Love on the Left Bank

Rating:
Summary: Gritty Noir Look at Amour Among the Demimonde
Review: "It was the autumn of 1956. That night I had made love to Ann for the first time." Thus the narrative begins in this facsimile edition of the great 1954 fictional story of Geri, Ann, and Manuel on the Left Bank of Paris.

Think of this story as the illustrated version of Kerouac's "On the Road" for the bohemians from abroad living in Paris at the same time.

Anyone who has visited Paris has seen the young people living in cars, sleeping on the Metro and on park benches, and panhandling while enjoying the dubious pleasures of illegal drugs and the inspiration of great jazz. Well, it was like that in the early fifties, too, as this book so brilliantly displays.

Before going further, let me caution potential readers that the book openly discusses sexual topics (including sexual transmitted diseases), drug use, theft, and other crimes. No one will find this book as an exemplar of "right" living. In addition, some of the photographs are sexually suggestive or involve partial nudity. I have rated this as a five star book for its photographic essay and accompanying text. I would have rated it very low for the lack of morals that it projects if that were the basis of my rating.

Like "On the Road," this fictionalized account is based on real people. The central figure is Australian Ann, an artist who lived with Geri. Mexican Manuel met Ann through Geri, even though Geri eventually fell in love with him. The author followed these young people through Paris for months to capture the brilliant moments of their lives, and added a spare commentary to tie it together.

Ann had orange hair and black around her eyes. "She danced like a negress" in the jazz club where Manuel first saw her. When Manuel told her that she said, "Thank you. I'd like to have a child by a negro. They are so elegant. Gentle and restful, too." Manuel reports, "I fell in love with her."

Over the course of the book, Ann takes many lovers and her relationship comes and goes with Manuel. So he is always on the outside looking in. This is literal as well as figurative, because he was often living on the streets while she had a place with Geri.

The photographs are the heart of the story. And they tell a dynamic story indeed of a vibrant and fascinating young woman who easily drew others to her. You will see the power of her personality and attractiveness in almost every image. Men stand straighter and move in languid circles to match her every twist. You can feel the pounding jazz and the self-confidence that take turns in animating her.

Her power over Manuel is intense. She eventually starts going with an American sailor. When the two of them go for a meal, Manuel is jealous and eats in the same restaurant in order to watch them. Unable to pay, he is arrested and spends two months in jail. He is sure that this has impressed her. The photographs capture the American and the jail where Manuel is sent in equally powerful images.

Ann's artistic work is nicely captured in a series of images that feature her work in progress as well as finished canvases.

Each of the photographs is very dark, often with graininess that suggests seedy surroundings -- which these were. The compositions are both complex and spontaneous. It must have taken remarkable patience to capture both simultaneously.

Part of the book's appeal is that it will make you feel quite young, and remember how intensely you felt at that age. The book is remarkably effective in that way.

After you finish enjoying the book and its noir environment, I suggest that you think about how the energy and intensity of youth can be directed into more constructive pursuits. What challenges can be made to be as much fun as partying nonstop in Paris cellars while great jazz pounds? Obviously, whatever you come up with should be sure to include its own fair share of partying, to celebrate important progress. I wonder if working for Habitat for Humanity abroad or doing missionary work could hold or be made to hold this kind of appeal. What do you think?

Live vividly with every cell of your existence . . . in pursuit of a worthy cause!

Rating:
Summary: Gritty Noir Look at Amour Among the Demimonde
Review: "It was the autumn of 1956. That night I had made love to Ann for the first time." Thus the narrative begins in this facsimile edition of the great 1954 fictional story of Geri, Ann, and Manuel on the Left Bank of Paris.

Think of this story as the illustrated version of Kerouac's "On the Road" for the bohemians from abroad living in Paris at the same time.

Anyone who has visited Paris has seen the young people living in cars, sleeping on the Metro and on park benches, and panhandling while enjoying the dubious pleasures of illegal drugs and the inspiration of great jazz. Well, it was like that in the early fifties, too, as this book so brilliantly displays.

Before going further, let me caution potential readers that the book openly discusses sexual topics (including sexual transmitted diseases), drug use, theft, and other crimes. No one will find this book as an exemplar of "right" living. In addition, some of the photographs are sexually suggestive or involve partial nudity. I have rated this as a five star book for its photographic essay and accompanying text. I would have rated it very low for the lack of morals that it projects if that were the basis of my rating.

Like "On the Road," this fictionalized account is based on real people. The central figure is Australian Ann, an artist who lived with Geri. Mexican Manuel met Ann through Geri, even though Geri eventually fell in love with him. The author followed these young people through Paris for months to capture the brilliant moments of their lives, and added a spare commentary to tie it together.

Ann had orange hair and black around her eyes. "She danced like a negress" in the jazz club where Manuel first saw her. When Manuel told her that she said, "Thank you. I'd like to have a child by a negro. They are so elegant. Gentle and restful, too." Manuel reports, "I fell in love with her."

Over the course of the book, Ann takes many lovers and her relationship comes and goes with Manuel. So he is always on the outside looking in. This is literal as well as figurative, because he was often living on the streets while she had a place with Geri.

The photographs are the heart of the story. And they tell a dynamic story indeed of a vibrant and fascinating young woman who easily drew others to her. You will see the power of her personality and attractiveness in almost every image. Men stand straighter and move in languid circles to match her every twist. You can feel the pounding jazz and the self-confidence that take turns in animating her.

Her power over Manuel is intense. She eventually starts going with an American sailor. When the two of them go for a meal, Manuel is jealous and eats in the same restaurant in order to watch them. Unable to pay, he is arrested and spends two months in jail. He is sure that this has impressed her. The photographs capture the American and the jail where Manuel is sent in equally powerful images.

Ann's artistic work is nicely captured in a series of images that feature her work in progress as well as finished canvases.

Each of the photographs is very dark, often with graininess that suggests seedy surroundings -- which these were. The compositions are both complex and spontaneous. It must have taken remarkable patience to capture both simultaneously.

Part of the book's appeal is that it will make you feel quite young, and remember how intensely you felt at that age. The book is remarkably effective in that way.

After you finish enjoying the book and its noir environment, I suggest that you think about how the energy and intensity of youth can be directed into more constructive pursuits. What challenges can be made to be as much fun as partying nonstop in Paris cellars while great jazz pounds? Obviously, whatever you come up with should be sure to include its own fair share of partying, to celebrate important progress. I wonder if working for Habitat for Humanity abroad or doing missionary work could hold or be made to hold this kind of appeal. What do you think?

Live vividly with every cell of your existence . . . in pursuit of a worthy cause!

Rating:
Summary: Gritty Noir Look at Amour Among the Demimonde
Review: "It was the autumn of 1956. That night I had made love to Ann for the first time." Thus the narrative begins in this facsimile edition of the great 1954 fictional story of Geri, Ann, and Manuel on the Left Bank of Paris.

Think of this story as the illustrated version of Kerouac's "On the Road" for the bohemians from abroad living in Paris at the same time.

Anyone who has visited Paris has seen the young people living in cars, sleeping on the Metro and on park benches, and panhandling while enjoying the dubious pleasures of illegal drugs and the inspiration of great jazz. Well, it was like that in the early fifties, too, as this book so brilliantly displays.

Before going further, let me caution potential readers that the book openly discusses sexual topics (including sexual transmitted diseases), drug use, theft, and other crimes. No one will find this book as an exemplar of "right" living. In addition, some of the photographs are sexually suggestive or involve partial nudity. I have rated this as a five star book for its photographic essay and accompanying text. I would have rated it very low for the lack of morals that it projects if that were the basis of my rating.

Like "On the Road," this fictionalized account is based on real people. The central figure is Australian Ann, an artist who lived with Geri. Mexican Manuel met Ann through Geri, even though Geri eventually fell in love with him. The author followed these young people through Paris for months to capture the brilliant moments of their lives, and added a spare commentary to tie it together.

Ann had orange hair and black around her eyes. "She danced like a negress" in the jazz club where Manuel first saw her. When Manuel told her that she said, "Thank you. I'd like to have a child by a negro. They are so elegant. Gentle and restful, too." Manuel reports, "I fell in love with her."

Over the course of the book, Ann takes many lovers and her relationship comes and goes with Manuel. So he is always on the outside looking in. This is literal as well as figurative, because he was often living on the streets while she had a place with Geri.

The photographs are the heart of the story. And they tell a dynamic story indeed of a vibrant and fascinating young woman who easily drew others to her. You will see the power of her personality and attractiveness in almost every image. Men stand straighter and move in languid circles to match her every twist. You can feel the pounding jazz and the self-confidence that take turns in animating her.

Her power over Manuel is intense. She eventually starts going with an American sailor. When the two of them go for a meal, Manuel is jealous and eats in the same restaurant in order to watch them. Unable to pay, he is arrested and spends two months in jail. He is sure that this has impressed her. The photographs capture the American and the jail where Manuel is sent in equally powerful images.

Ann's artistic work is nicely captured in a series of images that feature her work in progress as well as finished canvases.

Each of the photographs is very dark, often with graininess that suggests seedy surroundings -- which these were. The compositions are both complex and spontaneous. It must have taken remarkable patience to capture both simultaneously.

Part of the book's appeal is that it will make you feel quite young, and remember how intensely you felt at that age. The book is remarkably effective in that way.

After you finish enjoying the book and its noir environment, I suggest that you think about how the energy and intensity of youth can be directed into more constructive pursuits. What challenges can be made to be as much fun as partying nonstop in Paris cellars while great jazz pounds? Obviously, whatever you come up with should be sure to include its own fair share of partying, to celebrate important progress. I wonder if working for Habitat for Humanity abroad or doing missionary work could hold or be made to hold this kind of appeal. What do you think?

Live vividly with every cell of your existence . . . in pursuit of a worthy cause!

Rating:
Summary: New information!
Review: Melbourne, Australia, September 2000. I have recently been sitting at Vali Myer's feet, listening to her marvellous stories about the people and places she lived in Europe from the late 40's. She set me straight about some things that appeared in "Love on the Left Bank" Her name was never "Ann" although she was married to Rudy Rappold, her name has always been Vali Myers! So, sorry for my mistake in assuming Ann had been Vali's name, it never was!

Rating:
Summary: New information!
Review: Melbourne, Australia, September 2000. I have recently been sitting at Vali Myer's feet, listening to her marvellous stories about the people and places she lived in Europe from the late 40's. She set me straight about some things that appeared in "Love on the Left Bank" Her name was never "Ann" although she was married to Rudy Rappold, her name has always been Vali Myers! So, sorry for my mistake in assuming Ann had been Vali's name, it never was!

Rating:
Summary: Love on the Left Bank
Review: This beautiful facsimile edition of "Love on the Left Bank" by Ed van der Elsken, (originally published in 1954) is a photographic narrative of the artists, writers and other creative characters that gave the Left Bank, Paris, its distinctive bohemian flavor. Through Ed van der Elsken's evocative black and white photography we participate in the cafe and street culture of the famous "Latin Quarter."

Ed van der Elsken's photographs have been exhibited in Paris, the Netherlands, London and New York. In "Love on the Left Bank" its impossible not to notice his adoration of Ann, "the girl with orange hair who danced like a negress." She appears throughout the book., with her entourage of men. The camera follows her intimately, like a jealous lover, into the bedroom she shares with a girlfriend, to the bars and cafes where she dances passionately, and glancing over the shoulders of her friends and the many men who swarm around her.

Van der Elsken gives us this rare opportunity to see the young Vali Myers, (formerly Ann Rappold) who is now recognized world wide for her amazing and magically intricate paintings, first begun whilst she was living hand to mouth in Paris in the 1950's. Some of Vali Myer's earlier drawings are also included in this unique book, which is yet another reason why it is a must for collectors of art and photography.

Rating:
Summary: Love on the Left Bank
Review: This beautiful facsimile edition of "Love on the Left Bank" by Ed van der Elsken, (originally published in 1954) is a photographic narrative of the artists, writers and other creative characters that gave the Left Bank, Paris, its distinctive bohemian flavor. Through Ed van der Elsken's evocative black and white photography we participate in the cafe and street culture of the famous "Latin Quarter."

Ed van der Elsken's photographs have been exhibited in Paris, the Netherlands, London and New York. In "Love on the Left Bank" its impossible not to notice his adoration of Ann, "the girl with orange hair who danced like a negress." She appears throughout the book., with her entourage of men. The camera follows her intimately, like a jealous lover, into the bedroom she shares with a girlfriend, to the bars and cafes where she dances passionately, and glancing over the shoulders of her friends and the many men who swarm around her.

Van der Elsken gives us this rare opportunity to see the young Vali Myers, (formerly Ann Rappold) who is now recognized world wide for her amazing and magically intricate paintings, first begun whilst she was living hand to mouth in Paris in the 1950's. Some of Vali Myer's earlier drawings are also included in this unique book, which is yet another reason why it is a must for collectors of art and photography.