The Way To Paradise

‘’THE Way to Paradise” is a semi-historical novel by the Nobel Prize winning Peruvian writer Mario Vargas Llossa (MVL). It has two parts, both of which are tragedies based on two seemingly unconnected lives: the French Impressionist painter Paul Gauguin (1848-1903) and the French writer cum political activist Flora Tristan (1803-1844). The narrative is interwoven through twenty two chapters alternating between the life, times, and struggles of Tristan and Gauguin. For those not familiar with their work, achievements or the evolution of their genius, the author does a good job of providing a coherent chronicle of the twists and turns of their respective life-journeys from cradle to grave.  Because both of them are nineteen century characters, it is a fair speculation that Vargas Llosa delved into the archival records of French municipal and colonial administration in depth before he decided to bring them together and to tie the knot in a single volume, although it is clear from the outset that Vargas Llosa did not scrimp on a generous dosage of his very rich imagination to paint portraits of their work and struggles with the loving touch of a gifted writer's caressing attention.  We also become aware of Vargas Llosa's sympathies for progressive causes as well as his deep appreciation of the culture and beliefs of the inhabitants of the Polynesian islands, particularly the Maoris and Marquesians in French Polynesia, where Gauguin was inspired to create his best-known work of art and spent the last years of his life.  

This book is but one from the legacy of the prolific writer, who was awarded the Nobel Prize for Literature in 2010, some of whose best known works include “The Feast of the Goat”, “The Bad Girl” and “Dream of the Celt. In the citation for the Nobel Prize, the Swedish Academy mentions that among his many contributions, he is unique among twentieth century writers "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat.”

Now I take back my earlier statement that there are no direct ties between Gauguin and Tristan, since we learn soon that the former is the son of Tristan's daughter Alina Maria Chazal and there are allusions to the genetic influence Tristan might have had on Gauguin's evolution from a successful stockbroker in Paris to a life of penury, pain, and single-minded pursuit of his later mission in life.  In a unique conversational style, the author reminds Gaugin, and thereby offers to comfort him, of the struggles of his grandmother. Thus, after all, one can see many similarities in the two lives and how they are interwoven in the inimitable technique of MVL.  

One of the main draws of the book is the graphic portraiture of the life of the poor in London, the workers in France, and the primitive but rich lifestyle of the island-dwellers of Tahiti, Hiva Oa and Marquesas. Flora Tristan is a socialist organizer who travels from France to London to escape her brutal husband, but also visits Peru when she was younger, and then came back to France to organize the workers and women to “save women from men and the poor from the rich”. She herself wrote several well-known books, including Peregrinations of a Pariah, The Workers' Union, and Promenades in London and her work offers a scathing critique of 19th century British social and civil order.

As an example, Tristan strongly criticizes two aspects of the English penal system: “the rule of silence, which required that prisoners never open their mouths and the prohibition that forbade them to work.” Another evidence of her keen sense of observation is her description of the condition of the Irish.  She had the feeling that “she was walking in a nightmare, among skeletons, old men crouched on little piles of straw, and women in tattered clothing. There was garbage everywhere, and rats scurried between people's feet. Not even those who had work made enough money to provide for their families. They all depended on gifts of food from the churches to feed their children”

Paul Gauguin's life, on the other hand, is more interesting for those who seek adventure and yearn for fellowship and knowledge. He had a family and lived a comfortable life in Paris working as a stock broker. In MVL's accounts of Gauguin's emotional development, his sympathy for the artistic community is clear: When Gauguin left his job in August 1883--at the age of thirty-five years-- he “had reached a breaking point. Spending a considerable part of the day doing something you hated, since it prevented you from painting—which by then mattered to you more than anything else.” However, it is clear that in some instances MVL is letting his romanticism and solicitude for Gauguin hinders a full reckoning of the painter's transgressions and leads to an over-simplification of his life and works.   

Let it be said, though, that MVL's mastery of the skills of a raconteur is unparalleled, as he goes about weaving the yarn of Gauguin's life as he travels to Martinique (via Panama, where he briefly worked on the construction of the canal) and then to Tahiti. Gauguin wanted to escape the “killing fields of  the Paris art world” and in pursuit of his “quests of the idyllic life”. The gems embedded in the novel are the descriptions of the artist at work as Gauguin creates some of his better-known work including The Yellow Christ, Where Do We Come From? What Are We? Where Are We Going? Vision After the Sermon and The Spirit of the Dead Keeps Watch.

The author, and through his heart and soul the reader, relives the last few days of Gauguin during which he struggles to finish his last major work of art, “The Sorcerer of Hiva Oa”, as he loses his eyesight, heroically holds back an unknown disease, and finally delivers a masterpiece in the very primitive setting with a lack of any modern amenities.

From historical documents, we know that the Impressionist painter had a learning curve as he transitioned from a novice to a landscape painter to portraiture. He then segues for a brief period to sculpting which evolves into his fascination with primitive cultures and his travels to remote islands.  Nonetheless, MVL provides a unique and loving portrayal of the trajectory of a painter's life on the path to self-discovery.  When an admirer asked him, “What is Impressionism?” he replies, “An expression of the whole human being: his intelligence, his skill as craftsman, his culture, but also his beliefs, instincts, desires, hatreds”. But there are some very casual remarks too. MVL writes, “Art had to break free from its narrow mold, from the tiny horizon to which it had been confined by the artists, critics, academics, and collectors of Paris: it had to open up to the world, mix with other cultures, expose itself to other winds, other landscapes, other values, other races, other beliefs, other ways of living and thinking.” This is a generic observation and a tad commonplace.

The most serious shortcoming of the volume is the effort of MVL to have two novellas under the same roof.  The other curious feature is the overly sympathetic storytelling of two very complex lives and historical interesting times into a simple one-sided perspective. Let it be told that we become aware of the causes and fascinating work of Tristan, albeit a little too romantic, waged in the hostile environment of Catholic and autocratic France. In that respect, it must be conceded that MVL is relentless in exposing the misdeeds of police and local authorities.  He writes that Tristan was “consumed by the idea of forging a great alliance of women and workers for the transformation of humanity”, and then also points out some of the earlier follies and the resistance she faces.  

He lovingly recounts the challenges of the 19th century reformer who sacrifices her family and travels from city to city trying to organize workers and draw them to her cause of better pay, workers' rights, and voice in their own life. She travels from one city to another, living in ill-situation motels, trying to raise money for the cause by selling her books. But the police, the capitalists and others are on her tail. Evicting her, harassing her, and using strong-arm tactics to discourage her from meeting with the workers.  Something a modern day labor organizer in Bangladesh will understand, since in MVL's words, “workers come secretly to her meeting apprehensive that if their employers find out they will lose their jobs”.  

The joy of reading a book by MVL is not only the story, which in this case is also based on historical research, but also his style and use of language (although somewhat lost in translation), his views of the world and his political sensibilities, and his ability to offer a credible record of our past. Paul Gauguin is part of our universal cultural heritage and MVL's take on his work, commitment to art, imagination, and creative process is a gift for not only for the artists amongst our midst but also for humanity. When Paul (and through him MVL) declares that the pursuit of one's calling sometimes demands sacrifices, it is both a reiteration of a principle from one of the world's great titans but also a roadmap for today's aspiring artists undertaking this hazardous journey. Similarly, the world that Flora Tristan lived in and her determination to change it for the better is a clarion call for action to help the poor and the helpless. After reading the story of Tristan, one almost becomes sympathetic to their causes and is able to see the pain and suffering of the underprivileged classes.

Dr. Abdullah Shibli, currently based in Boston, is an economist and IT professional.