As I always try to show support for my fellow art in fiction authors, it’s a pleasure to welcome historical fiction author Drēma Drudge to my blog today with an excerpt of her novel Victorine, releasing on March 17th by Fleur de Lis Press
Chapter One: Portrait of Victorine Meurent, Paris, 1862
I am called The Shrimp, Le Crevette because of my height and because I am as scrappy as those little question-mark-shaped delights that I used to study when my father took me to Les Halles. I would stand before the shrimp tank and watch the wee creatures paw at the water, repeatedly attempting to scale the tank, swimming, sinking, yet always rising again. I hoped eagerly for one to crest the tank, not realizing until later that the lid was there precisely to prevent their escape.
So why am I reminded of that tank today?
Today, while I am giving a guitar lesson in my father’s lithography shop, the gifted yet controversial painter, Édouard Manet, enters the shop. He gives me the nod.
I cover the strings of my guitar with my hand to silence them.
Pѐre has mentioned Manet’s recent patronage of his shop, of course, but I have never been here when the artist has come by.
“M. Manet, this is my daughter, Victorine. I believe you’ve. . . .”
“We’ve met,” I say.
“And where is it we have met, Mademoiselle?” he asks, wincing as he looks in the vicinity of my nose.
Is this a snub? I run my hand over the swollen, crooked lump of flesh on my face.
“I must be mistaken.” I turn away, smiling bitterly at my quick temper, at my trying to turn up a nose such as this. Of course he doesn’t recognize me.
I motion for my student to put her guitar away: “That’s enough for today, dear.” Though she looks at the clock with a puzzled brow, she does as I say.
My father graciously allows me to give lessons in his shop, claiming he loves to hear young musicians learning to play, though I suspect it’s more because my mother hates allowing anyone into our house besides her regular millinery clients.
Manet moves toward me, puts his face close to mine; I don’t pull away, but only because that is the way painters see. I would have punched another man for standing so close. He snaps his fingers. “Le Crevette?” he exclaims, backs away.
I raise my chin to regard the posters on my father’s wall. The Compagnie Francaise de Chocolats et des thes declares my father’s fine sense of color, his signature mingling of coral and scarlet. The other posters reveal his repeated twinning of these colors.
Manet grasps my hand with frank friendliness that I almost believe. Want to believe. “It is you; I’ve seen you model at Coutoure’s. But what has happened to your nose?”
I rise on my toes, though the height it gives me is minimal. I motion for Gabrielle to gather her music, and she shuffles the sheets.
I move closer to him while withdrawing my hand from his, take out my emerald green enamel cigarette case (a gift from a wealthy student at Coutoure’s studio) and light a cigarette. I empty my lungs straight at the yellowing ceiling, though my torso is not a foot from his.
My father frowns and waves the smoke away; how many times must I tell him that I am eighteen and I will smoke if I please? He smokes a pipe sometimes. What’s the difference?
“I give guitar lessons now. Obviously, I’m no longer a model.”
Manet’s eyes graze on me. I stand straighter. When I realize it, I relax.
To continue reading, purchase your copy of Victorine here:
In 1863 Civil War is raging in the United States. Victorine Meurent is posing nude, in Paris, for paintings that will be heralded as the beginning of modern art: Manet’s Olympia and Picnic on the Grass. However, Victorine’s persistent desire is not to be a model but to be a painter herself. In order to live authentically, she finds the strength to flout the expectations of her parents, bourgeois society, and the dominant male artists (whom she knows personally) while never losing her capacity for affection, kindness, and loyalty. Possessing both the incisive mind of a critic and the intuitive and unconventional impulses of an artist, Victorine and her survival instincts are tested in 1870, when the Prussian army lays siege to Paris and rat becomes a culinary delicacy. Drema Drudge’s powerful first novel Victorine not only gives this determined and gifted artist back to us but also recreates an era of important transition into the modern world.
About the Author:
Drēma Drudge suffers from Stendhal’s Syndrome, the condition in which one becomes overwhelmed in the presence of great art. She attended Spalding University’s MFA in Creative Writing Program where she learned to transform that intensity into fiction.
Drēma has been writing in one capacity or another since she was nine, starting with terrible poems and graduating to melodramatic stories in junior high that her classmates passed around literature class.
She and her husband, musician and writer Barry Drudge, live in Indiana where they record their biweekly podcast, Writing All the Things, when not traveling. Her first novel, Victorine, was literally written in six countries while she and her husband wandered the globe. The pair has two grown children.
In addition to writing fiction, Drēma has served as a writing coach, freelance writer, and educator. She’s represented by literary agent Lisa Gallagher of Defiore and Company.
For more about her writing, art, and travels, please visit her website, www.dremadrudge.com, and sign up for her newsletter. She’s always happy to connect with readers in her Facebook group, The Painted Word Salon, or on Instagram, Twitter, and LinkedIn.