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(More customer reviews)There has been a recent interest in theories that undermine the undertakings of the Enlightenment and Modernism toward presenting a world made up of clear definitions and distinctions. This trend has thrown light upon those cultures and periods of history previously dismissed as irrational, decadent, or retrogressive. Further, owing to Post-Structuralist interests in language, scholars have increasingly turned towards realist novels and literature from the period being studied to unearth peculiar social environments that have remained concealed in the purely formal analyses of historical accounts.
Sharon Marcus in Apartment Stories identifies the novel as a significant mirror of everyday life. Literary criticism and cultural history, for Marcus, are intertwined disciplines that feed on each other. In Apartment Stories she uses an analysis of the nineteenth-century realist novel to illuminate a discourse about (not `on') apartment houses of the time. Employing texts that she calls `atypical', as a heuristic device for exploring the range and complexity of nineteenth century debates on domesticity and urbanism, Marcus sets herself the ambitious task of questioning conventional conceptions of the distinctions of private and public, interior and exterior, as well as masculine and feminine. She probes the text not only in terms of seeking social and physical implications of the described spaces but also in terms of the manner in which the narration itself inscribes spatial relations and establishes zones as exterior and interior, private and public, mobile and fixed.
Apartment Stories is divided into three parts. The first part, "Open Houses", discusses the apartment house as a space that refutes readability as a private, opaque, and interior space. The second part, "The City and the Domestic Ideal", discusses the cultural preference for the single-family house over the lodging houses (that resembled apartment houses) of Londoners. The third and concluding part, "Interiorization and its Discontents", deals with Paris during the Second Empire. The author claims that Paris became interiorized after 1850 and thereby challenges the established interpretation of the Second Empire Paris as one of spectacle, flânerie, and circulation. She also questions the famous notion of the Goncourt brothers that "the interior is going to die. Life threatens to become more public". Marcus, in view of the Parisian apartment house, explicates the impossibility of ever fully interiorizing the home.
Sharon Marcus's Apartment Stories provides interesting insights into the world of the bourgeois in nineteenth century Paris- though her ideas are not always convincing and not always substantiated with documentation. Her elaborate endnotes that occupy 81 pages at the rear of the book fail to provide the convincing evidence that more architectural drawings and photographs might. The book leaves the readers constantly searching through the text for `real' images of the physical character of the apartment houses to which they may correspond the analysis of the novel. In the absence of such documentation, the author herself feels the need to stop every now and then in order to summarize and locate within the overall scheme of the book what she had just written (which is also what makes the writing of the book-review easier). These impediments that occlude the understanding of her new insights are further assisted by what could be considered a methodological oversight. Her structure of discussions of the interior and exterior space rest upon the individual descriptions of interior and exterior space. The discussion does not flow from one to the other and that, I feel, strengthens the distinction between the two. A discussion of the in-between transition spaces, apart from perhaps the character of the portière, between the street and the house, that one would expect in a discussion of interior and exterior spaces, is also absent.
Marcus works from an impressive bibliography, one that partially compensates for her deficiencies in documentation and illustration. Apart from a slight error in quoting the publication date of James Stevens Curl's The Victorian Celebration of Death as 1872 instead of 1972, the bibliography, along with the book, becomes a wonderful resource for any scholarly study of nineteenth century France and England in the fields of feminist theory and criticism, geography, urban studies, architectural history, literary criticism, and interdisciplinary research on everyday life.
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Apartment Stories: City and Home in Nineteenth-Century Paris and LondonIn urban studies, the nineteenth century is the "age ofgreat cities." In feminist studies, it is the era of the separatedomestic sphere. But what of the city's homes?In the course ofanswering this question, Apartment Stories provides a singularand radically new framework for understanding the urban and thedomestic. Turning to an element of the cityscape that is thoroughlyfamiliar yet frequently overlooked, Sharon Marcus argues that theapartment house embodied the intersections of city and home, publicand private, and masculine and feminine spheres. Moving deftly from novels to architectural treatises, legal debates,and popular urban observation, Marcus compares the representation ofthe apartment house in Paris and London. Along the way, she excavatesthe urban ghost tales that encoded Londoners' ambivalence about citydwellings; contends that Haussmannization enclosed Paris in a newregime of privacy; and locates a female counterpart to the flneur andthe omniscient realist narrator--the portire who supervised theapartment building."Apartment Stories works from the brilliant premise that urbanculture and domestic architecture are indeed related in a number ofunpredictable and mutually enlightening ways. Marcus's readings ofBalzac and Zola novels in the context of the new urban architectureare absolutely superb, and she remains subtle and unexpected at everystep." --Bruce Robbins, author of Feeling Global
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