Erik Satie - composer, dandy, eccentric - is dead. Told to select one memory to take with him into the afterlife, he finds himself in limbo with a community of the deceased, looking back at his fifty-nine years for its most precious moments. Evenings of absinthe at the Chat Noir? Friendships with Debussy, Duchamp and Man Ray? What of his great musical triumphs and disasters? How will he choose his own legacy before silent whiteness descends? Venice, 1511. In the convent of Sant' Alvise, Oliva is about to take the veil ... Read More
Erik Satie - composer, dandy, eccentric - is dead. Told to select one memory to take with him into the afterlife, he finds himself in limbo with a community of the deceased, looking back at his fifty-nine years for its most precious moments. Evenings of absinthe at the Chat Noir? Friendships with Debussy, Duchamp and Man Ray? What of his great musical triumphs and disasters? How will he choose his own legacy before silent whiteness descends? Venice, 1511. In the convent of Sant' Alvise, Oliva is about to take the veil and become a bride of Christ. When her world is shaken - first, literally, by an earthquake, and then, spiritually, by forces that threaten to change the convent for ever - she begins to ask questions about her faith and her future. When she agrees to sit for Signor Av???lo, the renowned portrait painter, he brings with him a diabolical object: a mirror. And reflections can be dangerous. Told with playful elegance, these are two utterly original tales of art and devotion, of religious and creative fervour. They contemplate the eternal in different ways - one examining a life only just beginning, tentatively; the other a life lived without compromise as it reaches its close. Read Less
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Erik Satie (1866-1925), the French avant-garde composer and pianist (his mother was Scottish), was for the last 27 years of his life resident in a room which no other person had ever visited. When he died it was found to be in a state of utter chaos. There were two grand pianos, one on top of the other; the top one had been used as a receptacle for papers and letters among other things. His velvet suits were also there, reminiscent of his time at Montmartre in the 1890s, when he came to be known as 'The Velvet Gentleman" as he was always seen attired in a corduroy velvet suit.
This book should appeal not only to Satie fans, but also to those not familiar with his life and music. Many books have been written about Satie, the 'eccentric' composer, but, I think, because this book, though based on facts, is presented as fiction, in which Satie looks back at his own life after he has died, it makes it that much more interesting and fascinating. A remarkable man who always did his own thing.
