The novella has never been a hugely popular form. It’s often seen as a kind of in-between fiction, neither long enough to allow for satisfying character development and plotting, not brief enough to provide the concentrated impact of the best short stories. But it’s a form that I’ve always enjoyed and at its best it can combine something of the complexity of the novel with the economy of the short story
My first notion of Calypso Bergère was a kind of female Tintin, an intrepid teen-detective and adventurer inhabiting a slightly unreal, slightly indeterminate 1930s setting. But Tintin is ageless and sexless, and, to be blunt, two-dimensional.
This is the third in an occasional series of posts about the artistic and social world inhabited by Calypso Bergère. This post focuses on the third novella in the series, Calypso and the Accidental Recording, set in Paris in the spring of 1932.
This is the second in an occasional series of posts about the artistic and social world inhabited by Calypso Bergère. This post focuses on the second novella in the series, Calypso and the Christmas Map, set in Paris in the winter of 1931.
A woman singing for her lover on an amateur recording, and then the frightening sounds of violence and a death threat. What have Calypso and her friend Olivia just heard on the disc they found in a Left Bank record shop? Can the two young artists find out what really happened to the singer of the song?
A missing person. A mysterious map. A determined young woman. Can she solve the puzzle of the professor’s disappearance while everyone around her just wants to celebrate Christmas?
A mysterious painting. A spirited young artist. Can she discover the origin of the painting and learn the secrets of her mother’s past?