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Volume 2 - Cosette
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olume 2, Book <1>I am finally getting the gist of this and beginning to understand the architecture of the book. I have left volume 1 behind and will now be disciplined and write each time I finish A Book. I am in total agreement with Tasha about the change in writing and narrative style, but instead of adventure writing I wondered if Hugo’s writing benefited from the fact that he was writing about war! a fact less inspiring than adventure, but I suppose they both demand intensity and passion, which his writing beautifully reflects. The book begins the narration from an historical point of view, and then returns to the time of 1815. I liked that, it later puts the battle and the landscape in perspective. It prepared me.
I too, felt I learned a little about the Battle of Waterloo, as I had always heard about it but never really knew what it was. So that is a good thing. But I kept asking myself what is the purpose here, what about France and The Revolution, and loss of power is he trying to say. How will this connect to Fantine, Valjean and Javert? In re-reading for making this post, I saw this: “All the mysteries of a profound soul associated with destiny” Isn’t this Valjean, in fact aren’t all the characters deep souls whose lives are affected by destiny? Now I am curious and want to read more, hoping that the writing continues in this more descriptive, beautiful language sort of way. What was it about the writing in Volume 1 that I did not like?
As I am reading I continue to respond to ideas of “infinite.” Here are words that I found: titanic, abyss, monumental. Hugo constantly reminds us of the grand scope of history referencing Greek and Roman history: Argos, Alexander, Caesar. Who are we, just minute specks in an “infinite” world? He tells us the numbers who have died: it is indescribable, unimagineable and overwhelming. At one point Hugo talks about antithesis and opposites in relation to Napoleon and Wellington. But the infinite vs. individuals is also an antithesis. I will continue to look for this theme of the individual who is caught in the infinite.
I loved this passage (admittedly a little Polly-anish): “If there exists a reality which surpasses dreams, it is this:” and then goes on to describe simple daily pleasures of seeing the sunshine, breathing, “to speak, think hope, love.” Life is better than dreams!!
Words I loved: recrudescence, bewept
Mod
I kinda liked this short book. Important plot stuff happened, things were interesting, and nobody suffered too much. And Valjean escaped! Nice.
In response to some of Barbara's comments....
*I personally didn't feel like Hugo's writing style got "better" because he was writing about war. I think he is just very gifted at changing and manipulating the narrative voice to create effect and emotion. In this instance he is creating suspense and movement and awe. But I think he does this equally well in other parts of the book - like Valjean's journey in V. Fantine Book 7, and also in a couple parts coming up in V. Cosette and beyond (I don't want to spoil by referencing them here), and these other parts are not about war, but have the same excitement and movement to them.
*I'm wondering, Barbara, if maybe it wasn't the narrative voice in Vol. 1 that you disliked, but rather the content. What I mean is - Hugo uses the narrator to form and color the content (people and events) in specific ways. And the content of Vol 1 was fairly dismal. I don't know, I'm just taking a stab at it. In any case, it is an interesting comment, and you must let us know if you have any insights to your reaction.
*You have a very thematic and scholarly way of discussing the novel, which is quite fun and interesting for me to read, especially since I seem to relate to books in a different way. I totally get (and to some degree felt while reading) your interpretation of the whole infinite and individual idea...and now I'm wondering if you think that this particular theme is the main idea behind what this novel is about (or perhaps one of the main ideas)?
Mod
Hmm…that little Thenardier shrieking in his crib…I’m wondering if we might see him as an adult. We’ve got 3 more volumes, one being “Jean Valjean.” But the other two…Marius. Probably a dude, could it be this little shrieking baby? And Saint-Denis…well, that is most likely the street or neighborhood, but probably not this shrieking baby. Anyway, I’m getting the feeling these Thenardier children might hang around. I am intrigued by that idea.
I don’t get the reference to 40 years old in a woman is the equivalent of 50 years old in a man. It smacks of some more creepy sexism…but I can’t really figure it. Mostly it is just weird.
I know it is standard fare, and I don’t really want to criticize Hugo in particular for this…but I’m a bit tired of bad/evil characters also being ugly – and talking a lot about it. So ugly = bad, blah blah blah.
I think I am going to stop talking about all the weird sexist stuff, because it is getting tedious. So here is the grand finale of it – I am sickened by the idea that wives are committing a terrible offense by publicly disagreeing with their husbands. Puke and sigh.
Mammiferous – neat word. What do you think, Barbara?
I thought the whole description of Cosette and the Thenardiers was very effective. Especially when Hugo was talking about the fear covering Cosette and how it impacted everything about her. Upsetting. Oh, and I do like that he mentions many times how ugly she is. Almost like he heard my complaint, and is proving me wrong about him. Nice.
I also found it insightful that Hugo says that children who live in fear are quick to lie. Probably true for adults, too.
What a fantastic and haunting image of little Cosette under the table, rocking her knife baby and crooning over and over “My mother is dead! My mother is dead!” Yikes.
And then the next scene, when Cosette is in the trance of happiness with the kidnapped doll, and Madame Thenardier sees her and screeches her name. I could feel and see Cosette jump in that horrible way that truly terrified children do…”the earth had trembled beneath her.” I got a bit of a stomach ache at that part.
Hugo finally beat me down and won this round. I am totally on board the Cosette and Valjean train. I just hope Valjean is able to keep his brain functioning, as he often slips into Idiotland.
I don’t understand how Valjean had money with him when he swam out of the water during his escape. I thought he hid it in the woods. But he seems to have it right away. Maybe we are to assume he already went to his hidey hole to get the money. Whatever. Sloppy. I can forgive it, because I really like this playing around with the timeline. It’s not something I normally really like in books, but it works great here.
So. Tasha already knows this, but in case Barbara does not: I got the REAL book, weighing in at around 4 pounds. And stayed up really late the other night to see what I missed in the later parts of Cosette (A LOT). And at first I was not sure I like this translation as well as the abridged version (there was talk of "kids" and something else when they ended up behind the walls of the convent) but the amazing bits of the story are so good that I've already forgotten the language of the abridged version.And yes, I should tell you both which those versions are, but I am in CA and the abridged version is at home.
I will go back and read about Waterloo, just cuz, and then move on.
Mod
I liked the bit about Valjean watching Cosette sleep and he kissed her hand. And it made him think about kissing Fantine’s hand after she died.
And finally!! Mention is made of the sister and kids – Valjean did try to find them and failed.
I feel like he is now replacing his lost sister and kids with Fantine and Cosette. It’s all sad and also lovely. Hugo makes it clear that both Valjean and Cosette have skin hunger – the personality damage that comes from not enough touch when you are young. Maybe now that they have each other, they will be cured. Or helped; I don’t know if you ever get fully cured from something like that.
Hugo seems to like to do this: he sets up a “truth” and then tears it down. Sometimes in the course of 2 paragraphs, sometimes in the course of 2 volumes (and I’m guessing by the time I get to the last volume, I will expand that to 5 volumes). For example:
”Cosette was no longer in rags; she was in mourning. She had emerged from misery, and she was entering into life.” The implication being that life is heartbreaking, therefore it is appropriate to just done the black duds and get on with it.
And the next paragraph: ”Jean Valjean had undertaken to teach her to read. Sometimes, as he made the child spell, he remembered that it was with the idea of doing evil that he had learned to read in prison. This idea had ended in teaching a child to read.” So life isn’t just one big mourn fest, sometimes even the crappiest things can end up being fabulous.
I have also been noticing how the narrator really isn’t a separate character (Hugo) who is commenting on the story. It seems more to me like the construct of the “character/narrator” is used to help flesh out whoever/whatever is currently being discussed. That is why sometimes it sounds as if Hugo is a Royalist, and other times a Revolutionary - so I don't really know where Victor Hugo stands on many issues. The “narrators” point of view is changing to suit the current action of the plot and primary actor. Hugo has no problems in committing 100% to whatever point of view seems to help the storytelling – sometimes in sympathy , sometimes in contrast to the current actor. That is part of why I never have a problem remembering who the current actor is and what is going on, because the narration keeps me firmly rooted in that reality. It’s kind of amazing impressive when I notice it. Mostly I am not really aware of it, I just experience it and it helps me stay engaged the story.
Wow. Are you sure you're not an English major? I love reading your insights, but have nothing of that level of insight to add!!Hoping to read the battle of Waterloo to my dad today....or part of it, anyway.
Mod
Cosette – Book 5 – For a Black Hunt…
The chase scene was very suspenseful, I was nervous during the whole thing, even though I was pretty sure they would get away. Also I love all the details of the streets and environs of old Paris.
Oh!! When Valjean tells Cosette they are being chased by Mme. Thenardier!! I think I gasped out loud. It was both horrible and genius. Valjean’s brain is working well tonight, that is a relief.
Loved the singing of the nuns filling the night air like magic, and then drifting away to leave the sound of weeds brushing against the wall. Put me right there with them.
I really like it when authors choose to spoil events for you in special places for good reasons. Hugo does that here with the phrase ”Jean Valjean often said afterwards…” So we know that he survives in good form tonight, and is able to discuss it openly. This is a relief, as things were getting pretty scary. But it really isn’t a promise that all will go well, it just implies solid survival; and perhaps he might even be setting us up for something truly horrible coming way down the pike.
I still have problems with Javert. A lot of his stuff doesn’t make much sense. And it rubs off on others. The scene with Javert interrogating Thenardier seems awkward to me. So much so that I kinda don’t believe it, and wonder what “really” happened. And Javert seems to hear mysterious gossip about the most trivial stuff Constantly – with the most exact details that never get trashed in the retelling. Ah well. Small price to pay for all the other good stuff in this book 5.
Cosette – Book 4 – The Gorbeau HovelI’m back! I took a break to read a short book by Julian Barnes. I think Linda commented on this one, though how I started a thread/discussion is beyond me.
Julian Barnes was perfect and lovely, but it was nice to return to Hugo, his style, the story and I was quickly engaged. Perhaps I needed a little rest from the miserables. I have very similar feelings about Cosette and Valjean here, as Tasha expressed. These are two hurt souls finding themselves in a caring relationship with each other. I liked the warmth Valjean expresses for Cosette and hope this is a lasting relationship and a healing one. But as Tasha, warns, Cosette has suffered a lot, and questionable if one can ever heal fully.
I liked this thought: “Cosette, on her side, had also, unknown to herself, become another being….She felt that which she had never felt before – a sensation of expansion.” Isn’t that a wonderful description? I read “expansion” and it makes me feel like she took a deep breath. I do think another theme in the book is about transformation.
And I also found repeats of the words “love” and “virtue”. Clearly this is another thread in the story of love as redemption.
Tasha, thank you for thinking so deeply about the narrative voice. I am still perplexed by it. I do not get the feeling that the narrator is or will be a character in the novel. Is that what you meant? I wasn't sure I understood you. It IS amazing and impressive that you notice the voice! You are a perceptive and attentive reader. The narrator's voice is not as troublesome to me anymore, as it was in the beginning. I will keep thinking about this.
By the way, I second Tasha’s vote that we are totally interested in hearing what you, Linda, have to say and contribute – abridged, unabridged, whichever translation. Linda, are you really reading to your father? I love that thought. I think this is a very readable out loud book. I might have enjoyed it as an audible, but would have been hopeless keeping track of volumes, books, chapters.
OOPS! Still not getting the hang of html stuff.
Mod
I am not sure I expressed myself clearly about the narrator's voice. I was trying to say that "The Narrator" does not strike me as a consistent manifestation of Hugo himself, even though he sometimes tells us that is in fact the truth (he says stuff like "the bishop who was a great uncle to the author of this book." Identifying himself -the narrator- as Victor Hugo. Maybe when he does that, he is indeed writing as himself, and telling us what he (V. Hugo) thinks and feels. But this is not consistent - a lot of the time "The Narrator" is really expressing the opinions and world view of the character being discussed. Or sometimes The Narrator criticizes the current active character. And sometimes he goes off on tangents about something, and then in the next chapter essentially argues the opposite point (like all that stuff about nuns and monks). The voice changes to fit the circumstance - sometimes subtly, and sometimes like a club to the head. I like it.
Cosette Books V - VIII I’m rereading some sections in Book 2, so I can make a half-way intelligent posting and happened upon this passage when Jean Valjean sees the cloister for the first time, “Nevertheless, your eyes plunged eagerly through the opening which was made in that place shut off from all glances….what you beheld was night, emptiness, shadows, a wintry mist mingled with a vapor from the tomb, a sort of terrible peace” Other than the writing, which I love for its description I also thought it was interesting that he uses the idea of the tomb, now knowing that later he will be stuck in the coffin as his way out. And continues with the vision and death theme in the same chapter as he describes the portress of the convent who sat motionless and still, the iron grating with a thousand holes like a double visor, a window on the world, but none on the side of the convent, nevertheless, there was something beyond that shadow; there was light; there was life in the midst of that death.”
I love this writing and wish there were more of it through the book.
There were sections of this book that I liked, other parts that were not so meaningful to me. Mostly I like the writing and descriptions: This rule of silence…speech had been withdrawn from human creatures, and bestowed on inanimate objects. Now it was the church-bell which spoke, now it was the gardener’s bell.”
The whole part of the story of Jean Valjean escaping in the coffin and the mishap with the gravedigger, I find contrived. Clearly Jean Valjean is going to get out of this fix, why spend so much time?
And I have to say, there was a lot I didn’t understand (or care about so much) in the chapters about the convent but I did notice, that Hugo begins Book VII, Chapter 1 with this: ”This book is a drama, whose leading personage is the infinite.” which is what I had mentioned previously about the idea of the infinite vs. the small as a theme.
Vocabulary: Tasha I do love the word "mammiferous" but couldn't find it in the book, I can only guess its meaning. Here's another great word: recrudescence, which means to recur. I like it!!
Mod
Re: Mammiferous -- Hugo was talking about Mme. Thenardier: “She was a mother because she was mammiferous. But her maternity stopped short with her daughters, and, as we shall see, did not extend to boys.”
Having mammary glands.
Cosette – Book 6 – Le Petit-Picpus
The convent on Rue Petit-Picpus is fictional. There is a street in Paris called Rue de Picpus. It is in the 12th arrondissement, across the Seine from where the action in book 5 took place. I would have researched more, but I started to catch sight of phrases that were trying to spoil me for upcoming volumes!! So I stopped looking.
I really liked all the convent stuff. There was so much that was equal parts funny and creepy - I guess I am the target audience in that sense. Wonderful stuff like the little seven year old girl who claimed she was not a virgin. Egad. It's funny...but what if she's not kidding? Given all the horrific modern scandals in the church...? And I was really taken with the fabulous, one of a kind book that was the prize of the convent, and was forbidden to be read by anyone! And some girls snuck in to read it, risking horrific punishment, and the only interesting thing they found were ”unintelligible pages about the sins of young boys.” Loved it all.
Oh, and I adored the expression ”an inhabited pear,” meaning it had a worm or something. Wonderful. I will try to work that into my own lexicon.
I also loved the bit Barbara mentioned about the bells doing the talking.
And interesting about the "infinite" reference - I had read that throughout the convent section as being a synonym for "God." So you have an interesting and different (though quite compatible) take on it. I might have to go back and reread some of it with your interpretation, Barbara.
I suppose that's my secular brain thinking and talking. Never having had any religious education, it never occurred to me that "infinite" here was God. I guess I am a little dense -- after all this book does take place in a convent!! But thanks for giving me the latitude to interpret in a way that makes sense to me. And thank you too, for explaining the "inhabited pear" thing. I read that and was totally flummoxed.
Mod
And I can't be certain of my interpretation of the inhabited pear...as I just assumed that I understood what Hugo was intending to say. But it could be some weird idiomatic expression. Let's just pretend I am correct.
Cosette – Book 7 – Paranthesis
Wow. This book was all about religion and worship and the examination of the practice and the intent. Super interesting, I enjoyed it a lot.
Cosette – Book 8 – Cemeteries Take That…
”That one is not listened to is no reason for preserving silence.” Made me think of my Grandma.
”The whole convent thought him stupid. A great merit in religion.” That is just funny.
I love at the beginning of Ch. 3 we get the line “We will present a stenographic report of the dialogue which then ensued, to the best of our ability.” And much of the chapter is just dialogue. I really enjoy this kind of change up in the formal style. It seems so modern and kind of meta, I get a kick out of it. Really perks up my interest level. Plus that was the part where we get real insight into Father Fauvent, and what is going down at the convent, and the whole set up for the big escape to come.
Fantastic rant from the Prioress about God v. government. “God subordinated to the commissary of police”….fantastic.
The escape, the escape. I understand why Barbara found it contrived...but I thought it was nicely written, and also gave us a lot of character development and insight. And I am a sucker for adventure, so I bought into it.
Oh my stars, there is a new grave digger! You knew this was all going too smoothly. But Fauvent kept his cool. I am forgiving the horrible sinking cart fiasco from the first volume, because it is paying off right now!
Holy crap buried alive!! Valjean passes out, and my note is a long series of “f”s…you know what they stand for. If volume 5 wasn’t titled “Jean Valjean” I would have been freaking out at this part. As it was I was pretty nervous. Remember, I have NO IDEA what is going to happen in the novel, and Fantine died before the end of the volume named for her. Plus Hugo likes to kill people, and I'm sure Valjean will die on the page...so I actually didn't "know" JV would get out alive, although I believed he would. And who doesn’t list ‘buried alive’ right up near the top of their Biggest Fears list? Yikes. This whole section was super tense and dramatic for me. And Fauvent KICKED ASS.
And I liked the conclusion, culminating with the new gravedigger promising to buy the drinks next time. Very satisfying.
"…nothing trains children to silence like unhappiness.” Ugh. That just makes me feel like I got kicked in the stomach.
Omg the section comparing nuns to prisoners. So interesting and disturbing.
Tasha, I love the way you have a visceral reaction to your reading, "I got kicked in the stomach," or the idea that being buried alive feels real and maybe near to you.
What I'm finding so interesting is the difference in how we read. We each connect to such different types of things. I tend to look for bigger and broader themes and you connect to more specific details.
I do think both of us are very interested in action and the movement of the novel and characters. I'm also interested in the fact that you tend to anticipate how things will turn out, or what characters will re-appear.
I wonder if this is individual reading styles or the fact that I've seen the movie and know the arc of the story. Even though I saw the movie, the reading experience is so different.
Mod
I wonder how many people pick this as their favorite book of the novel. I think it is my favorite so far. Since I was a kid I’ve been interested in the Battle of Waterloo (blame Plummer http://www.imdb.com/title/tt0066549/ and David http://culturedart.blogspot.com/2010/... ), so this is kinda in my wheelhouse. Plus I love a well described battle (blame The Iliad). I decided just to read it straight through and not worry about the “accuracy” – no fact checking at all. Just took it as a story. I did a bit of fact checking when I was finished, and it seems like the details of the battle are pretty accurate, but I don’t have the energy to check to see if all the quotes and individual actions are correct.
I really like the change in the narrative voice, it is very exciting. Even the endless lists of details I know nothing about made sense and added to the tension. I thought it was masterful. Kind of makes me wish Hugo was an adventure writer. I guess I need to peruse his other novels and see if maybe something looks promising.
On to the notes!
O my gods! The well!! That was horrifying. What a fabulous description of the environs, and then all the horror of bodies in the well…some still alive. “Feeble voices”- yikes!! Could not be grosser.
Okay, I didn’t like all the God stuff. I’m not sure I can believe “God” is going to choose war as a way to work stuff out. So that left me cold.
Holy Crap!! Wellington telling Kempt he has to sacrifice himself and his men!! Can that be real? Made me gasp out loud. Yuck and awe.
Marshal Ney all tattered and bloody shouting “Come and see how a Marshal of France dies on the field of battle!” Doesn’t even matter if it is real, it is fabulous.
The scene with Cambronne is not proven, and was denied by Cambronne himself…but still makes a good story. Hugo didn’t make it up, it was widely believed to be true. Merde! “…and only Cambronne remains, only this earthworm is left to protest. He will protest.” Awesome.
“They are majestic because they think.” Gods, if only we could embrace that for real.
Great book. High hopes for Volume Cosette.