio e pregiudizio”, tanto è burbera e sfacciata allo stesso tempo.
La storia di una bottega non mi ha lasciato sensazioni o emozioni particolari; è un libro carino ma l'ho trovato poco coinvolgente. All'inizio la lettura procede a rilento e la trama è un po' sfilacciata e confusionaria (secondo me); man mano che si procede con la narrazione il romanzo, però, si riprende e inizia a farsi interessante, ma resta sempre un po' un susseguirsi di vicende scritte sempre in maniera sbrigativa, tanto che spesso ho dovuto rileggere alcuni passaggi per capire meglio quello che succedeva.
È, comunque, un libro ben fatto, piacevole, mai noioso o pesante; un romanzo semplice, dal linguaggio pulito e senza fronzoli, che ha in sé molte delle caratteristiche del romanzo vittoriano.
Insieme alla giovinezza perdiamo il rossore, l'esitazione, i segni esteriori dell'angoscia; ma, probabilmente, per la maggior parte di noi l'insicurezza, svanendo in superficie, affonda più profondamente nell'anima.
Le quattro sorelle, fermamente risolute a non separarsi, decidono di non volere dipendere dalla generosità dei parenti (che si sono offerti di dare loro ospitalità e protezione) o diventare istitutrici e governanti – come voleva per loro, figlie della borghesia impoverita, la società vittoriana – ma decidono di prendere in mano la loro vita, puntare sul loro talento e sfidare le convenzioni dell'epoca, andando contro il parere dei loro amici e familiari, soprattutto della zia Caroline, e cercare di mantenersi economicamente da sole attraverso la gestione di una piccola bottega fotografica. Gertrude e le sue sorelle sanno che la fotografia può essere la loro ancora di salvezza e tra lo sgomento generale di amici e parenti, si trasferiscono in un piccolo appartamento nella famosa via al centro di Londra, Baker Street cuore pulsante delle attività artistiche di quel periodo storico, aprono il negozio cercando di mandare avanti l'attività senza la supervisione di un uomo, cosa impensabile in quegli anni.
Le quattro ragazze, nonostante le difficoltà iniziali dovute soprattutto al fatto che molti hanno il pregiudizio che le fotografe siano delle donne, poco per volta riescono a ritagliarsi il loro posto nell'ambiente fotografico e a crearsi una certa fama, grazie alla loro abilità e capacità.
La storia di una bottega è un romanzo fra i tanti appartenenti alla letteratura vittoriana rimasto sepolto nel dimenticatoio. È ambientato in un periodo di grandi cambiamenti soprattutto della condizione femminile; sono anni, quelli di fine Ottocento, in cui le donne – soprattutto borghesi – iniziano ad affacciarsi al mondo del lavoro e in cui si assiste alla nascita di numerosi movimenti che chiedono il diritto al voto anche per le donne. L'autrice stessa, Amy Levy, è stata famosa per essere stata la prima donna ebrea ad essere stata ammessa all'università di Cambridge, nel 1879, e per le sue prese di posizione nelle rivendicazioni femministe.
La Levy, attraverso la storia e le vicende delle sorelle Lorimer, anticipa uno dei temi che sarà protagonista negli anni successivi: il ruolo della donna nella società; e ci permette di scoprire e conoscere questo aspetto un po' sconosciuto della società inglese dell'epoca e anche le prime avvisaglie dell'emancipazione femminile, argomento principale di questo breve romanzo.
Naturalmente quando ci si imbatte in un libro in cui le protagoniste sono quattro sorelle non si può fare a meno di pensare e fare un confronto con le sorelle March di Piccole donne della Alcott. Le somiglianze tra i due gruppi sororali sono però poche: il numero delle sorelle, le condizioni economiche, alcune somiglianze caratteriali (Gertrude è molto simile a Jo soprattutto per la sua passione di scrivere novelle che spedisce invano alle riviste letterarie); ma le somiglianze si fermano qui perché i due gruppi di sorelle affrontano le prove della vita in maniera diversa e naturalmente con esiti differenti.
Le Lorimer sono quattro sorelle ardimentose, appassionate, coraggiose, tenaci e unite da un legame molto forte; si aiutano tra loro e il loro rapporto è abbastanza sincero anche se spesso le loro decisioni non vengono condivise totalmente e unanimemente tra loro. Ognuna ha una personalità diversa: Gertrude, ha un carattere deciso e forte, saggia e con la testa sulle spalle, prende in mano le redini della famiglia ed è la più risoluta nel portare avanti il loro progetto di indipendenza; Fanny la maggiore, è quella più legata alle ferree convenzioni sociali; fragile e un po' bigotta, viene facilmente sottomessa dai caratteri più forti del suo; Lucy è una ragazza gentile, premurosa, tranquilla, che riflette sempre con maturità e freddezza (o almeno ci prova); Phyllis, la minore e la più bella delle quattro, è una ragazza dolce e sognatrice, con un carattere vivace e un po' superficiale, ama i bei vestiti e trascorrere il tempo a guardare dalla finestra per fantasticare sui vicini o passanti dall'aspetto misterioso.
Sono tutte e quattro delle personalità ben pensate e interessanti ma non rese al meglio dall'autrice, che le ha descritte in maniera scarna e superficiale; personalmente non sono riuscita ad immaginarmele pienamente in carne ed ossa e ad immedesimarmi o a simpatizzare con loro come mi è successo altre volte con le protagoniste di altri romanzi.
I personaggi secondari sono un po' sfumati e sottotono, in particolare i personaggi maschili sono rimasti un po' nell'ombra; una menzione speciale va alla zia Caroline che somiglia tantissimo a Lady Catherine De Bourgh, di “Orgoglio e pregiudizio”, tanto è burbera e sfacciata allo stesso tempo.
La storia di una bottega non mi ha lasciato sensazioni o emozioni particolari; è un libro carino ma l'ho trovato poco coinvolgente. All'inizio la lettura procede a rilento e la trama è un po' sfilacciata e confusionaria (secondo me); man mano che si procede con la narrazione il romanzo, però, si riprende e inizia a farsi interessante, ma resta sempre un po' un susseguirsi di vicende scritte sempre in maniera sbrigativa, tanto che spesso ho dovuto rileggere alcuni passaggi per capire meglio quello che succedeva.
È, comunque, un libro ben fatto, piacevole, mai noioso o pesante; un romanzo semplice, dal linguaggio pulito e senza fronzoli, che ha in sé molte delle caratteristiche del romanzo vittoriano.
Insieme alla giovinezza perdiamo il rossore, l'esitazione, i segni esteriori dell'angoscia; ma, probabilmente, per la maggior parte di noi l'insicurezza, svanendo in superficie, affonda più profondamente nell'anima.
March 15, 2015
_The Romance of a Shop_ brings together some of the traditional elements you expect in a Victorian novel--courtship, social scandal, melodramatic turns of events--but is also the fascinating story of four young middle-class women who decide to run their own photography business. Levy manages to pack a lot of plot into a short volume, while excerpts from a wide range of Victorian poets begin each chapter. Perhaps the most interesting aspect is the way that the women of the story negotiate the essentially male artistic circles of the late-Victorian period, deciding with whom they can associate, who to trust, and whose advice to take. How far can the Lorimer sisters break with social conventions regarding gender in their attempts to enter the artistic marketplace? Anyone with an interest in the Victorian period, gender, the visual arts, or the history of the novel would find this a great read. It serves as a very nice counterpart to Schreiner's _The Story of an African Farm_, which it followed by only five years.
Also check out this specific edition (the Broadview one) for great footnotes and supplementary materials from Susan David Bernstein.
Also check out this specific edition (the Broadview one) for great footnotes and supplementary materials from Susan David Bernstein.
February 9, 2020
Amy Levy dà vita a un romanzo o romance, come dice il titolo originale, in cui si racconta la storia di quattro sorelle che, per certi aspetti, ricordano le "Piccole donne" della Alcott.
Gertrude, Lucy, Phyllis e Fanny, sono le sorelle Lorimer che, in seguito alla morte del padre, devono fare affidamento su se stesse provando a sbarcare il lunario. Invece di diventare istitutrici, come vorrebbero le convenzioni sociali, decidono di aprire una bottega, uno studio di fotografia in cui ognuna si occuperà di un determinato settore.
"La storia di una bottega" racconta le difficoltà, i pregiudizi, ma anche il grande successo di questa impresa intervallato da momenti in cui non manca l'aspetto romantico e sentimentale.
Sono donne moderne che vogliono emanciparsi, crescere e cercare d'imporsi.
Un plauso alla casa editrice Jo March che ha permesso di far conoscere questa opera e al lavoro delle traduttrici che hanno saputo raccontare le trasformazioni sociali del periodo, anche e soprattutto con una attenta ricerca lessicale.
Gertrude, Lucy, Phyllis e Fanny, sono le sorelle Lorimer che, in seguito alla morte del padre, devono fare affidamento su se stesse provando a sbarcare il lunario. Invece di diventare istitutrici, come vorrebbero le convenzioni sociali, decidono di aprire una bottega, uno studio di fotografia in cui ognuna si occuperà di un determinato settore.
"La storia di una bottega" racconta le difficoltà, i pregiudizi, ma anche il grande successo di questa impresa intervallato da momenti in cui non manca l'aspetto romantico e sentimentale.
Sono donne moderne che vogliono emanciparsi, crescere e cercare d'imporsi.
Un plauso alla casa editrice Jo March che ha permesso di far conoscere questa opera e al lavoro delle traduttrici che hanno saputo raccontare le trasformazioni sociali del periodo, anche e soprattutto con una attenta ricerca lessicale.
November 8, 2021
Although it's not perfect and it could have been longer and more developed, I really loved this book because of its sincerity and the way it tugged at my heart. After their father dies, the four Lorimer sisters are left wondering how they will support themselves. They are invited to live with friends and relatives, but instead they do a very unusual thing for the 1880s ... they go into business for themselves, open a photography studio, and live in rooms of their own above the shop.
It felt a bit like Little Women, only the sisters had different personalities, and it wasn't quite as heart-warming. Also, the character development didn't seem as strong for either the sisters or the side characters as in Alcott's novel. Gertrude Lorimer, like Jo March, was the main character, the second oldest, the dreamer, and the writer. She suffered from the feeling that happiness wasn't for her because so many hard things happened in her life, and she couldn't seem to grasp what she really desired. So although the story may not have been as good as Little Women, Gerty's struggle to support and love her family really gripped me, as did her deep introspection. Her personality seems to be much like the author's, Amy Levy. Sadly, Levy committed suicide while still in her twenties, but Gerty's story ends happily despite the setbacks and sorrows. I'd have wished the same for the author.
Not only was this a good story that never dragged, it had lots of little details about London, photography, and daily life, as well as the views of the time about women. It's a historical gem for that kind of perspective because I'm interested in how people thought back then, not the modern interpretation layered over historical fiction (and even nonfiction). I plan to read more by Amy Levy. I'd recommend this if you like Victorian fiction but want to read a different kind of Victorian novel. :)
It felt a bit like Little Women, only the sisters had different personalities, and it wasn't quite as heart-warming. Also, the character development didn't seem as strong for either the sisters or the side characters as in Alcott's novel. Gertrude Lorimer, like Jo March, was the main character, the second oldest, the dreamer, and the writer. She suffered from the feeling that happiness wasn't for her because so many hard things happened in her life, and she couldn't seem to grasp what she really desired. So although the story may not have been as good as Little Women, Gerty's struggle to support and love her family really gripped me, as did her deep introspection. Her personality seems to be much like the author's, Amy Levy. Sadly, Levy committed suicide while still in her twenties, but Gerty's story ends happily despite the setbacks and sorrows. I'd have wished the same for the author.
Not only was this a good story that never dragged, it had lots of little details about London, photography, and daily life, as well as the views of the time about women. It's a historical gem for that kind of perspective because I'm interested in how people thought back then, not the modern interpretation layered over historical fiction (and even nonfiction). I plan to read more by Amy Levy. I'd recommend this if you like Victorian fiction but want to read a different kind of Victorian novel. :)
October 16, 2013
La storia di una bottega ha molto in comune con Piccole Donne di Louisa May Alcott. È la storia di quattro sorelle dallo spirito indipendente, di cui la seconda, la più intraprendente, diventa suo malgrado la protagonista del romanzo. Come Jo March, Gertrude Lorimer si diletta a scrivere e vede rifiutati i suoi tentativi letterari (nel suo caso si tratta di commedie, mentre Jo March scriveva racconti). Entrambe le famiglie si trovano in difficoltà finanziarie ma, mentre le sorelle March hanno la guida di una madre affettuosa, equilibrata e dal polso fermo, le quattro sorelle Lorimer si troveranno a dover contare solo su se stesse fin dalle prime pagine del romanzo, perché non vogliono vivere dell'elemosina dei parenti. La più grande delle quattro, Frances detta Fanny, figlia di primo letto di Mr Lorimer, e quindi una sorellastra, è una ‘donna d'altri tempi' e viene coinvolta dalle sorelle a fare qualcosa che non si sarebbe mai immaginata. La sua attitudine sarebbe quella di essere presa in custodia prima da un padre ed eventuali fratelli, poi da un marito ma, dal momento che non ha più né gli uni né l'altro, deve fare buon viso a cattivo gioco e assecondare le sorelle nei loro progetti.
Le altre tre Lorimer sono 'donne nuove', intraprendenti, pioniere. Nel 1872 nel Regno Unito era nato il movimento delle suffragette, un movimento che si proponeva di chiedere il suffragio femminile. Gertrude, Lucy e Phyllis sono consapevoli che qualcosa sta cambiando per le donne, hanno forse letto il libro di Mary Wollstonecraft del 1792, Rivendicazione dei diritti delle donne ― di certo ne conoscono l’esistenza ― e non sono disposte a fare dei matrimoni di convenienza, affidando il loro futuro agli uomini.
Il libro si apre con la morte del padre delle ragazze e con il loro futuro incerto. La zia Caroline Pratt subito si offre di ospitare due delle ragazze, nella speranza che trovino presto dei mariti, mentre le altre due dovrebbero essere ospitate da un altro zio in India dove per le giovani di buona famiglia, anche le meno avvenenti, è più facile trovare buoni partiti. Ma le ragazze, a cui il padre ha lasciato in eredità, oltre ai debiti, l'apparecchiatura fotografica e una discreta tecnica per utilizzarla, decidono di buttarsi nell'avventura di aprire un negozio di fotografia. Si tratta di qualcosa di assolutamente impensabile per delle ragazze 'a modo' per le quali un lavoro nell'ambito del commercio non è di certo un lavoro 'consono'. Istitutrici, scrittrici forse, ma un volgare commercio? Un'attività considerata degradante perfino per un uomo?
Le ragazze si danno subito da fare, grazie anche alla famiglia Devonshire, dei buoni amici che non le abbandoneranno mai, soprattutto nei periodi più bui ma, all’inizio, i clienti saranno pochi, molti dei quali avranno esigenze in più per il solo fatto che le fotografe sono delle donne. Gertrude e Lucy (Phyllis è ancora giovane e ha un carattere troppo incostante) dovranno non soltanto dimostrare di essere brave quanto se non più degli uomini, ma dovranno anche arginare le pretese di coloro che vorranno pagarle meno, per lo stesso servizio, solo perché donne.
Soltanto quando entreranno nel giro degli artisti, che le chiameranno per realizzare i cataloghi dei dipinti, sarà la professionalità a parlare per loro. In questo ambiente, però, ci saranno nuove difficoltà in agguato, perché si troveranno a dover lavorare gomito a gomito da sole con uomini, in situazioni che sono contro le convenzioni dell'epoca ― un punto di riferimento per loro fino a quel momento ― vivendo una libertà che potrebbe travolgerle o, come minimo, rovinare loro la reputazione.
Il romanzo è ambientato nella Londra 'nuova', una Londra che comincia a essere consapevole dell'aria di cambiamento. Gertrude la domina dall'alto dell'omnibus, brulicante di folla in quella stessa Baker Street che aveva visto, appena l'anno prima, la comparsa al numero 221B di Sherlock Holmes. Una Londra in cui vedere una donna nubile che cammina da sola con un uomo che non è suo parente fa meno scalpore di qualche anno prima, una Londra in cui caste e famiglie contano meno, dove chi conta è l’“individuo” per il suo valore, non per la sua nascita. Una Londra in cui si è sviluppato un nuovo concetto di arte collegato alle immagini: l'arte fotografica, un'innovazione fra le arti figurative, che stravolge il modo di guardare il mondo. E le Lorimer costituiscono una novità nella novità.
Eppure, nonostante la sua innovazione, La storia di una bottega resta ancora intrappolato nelle idee vittoriane, in cui chi ha sbagliato secondo le convenzioni deve pagare, anche se in realtà è innocente, in cui la donna trova sì la realizzazione nel lavoro, ma anche la felicità nell'amore. Forse questo lo rende addirittura più moderno dei suoi tempi, quasi attuale, esattamente come la prosa della Levy, sciolta, lineare, moderna, priva di ogni fronzolo di retaggio romantico.
La Jo March sembra aver aperto un forziere e trovato un piccolo grande tesoro; ora lo mette a disposizione di quanti vorranno leggerlo. Io ve lo consiglio. Assolutamente.
Potete leggere la recensione completa QUI
Le altre tre Lorimer sono 'donne nuove', intraprendenti, pioniere. Nel 1872 nel Regno Unito era nato il movimento delle suffragette, un movimento che si proponeva di chiedere il suffragio femminile. Gertrude, Lucy e Phyllis sono consapevoli che qualcosa sta cambiando per le donne, hanno forse letto il libro di Mary Wollstonecraft del 1792, Rivendicazione dei diritti delle donne ― di certo ne conoscono l’esistenza ― e non sono disposte a fare dei matrimoni di convenienza, affidando il loro futuro agli uomini.
Il libro si apre con la morte del padre delle ragazze e con il loro futuro incerto. La zia Caroline Pratt subito si offre di ospitare due delle ragazze, nella speranza che trovino presto dei mariti, mentre le altre due dovrebbero essere ospitate da un altro zio in India dove per le giovani di buona famiglia, anche le meno avvenenti, è più facile trovare buoni partiti. Ma le ragazze, a cui il padre ha lasciato in eredità, oltre ai debiti, l'apparecchiatura fotografica e una discreta tecnica per utilizzarla, decidono di buttarsi nell'avventura di aprire un negozio di fotografia. Si tratta di qualcosa di assolutamente impensabile per delle ragazze 'a modo' per le quali un lavoro nell'ambito del commercio non è di certo un lavoro 'consono'. Istitutrici, scrittrici forse, ma un volgare commercio? Un'attività considerata degradante perfino per un uomo?
Le ragazze si danno subito da fare, grazie anche alla famiglia Devonshire, dei buoni amici che non le abbandoneranno mai, soprattutto nei periodi più bui ma, all’inizio, i clienti saranno pochi, molti dei quali avranno esigenze in più per il solo fatto che le fotografe sono delle donne. Gertrude e Lucy (Phyllis è ancora giovane e ha un carattere troppo incostante) dovranno non soltanto dimostrare di essere brave quanto se non più degli uomini, ma dovranno anche arginare le pretese di coloro che vorranno pagarle meno, per lo stesso servizio, solo perché donne.
Soltanto quando entreranno nel giro degli artisti, che le chiameranno per realizzare i cataloghi dei dipinti, sarà la professionalità a parlare per loro. In questo ambiente, però, ci saranno nuove difficoltà in agguato, perché si troveranno a dover lavorare gomito a gomito da sole con uomini, in situazioni che sono contro le convenzioni dell'epoca ― un punto di riferimento per loro fino a quel momento ― vivendo una libertà che potrebbe travolgerle o, come minimo, rovinare loro la reputazione.
Il romanzo è ambientato nella Londra 'nuova', una Londra che comincia a essere consapevole dell'aria di cambiamento. Gertrude la domina dall'alto dell'omnibus, brulicante di folla in quella stessa Baker Street che aveva visto, appena l'anno prima, la comparsa al numero 221B di Sherlock Holmes. Una Londra in cui vedere una donna nubile che cammina da sola con un uomo che non è suo parente fa meno scalpore di qualche anno prima, una Londra in cui caste e famiglie contano meno, dove chi conta è l’“individuo” per il suo valore, non per la sua nascita. Una Londra in cui si è sviluppato un nuovo concetto di arte collegato alle immagini: l'arte fotografica, un'innovazione fra le arti figurative, che stravolge il modo di guardare il mondo. E le Lorimer costituiscono una novità nella novità.
Eppure, nonostante la sua innovazione, La storia di una bottega resta ancora intrappolato nelle idee vittoriane, in cui chi ha sbagliato secondo le convenzioni deve pagare, anche se in realtà è innocente, in cui la donna trova sì la realizzazione nel lavoro, ma anche la felicità nell'amore. Forse questo lo rende addirittura più moderno dei suoi tempi, quasi attuale, esattamente come la prosa della Levy, sciolta, lineare, moderna, priva di ogni fronzolo di retaggio romantico.
La Jo March sembra aver aperto un forziere e trovato un piccolo grande tesoro; ora lo mette a disposizione di quanti vorranno leggerlo. Io ve lo consiglio. Assolutamente.
Potete leggere la recensione completa QUI
October 12, 2019
A hidden gem! Engaging story about four sisters whom decide to open a photography studio after their father dies. Each young woman brings her own personality and wit to the story; very Jane Austen-like in plot midway when a scandal with one of the sisters happens. I really liked the surprise depth to the characters and how they caught my heart strings, especially Phyllis and Gertrude. Ending was sweet.
May 24, 2021
A short and sweet Victorian novel that reminded me of a cross between Little Women, Sense and Sensibility and The Odd Women. My only real complaint is that it is so short that at times it almost felt abridged and I was longing for a deeper dive into the sisters' inner lives.
February 8, 2024
My great thanks to Katie Lumsden for talking about this book on her YouTube channel. She put it on my radar, and an ILL allowed me to read it. But, oh do I want to own a physical copy so I can mark it up! Before I read it again, which I will do, I have to find a copy of my own. How can I not mark a passage like this: "It was an old, old story, the fierce yet silent opposition between two people; an inevitable antipathy; a strife of type and type, of class and class, rather than of individuals; the strife of the woman who demands respect, with the man who refuses to grant it."
While reading this I keep thinking of Little Women. Both are tales of four sisters with their own personalities - none perfect - growing, changing, worrying, disagreeing, yet supporting each other. This one is more "grown up" as the sisters are supporting themselves with their work as photographers, and, written 20 years later in a different country, this feels more modern. But oh, the similarities couldn't be missed.
I'm in awe of Levy's ability to pack so much into such a brief book. Also the way she balances positive and negative; never saying "What fun it is to support yourself as a woman in the 1880s!", but also not turning the story into a depressing polemic on the terrible place of women in society at that time. I confess I was little surprise at how the story ends. I was definitely expecting something different, and had to change my rating from five to four stars because of that. Still this is a delightful book, easy to read for anyone who might be afraid of classics, but full of writing worth noting. I can recommend this book highly, and look forward to revisiting it over time.
While reading this I keep thinking of Little Women. Both are tales of four sisters with their own personalities - none perfect - growing, changing, worrying, disagreeing, yet supporting each other. This one is more "grown up" as the sisters are supporting themselves with their work as photographers, and, written 20 years later in a different country, this feels more modern. But oh, the similarities couldn't be missed.
I'm in awe of Levy's ability to pack so much into such a brief book. Also the way she balances positive and negative; never saying "What fun it is to support yourself as a woman in the 1880s!", but also not turning the story into a depressing polemic on the terrible place of women in society at that time. I confess I was little surprise at how the story ends. I was definitely expecting something different, and had to change my rating from five to four stars because of that. Still this is a delightful book, easy to read for anyone who might be afraid of classics, but full of writing worth noting. I can recommend this book highly, and look forward to revisiting it over time.
July 25, 2016
The Romance of a Shop is set in Victorian England and the novels opens with the death of Mr. Lorimer who has left his estate sadly tangled with mounting debts all of which would have to be paid by the sale of his house and the belongings. This leaves the Lorimer sisters, daughter of the late Mr. Lorimer, Fanny, Gertrude, Lucy and Phyllis extremely poor. They have the option of residing with friends and relatives in ones and twos and go to India as part of fishing fleet in search of eligible husbands, all of which mean separation from each other and dependence on someone else for their welfare! They resolve against all such schemes and under the leadership of Gertrude (the artist and the creative sister) and Lucy ( the clever and pragmatic sister), they decide to open a photography shop, much to the consternation and horror of their noble relations. This is 1880s England and girls from well-to-do gentle background do not become shop girls, even if it is their own shop! Despite all the oppositions, the sisters who had been amateur photographers for a long time, decide to pursue their aims and to that effect find small accommodations at Upper Baker Street, where the ground floor would serve as their workshop and the upper floors as their apartments.Chang in economic situation, brings in new changes in their lives as the sisters cope with making the ends meet and gain a respectable foothold in the new age of artists and writers. While most of their old friends abandon them, some stick through the Lorimers including the Devonshires, Constance the daughter being a particular friend of Gertrude and Fred, her brother who besides having a sympathetic heart for all the sister, also holds a secret love for Lucy. Soon their old friendships are tested and mixed up with new relations as the Lorimer girls from new circles – Frank Jermyn, an artist who lives across and provides some commission work for the sisters and who becomes a part of their inner circle; Lord Watergate, a brilliant scientist with whom they become acquainted when the he wishes them to take a picture of his dead wife and Sidney Darrell, a member of the Royal Academy, who also commissions some work and makes Gertrude extremely uncomfortable.As the sisters adapt to the new social circle and have to change their traditional mores of interactions, they have to look inside themselves for what they truly want and what they really wish to achieve, especially when threatened by storms that promises to shake the very foundations on which their lives have been built on!
This is not one of the best novels that I have read, the plot while it flows, seems at places to meander and sometimes, there is no logic for sudden actions. The end ties up the lose ends far too easily and the writing seems at times a cross between a Jane Austenish social manner book meets Virginia Woolf. But then why consider it a classic? Because despite all these flaws, it is. The novel published in 1880 clearly calls for empowerment of the women, especially economic empowerment and stands against all masculine mores of “women needing to be looked after”. In the four sisters, we find the perfect examples of modern women , Wikipedia tell me that this concept was called “New Women” – women who were not delicate darlings, who fainted at the very sound of a harsh voice (even Fanny who seems to have been created to form a parody to her non-traditionalist sisters, has more strength of character than what was usually given credo to women of that era!), but rather strong independent women, who were not afraid of hardwork, of keeping their own house and yet managing to maintain a certain about of intellectual culture! The sisters are far from perfect, and at times can come across as selfish in their own needs, but they are constantly striving the better themselves and their lot and when the world comes crashing, instead of finding solace male arms, they band together find strength and battle their demons head on! Considering Ms. Levy wrote about these characters nearly 140 years ago, the modern reader will find much to identify with and that in some significant feat! The society of London is also very well portrayed in the novel and there are characters and events which encourage and provide platform for the girls to explore their talent and build their business, there is enough gossip and malicious whispering to make the portray real and ring in the true nature of the socio-econiomic paradigm of late Victorian England. At the heart of it all, it is a great story. There is wit and a sense of mirth though the book, even at some it darkest passages and the reader is involved and concerned regarding the fate of Lorimers until it plays out to the very end, most to the satisfaction of all. The epilogue is a wonderful touch giving an insight into the lives that carry on and leaves you feeling safe after being hailed by a multitude of storms! Ms. Levy wrote a marvelous work with such promise, and it seems such a shame, that she would die, two years after this book’s publication!
This is not one of the best novels that I have read, the plot while it flows, seems at places to meander and sometimes, there is no logic for sudden actions. The end ties up the lose ends far too easily and the writing seems at times a cross between a Jane Austenish social manner book meets Virginia Woolf. But then why consider it a classic? Because despite all these flaws, it is. The novel published in 1880 clearly calls for empowerment of the women, especially economic empowerment and stands against all masculine mores of “women needing to be looked after”. In the four sisters, we find the perfect examples of modern women , Wikipedia tell me that this concept was called “New Women” – women who were not delicate darlings, who fainted at the very sound of a harsh voice (even Fanny who seems to have been created to form a parody to her non-traditionalist sisters, has more strength of character than what was usually given credo to women of that era!), but rather strong independent women, who were not afraid of hardwork, of keeping their own house and yet managing to maintain a certain about of intellectual culture! The sisters are far from perfect, and at times can come across as selfish in their own needs, but they are constantly striving the better themselves and their lot and when the world comes crashing, instead of finding solace male arms, they band together find strength and battle their demons head on! Considering Ms. Levy wrote about these characters nearly 140 years ago, the modern reader will find much to identify with and that in some significant feat! The society of London is also very well portrayed in the novel and there are characters and events which encourage and provide platform for the girls to explore their talent and build their business, there is enough gossip and malicious whispering to make the portray real and ring in the true nature of the socio-econiomic paradigm of late Victorian England. At the heart of it all, it is a great story. There is wit and a sense of mirth though the book, even at some it darkest passages and the reader is involved and concerned regarding the fate of Lorimers until it plays out to the very end, most to the satisfaction of all. The epilogue is a wonderful touch giving an insight into the lives that carry on and leaves you feeling safe after being hailed by a multitude of storms! Ms. Levy wrote a marvelous work with such promise, and it seems such a shame, that she would die, two years after this book’s publication!
May 1, 2024
I didn’t expect to love it as much as I did so this was a very pleasant surprise. It has some fascinating (proto)feminist themes, and some moments reminded me of Pride and Prejudice which I really enjoyed. Definitely a novel I would recommend. (Review from April 2021)
June 20, 2020
Una suerte de 'Mujercitas' en versión inglesa y con unas protagonistas más modernas, pero vamos, no tanto como me esperaba. Aun así, me ha gustado.
February 22, 2023
How are you gonna be racist AND plotless PLEASEEE classics pick a struggle
May 28, 2021
Yes! This was so enjoyable!
A simple story of four sisters who must support themselves after their father's death. The ladies have the audacity (in the late 1880s) to intend to carry on their family's photography business, for their livelihood. They are acquainted with both the naysayers, and with the few who do their part to support them.
For such a short book (by Victorian lit standards, around 250 pages is nothing), I felt each sister was well drawn enough to be quite distinct. Their individual challenges and personalities were clear and sympathetic. I can't even say I had a favorite sister; I cared about them all and enjoyed following their respective journeys. All four sisters brought different viewpoints to the story.
Honestly, I'm tempted to give this 5 stars. It's not a perfect book, but I enjoyed it so much I found myself slowing down because I didn't want it to end. This one has been in my Victorian TBR for years ... what a treat!
P.S. I like Amy Levy's writing style.
P.P.S. The photography shop is at Number 20B Baker Street. Of course this calls to mind the more famous literary address of Number 221B Baker Street. The first Holmes story was published in 1887; this book was published in 1888. In a totally nerdy way, I kept entertaining the thought that, at the same time these ladies were navigating through this time in their life, Holmes and Watson were conferring over mysteries to be solved, just down the street.
A simple story of four sisters who must support themselves after their father's death. The ladies have the audacity (in the late 1880s) to intend to carry on their family's photography business, for their livelihood. They are acquainted with both the naysayers, and with the few who do their part to support them.
For such a short book (by Victorian lit standards, around 250 pages is nothing), I felt each sister was well drawn enough to be quite distinct. Their individual challenges and personalities were clear and sympathetic. I can't even say I had a favorite sister; I cared about them all and enjoyed following their respective journeys. All four sisters brought different viewpoints to the story.
Honestly, I'm tempted to give this 5 stars. It's not a perfect book, but I enjoyed it so much I found myself slowing down because I didn't want it to end. This one has been in my Victorian TBR for years ... what a treat!
"She was paying the penalty, which her sex always pays one way or another, for her struggles for strength and independence. She was denied, she told herself with a touch of rueful humor, the gracious feminine privilege of changing her mind."
P.S. I like Amy Levy's writing style.
P.P.S. The photography shop is at Number 20B Baker Street. Of course this calls to mind the more famous literary address of Number 221B Baker Street. The first Holmes story was published in 1887; this book was published in 1888. In a totally nerdy way, I kept entertaining the thought that, at the same time these ladies were navigating through this time in their life, Holmes and Watson were conferring over mysteries to be solved, just down the street.
March 30, 2024
A third rate imitation of Austen, full of didactic moralism, ridiculous cliches and plot developments so melodramatic they put the Vicar of Wakefield to shame.
The plot moves along breezily, and there are a few genuinely witty observations and character moments. The premise is also fine, offering a bit of variety to the typical "three or four women want to get married" story.
But these can't make up for the stupifying way the 'bad' characters (e.g. people who make art for its own sake instead of seeing it as a business venture, young girls who are lazy, married men who have affairs) get punished and good, hard-working Victorian ladies get married off to rich Lords and live happily ever after.
For a bored literature student, there's some interesting colonial subtext. India and Africa (this is the time of the Boer War) act as an off-stage area for characters to disappear to for a while. One of the three identical sisters uses racial slurs a few times early on in the novel.
Speaking of "off stage", Levy describes her climactic scenes in the manner of a playwright. She thinks in terms of tableaux, dramatic exchanges, memorable sets. It seems that she would have much preferred to write a play than a novel.
It's not a badly written book, and I'm sure it was above average at the time, but it's plot is so melodramatic, it's characters so flat, and it's narrator so didactic and humourless that it's not worth reading outside of its historical value (namely, as an example of the kind of pearl clutching sparked by the aesthetic movement).
The plot moves along breezily, and there are a few genuinely witty observations and character moments. The premise is also fine, offering a bit of variety to the typical "three or four women want to get married" story.
But these can't make up for the stupifying way the 'bad' characters (e.g. people who make art for its own sake instead of seeing it as a business venture, young girls who are lazy, married men who have affairs) get punished and good, hard-working Victorian ladies get married off to rich Lords and live happily ever after.
For a bored literature student, there's some interesting colonial subtext. India and Africa (this is the time of the Boer War) act as an off-stage area for characters to disappear to for a while. One of the three identical sisters uses racial slurs a few times early on in the novel.
Speaking of "off stage", Levy describes her climactic scenes in the manner of a playwright. She thinks in terms of tableaux, dramatic exchanges, memorable sets. It seems that she would have much preferred to write a play than a novel.
It's not a badly written book, and I'm sure it was above average at the time, but it's plot is so melodramatic, it's characters so flat, and it's narrator so didactic and humourless that it's not worth reading outside of its historical value (namely, as an example of the kind of pearl clutching sparked by the aesthetic movement).
This entire review has been hidden because of spoilers.
February 29, 2016
A mixture of P&P and Little Women though not nearly as fulfilling. Levy's work starts out as promising with the Lorimer sisters deciding to open their own business after their father's death, drawing upon mother/daughter/sister relationships, etc. However, despite the boldness of opening their own business it is evident Levy's female characters are an attempt to take a moralistic stance and showcase the women throughout the novel as aligning with conventional ideals of Victorian womanhood. What little push back some specific characters display against these traditional Victorian mores is always met with very negative consequences. Thus, if you are looking for a novel advocating for femininity in accordance with late nineteenth century English ideals with absolutely no opposition to this standard, this may be the book for you. However, for me, it is clear The Romance of a Shop left something to be desired.
June 5, 2022
Overall, one of the better books I’ve read recently. It portrays the reality of Victorian women who needed to earn income by themselves in a world that, for the most part, denied them the opportunity to do so. The commentary of the period is splendid as it is represented through a plethora of characters. The perspective of multiple women allows the reader to see the complexities of Victorian women’s attitudes toward working and marriage.
May 22, 2021
Well the first half had me all excited that this could be a new favorite book. Unfortunately I thought the sisters didn't get nearly the characterization they could have and this was just too short for me to love it. I did enjoy Amy Levy's writing style though.
February 23, 2020
Reseña completa aquí -> http://inquilinasnetherfield.blogspot...
September 10, 2015
Perfetto. Con questo testo del 1888 Amy Levy confeziona un romanzo innovativo ed elegante di donne emancipate e moderne che, in un contesto chiuso e opprimente, realizzano se stesse aprendo una bottega di fotografia - sulla scia del padre che improvvisamente è venuto a mancare.
La Levy offre questo ritratto come manifesto di poco precedente alle rivoluzionarie rivendicazioni femministe che avranno luogo storicamente qualche anno più tardi; mette su carta coraggiosamente la volontà ed il desiderio di donne colte che vogliono farsi da sé, conquistando il proprio destino in una società in cui sembra che una donna possa realizzarsi unicamente con il matrimonio di convenienza.
Il tocco leggero e raffinato di un romanzo che erge maestosamente un territorio sommerso, quello dei diritti e delle volontà delle donne del tempo, in un profilo narrativo assolutamente ben congegnato (e magistralmente scritto!) e che l'edizione Jo March [Atlantide] ha impeccabilmente riportato alla luce dalle ombre dell'oblio.
Cinque stelline, e anche più.
La Levy offre questo ritratto come manifesto di poco precedente alle rivoluzionarie rivendicazioni femministe che avranno luogo storicamente qualche anno più tardi; mette su carta coraggiosamente la volontà ed il desiderio di donne colte che vogliono farsi da sé, conquistando il proprio destino in una società in cui sembra che una donna possa realizzarsi unicamente con il matrimonio di convenienza.
Il tocco leggero e raffinato di un romanzo che erge maestosamente un territorio sommerso, quello dei diritti e delle volontà delle donne del tempo, in un profilo narrativo assolutamente ben congegnato (e magistralmente scritto!) e che l'edizione Jo March [Atlantide] ha impeccabilmente riportato alla luce dalle ombre dell'oblio.
Cinque stelline, e anche più.
February 4, 2021
I really liked this! There was a New Woman module at uni and I kind of wish I’d taken it now. There were aspects of the writing and the narrative that felt quite juvenile to me - Levy only lived to twenty seven so that makes sense. Certain turns of phrases which were repeated, and the fact there was basically nothing between Gertrude rejecting Watergate and accepting him, the way it felt a little like a Little Women rip-off and not to mention the two n words which threw me! But it’s illustrative of the time isn’t it, and the casual way which they discuss The Empire is testament to that too. All that aside there was a real charm and wit and warmth to the story, and I will definitely be reading Levy’s other work. I feel very sad that she was not able to live longer and have her writing mature with her. Also Gertrude and Conny are lesbians who are in love, thank you so much.
August 14, 2013
Una storia le cui protagoniste sono delle giovani donne indipendenti, avventurose e che alla morte del padre sfidano le convenzioni sociali; pur di rimanere unite sotto lo stesso tetto, decidono di avvalersi dell'eredità paterna, che aveva insegnato loro l'arte della fotografia.
Dalla campagna si trasferiscono a Londra e al 20B di Baker Street apriranno il loro piccolo studio fotografico.
Sicuramente la trama non è delle più innovative e il paragone con "Piccole donne" di May Alcott risulta spontaneo, ma se da una parte le sorelle March avevano una figura "adulta" sempre pronta a guardargli le spalle e a sostenerle in tutte le circostanze, le Lorimer dovranno cavarsela da sole e farsi strada, tra lo scetticismo dei ben pensanti, nel mondo del business di fine 800.
Dalla campagna si trasferiscono a Londra e al 20B di Baker Street apriranno il loro piccolo studio fotografico.
Sicuramente la trama non è delle più innovative e il paragone con "Piccole donne" di May Alcott risulta spontaneo, ma se da una parte le sorelle March avevano una figura "adulta" sempre pronta a guardargli le spalle e a sostenerle in tutte le circostanze, le Lorimer dovranno cavarsela da sole e farsi strada, tra lo scetticismo dei ben pensanti, nel mondo del business di fine 800.
October 20, 2021
Another classic by an author unknown to me. “You’ve been cabinetted, vignetted, and carte de visited. You’ve been taken in a snowstorm; you’ve been taken looking out of window, drinking afternoon tea, and doing I don’t know what else. If your vanity still remains unsatisfied, you must get another firm to gorge it for you.”
Four sisters trying to carry on the family photography business in the 1800’s. Their struggles were real for such an early stage in their lives. I am only giving this three stars as the story line did not develop as I had hoped. Only 300 epages, could have been so much more.
My participation in my on-line book club, part of my #Victober2021
Four sisters trying to carry on the family photography business in the 1800’s. Their struggles were real for such an early stage in their lives. I am only giving this three stars as the story line did not develop as I had hoped. Only 300 epages, could have been so much more.
My participation in my on-line book club, part of my #Victober2021
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October 26, 2021Very interesting Victorian novel about four sisters who begin a photography business. It's a quick read and has some great insights into life in London during the 1880s. The melodramatic twists at the end are fairly easy to predict, and I disliked some of the characterization, particularly of Fanny. Still, it's worth reading for its depiction of working women and the expectations surrounding them.
October 5, 2015
This book was horrible and boring and I actually fell asleep whilst reading it.
However, for some reason at a certain point, around halfway through the book I just got hooked. I wanted to know what happened to everyone. And, although some say the ending is a little cliché, I thoroughly enjoyed it.
However, for some reason at a certain point, around halfway through the book I just got hooked. I wanted to know what happened to everyone. And, although some say the ending is a little cliché, I thoroughly enjoyed it.
November 28, 2025
3.5/5
Bored me in the beginning half, but really picked up in the second half.
A short read, but very excellent writing an imagery! While somewhat of a pro-femininity novel, it ultimately succumbs to the ideals and norms of the time, with all the women married.
My favourite quote was: “We lose with our youth the blushes, the hesitations, the distressing outward marks of embarrassment; but, perhaps, with most of us, the shyness, as it recedes from the surface, only sinks deeper into the soul.”
Bored me in the beginning half, but really picked up in the second half.
A short read, but very excellent writing an imagery! While somewhat of a pro-femininity novel, it ultimately succumbs to the ideals and norms of the time, with all the women married.
My favourite quote was: “We lose with our youth the blushes, the hesitations, the distressing outward marks of embarrassment; but, perhaps, with most of us, the shyness, as it recedes from the surface, only sinks deeper into the soul.”
February 7, 2020
I libri possono anche raccontare storie semplici, ma: se non c'è lo stile giusto, se non c'è profondità nei personaggi, se non c'è introspezione. Beh. Allora sono storie semplici che non vale la pena leggere. Certo possiamo soffermarci a pensarlo come un manifesto femminista per il tempo in cui è stato scritto e riconoscere ad Amy Levy questo merito. Ma...., non mi è proprio andato giù.
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