Laura Elliot's Blog - Posts Tagged "eileen-gray"
A Captivating Interview
The Interview is a book that delivers what its title promises. Like all good interviews it probes, analyses, prods, hints, reveals - and leaves the reader with enough information to encourage further exploration of its subject.In The Interview the subject is the talented artist and furniture designer Eileen Gray - but perish the thought that this is a factual pieces of reportage. Think, instead, of finely wrought and lyrical prose that conjures up the sights, aromas and emotions of the bygone and glamourous world that nurtured her creativity.
Time and Destiny, Patricia O’Reilly’s first book about Eileen Gray, introduced us to a gifted artist, who blossomed in 1920’s Paris where she was renowned for her lacquer screens and furniture, her carpet designs and modernist architecture.
Paris is the setting once again for The Interview but it is now 1972 and Eileen Gray is in the winter of her days. Bruce Chatwin is young and will later establish his reputation as a travel writer and novelist. This actual meeting did take place but the interview for The Sunday Times Magazine was never published. This knowledge was the catalyst that inspired Patricia O’Reilly to assume a fly on the wall position and imagine the interaction between them when they met in Eileen Gray’s Parisian apartment. From her vantage point the author brings both characters to life and their stories, particularly that of Eileen Grey, slowly unfold as the interviewer gently probes his interviewee’s past and she reluctantly, at first, but gaining in trust, allows the key moments of her life to unfold.
O’Reilly’s touch is deft and authoritative. Her prose sparkles and her admiration for Eileen Gray, her fascination with the emotional and creative life of the designer is obvious from the beginning. The blending of fact with fiction is subtle, seamless and intriguing. We are offered tantalising glimpses into the private life of the artist, her childhood and the later years when she defied not only the conventions of her time by living the life she chose, but also undertook the demanding art of lacquering, which was certainly not considered a fitting occupation for a young woman from a privileged background.
As these two talented personalities spark off each other, and Bruce Chatwin's subtle questioning breaks down her initial reluctance to speak about her past, the influences in his own life take form and his enigmatic personality gradually emerges from the pages. We will never know why his real-life interview with Eileen Grey was never published. But this omission has created a captivating novel, beautifully written and absorbing. It is a pleasure to read and will add to the canon of information about this multi-talented Irish designer.
Time and Destiny, Patricia O’Reilly’s first book about Eileen Gray, introduced us to a gifted artist, who blossomed in 1920’s Paris where she was renowned for her lacquer screens and furniture, her carpet designs and modernist architecture.
Paris is the setting once again for The Interview but it is now 1972 and Eileen Gray is in the winter of her days. Bruce Chatwin is young and will later establish his reputation as a travel writer and novelist. This actual meeting did take place but the interview for The Sunday Times Magazine was never published. This knowledge was the catalyst that inspired Patricia O’Reilly to assume a fly on the wall position and imagine the interaction between them when they met in Eileen Gray’s Parisian apartment. From her vantage point the author brings both characters to life and their stories, particularly that of Eileen Grey, slowly unfold as the interviewer gently probes his interviewee’s past and she reluctantly, at first, but gaining in trust, allows the key moments of her life to unfold.
O’Reilly’s touch is deft and authoritative. Her prose sparkles and her admiration for Eileen Gray, her fascination with the emotional and creative life of the designer is obvious from the beginning. The blending of fact with fiction is subtle, seamless and intriguing. We are offered tantalising glimpses into the private life of the artist, her childhood and the later years when she defied not only the conventions of her time by living the life she chose, but also undertook the demanding art of lacquering, which was certainly not considered a fitting occupation for a young woman from a privileged background.
As these two talented personalities spark off each other, and Bruce Chatwin's subtle questioning breaks down her initial reluctance to speak about her past, the influences in his own life take form and his enigmatic personality gradually emerges from the pages. We will never know why his real-life interview with Eileen Grey was never published. But this omission has created a captivating novel, beautifully written and absorbing. It is a pleasure to read and will add to the canon of information about this multi-talented Irish designer.
