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Ellis Avery | 338 pages | 21 Feb 2013 | Penguin Putnam Inc | 9781594486470 | English | New York, United States
The Last Nude - Ellis Avery
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Thanks for telling us about the problem. Return to Book Page. The Last Nude by Ellis Avery. A stunning The Last Nude of love, sexual obsession,
treachery, and tragedy, about an artist and The Last Nude most famous muse in Paris between the World Wars.
Paris, In the heady years before the crash, financiers drape their mistresses in Chanel, while expatriates flock to the avant-garde bookshop
Shakespeare and Company.
One day in July, a young American named Rafaela Fano gets into A stunning story of love, sexual obsession, treachery, and tragedy, about an
artist and her most famous muse in Paris between the World Wars.
Struggling to halt a downward slide toward prostitution, Rafaela agrees to model for the artist, a dispossessed Saint Petersburg aristocrat with a
murky past. The two become lovers, and Rafaela inspires Tamara's most iconic Jazz Age images, among them her most accomplished—and
coveted—works of art. A season as the The Last Nude muse teaches Rafaela some hard lessons: Tamara is a cocktail of raw hunger and The
Last Nude artifice. And all the while, their romantic idyll is threatened by history's darkening tide.
Inspired by real events in de Lempicka's history, The Last Nude is a tour de force of historical imagination. Avery gives the reader a tantalizing
window into a lost Paris, an age already vanishing as the inexorable forces of history close in on two tangled lives. Spellbinding and provocative,
The Last Nude is a novel about genius and craft, love and desire, regret, and, most of all, hope that can The Last Nude time and circumstance.
Get A Copy. Hardcoverpages. More Details Original Title. Tamara de Lempicka. Paris France. Other Editions 9. Friend Reviews. To see what
your friends thought of this book, please sign up. To ask other readers questions about The Last Nudeplease sign up. See all 3 questions about
The Last Nude…. Lists with This Book. Community Reviews. Showing Average rating 3.
Rating details. More filters. Sort order. The Last Nude your review of The Last Nude. Sep 04, Kristen Hovet rated it it was amazing. I haven't
given five stars to a book in a long time, so that's something! This was such a beautiful book to read. I loved the subtle, smooth writing style, the
descriptions of everyday objects and happenings, the way the characters' eyes opened in different ways I loved all of it. I even loved the switch of
perspective at the end -- which, judging from many reviews, most people did not like or were uncomfortable with -- where The Last Nude enter
the mind of the person in the story whom we most come to re I haven't given five stars to a book in a long time, so that's something!
I even loved the switch of perspective at the end -- which, judging from many reviews, most people did not like or were uncomfortable with --
where we enter the mind of the person in the story whom we most The Last Nude to revile. I love when the The Last Nude characters get to tell
their side, when they become less two-dimensional and more human. We see them -- like a painting or photograph we might not have seen for
many years -- in a different light. I was so moved my the The Last Nude of the paintings, that I frequently found myself visiting a The Last Nude
showcasing all of The Last Nude de Lempicka's work.
I did this at least four times during different parts of the novel. I would click through them, fascinated by the stories each one tells. There are at least
four of de Lempicka's paintings that I would love to have on my walls. I love how Avery brought these human beings to life, while adding many
imaginative and bittersweet twists. View 2 comments. Shelves: releaseto-review.
When is a muse an inspiration and when is she a plaything? In danger of falling into prostitution, she meets Tamara De Lempicka, painter of exotic,
sexy Art Deco, and poses for several paintings.
Although outside the parameters of what I usually read, this period piece is well written and sensual. The writer skillful When is a muse an
inspiration and when is she a plaything? The writer skillfully paints the decadent lifestyle of artists of the time. The passion of the two women grows
as does their disparate outlooks on life.
Characters are well defined. Readers will glimpse the artistic culture of s Paris and enter the world of erotic lesbianism. Ellis Avery, inspired by a
Lempicka oil painting called, Beautiful The Last Nuderecreates their relationship in her second historical fiction novel. Another painting from their
affair, The Dream is the cover art for the book.
The book releases January 5, Reviewed by Holly Weiss, author of Crestmont View 1 comment. Jan 08, christa rated it really liked it. Historical
fiction is, essentially, literary fan fiction. The art deco portraits star a heavy-lidded woman with soft rounds of flesh, all red scarves and lipsticks and
shading. She was one of many The Last Nude De Lempicka painted and, of course, with whom The Last Nude artist got all deep sighs and panty.
She is intrigued by a Coco Chanel dress she saw once and resorts to doling out sexual favors in exchange for a new life. She goes a bit wild-child,
The Last Nude on tables and The Last Nude married men with her roommate Gin. De Lempicka finds the girl in a seedy prostitute hangout.
Rafaela is looking for a friend; De Lempicka is looking for a model. At first Rafaela is a substitute for a similarly shaped model, a commission who
has left town. But De Lempicka moves on to Rafaela as a subject and the work knocks the socks off art patrons.
Lots of lounging and grape eating, followed by messing up the sheets. After spending sexual energy as almost a job or a way of staying afloat,
Rafaela finds someone she enjoys screwing and falls hard for the artist, 10 years her senior.
Unfortunately, artists. De Lempicka might be walking the walk of love, but she is looking out for numero uno and pitting patron versus patron, with
Rafaela The Last Nude a pawn. Unfortunately, the last fourth of the book shifts voices in a way that feels like staying a bit too The Last Nude at
the party. The now aged artist considers her past and has her say on what it all meant. He is shades of Hemingway. He is dissing F. A wife and a
girlfriend.
View all 5 comments. Dec 11, C. At only fifteen years of age, Rafaela has fled her New York City home and staid disappointments of her family
to join the restless youth milling about the City of Light.
But Tamara is far more than she seems, and Rafaela, despite her street-wise veneer, becomes lost in a web of the artist's design, unaware that as
she dreams of love everlasting, Tamara strives only for recognition and security at any cost. Ellis Avery is an exceptionally talented and under-
appreciated writer whose prior novel "The Teahouse Fire" offered a lush portrayal The Last Nude Japan.
Here, she is in her element: THE LAST NUDE is almost terse yet also deeply evocative, unflinching in its paucity of florid description and searing
in its focus on two women from two different worlds, whose passionate collision sets off what, in retrospect, becomes an inevitable chain of events.
While Rafaela dominates the narrative, Tamara's presence is inescapable. Sleek as a panther, her long fingers paint-spattered and her nerve cold
as the sculpted drapery of her portraits, she embodies the Paris she inhabits - where what you pretend to be is more important than who you are,
and everything has its price.
In a refreshing departure from stories of tortured artists suffering for their craft, Tamara exudes ambition and The Last Nude.

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NOOK Book. Paris, The Last Nude the The Last Nude years before the crash, financiers drape their mistresses in Chanel, while expatriates flock
to the avant-garde bookshop Shakespeare and Company. Struggling to halt a downward slide toward prostitution, Rafaela agrees to model for the
artist, a dispossessed Saint The Last Nude aristocrat with a murky past. The two become lovers, and Rafaela inspires Tamara's most iconic Jazz
Age images, among them her most accomplished-and coveted-works of art.
A season as the painter's muse teaches Rafaela some hard lessons: Tamara is a cocktail of raw hunger and glittering artifice. And all the while, their
romantic idyll is threatened by history's darkening tide. Inspired by real events in de Lempicka's history, The Last Nude is a tour de force of
historical imagination. Ellis Avery gives the reader a tantalizing window into a lost Paris, The Last Nude age already vanishing as the inexorable
forces of history close in on two tangled lives.
Spellbinding and provocative, this is a novel about genius and craft, love and desire, regret and, most of all, hope that can transcend time and
circumstance.
Ellis Avery The Last Nude the author of The Teahouse Fire. The winner of three awards, The Teahouse Fire was translated into five languages.
Because the subject matter was one most American readers know little to nothing about, I felt an almost missionary obligation to offer the reader
everything I knew about that world-to lecture, really-and the book is paced accordingly.
My second novel, The Last Nudetakes place in Paris between the wars, a setting about which most readers know at least a little, and many
readers know far more than I.
It isn't news that flappers listened to jazz in the twenties, or that Europe in the forties was a bad place to be if you were Jewish. This time around, I
had to learn how not to The Last Nude but to converse, how to give the reader the pleasure of supplying missing information, how to leave things
out. The result of leaving things out is, I hope, a more fast-paced novel than my first.
I went into this book thinking about the various pitfalls artists can encounter-surfeit in Tamara de Lempicka's case, loss in Anson Hall's, history in
Rafaela Fano's-and I knew that if I was writing a novel about something as un-American as failure, I should at least try to make it sexy and The
Last Nude. Between the moment you first thought of writing The Last Nude and the moment you The Last Nude it, what in the story or in your
conception of Tamara and Rafaela changed most? At first, I had no idea I would wind up The Last Nude sixty pages in The Last Nude first person
from Tamara's point of view.
As I discovered a year and a half after having done so, adding her voice meant that, as Tamara, I could skip over things that, as Rafaela, I would
have needed to expand on. To that end, I condensed pages from Rafaela's point of view into two sentences from Tamara's, resulting in a leaner if
somewhat darker book. Cutting out a quarter of my novel at the last minute of the editing process The Last Nude the story away from Rafaela's
coming-of-age and onto the vexed relationship between the two women: now I think the book bears down more squarely on a key question: What
did the affair mean to each of them?
The other thing that changed most is that I initially imagined an unabashedly happy ending for Rafaela: I saw her in California, living with a nice
woman she'd met while studying the bodywork techniques pioneered by Ida Rolf. Groovy, huh? This ending was total fantasy, extraneous to the
central action of the story, and very like the ending of my first novel, The Teahouse Fire. That novel takes place in the Victorian period, and offers
a self-consciously Victorian ending: Good is rewarded, love comes at last.
Most of the action of The Last Nude Last Nude takes place inso ultimately it felt wrong to force a Victorian ending onto a Jazz Age novel. The
Last Nude more, in the next decades, so many Jews were killed in Europe that to report Rafaela's survival without making the story of how she
survived the focus of the book would be to disrespect the millions who died. At what points did you find you had to change a fact in order to make
a better fiction?
First, if Tamara's apartment and the train station had been on the same side of the Seine, there would have been no need for Rafaela to cross the
river on a crucial occasion toward the end of the book. For that reason, although the biographical Tamara-whom I got to know through the
excellent work of Laura Claridge-lived in what was at the time the newish-money Sixteenth Arrondissement of Paris, my fictional Tamara lives The
Last Nude the old-money Seventh.
Second, when I finished The Last Nude first novel, set in s Japan, I promised myself that my next book would be about English speakers. Of
course, next thing you know, I'm fired up to write about a Polish painter who grew up speaking French. Partly because the biographical Tamara
never specified the biographical Rafaela's nationality or origins, and largely for my own sake, to avoid writing another book full of translated
dialogue, I have taken the liberty of imagining an English-speaking Rafaela.
Third, and most interesting to me as a writer, there's a quietly counterfactual strand to this novel, which appears in the character of Anson Hall.
Hemingway buffs will wonder why Anson has the first name of one of Hemingway's grandfathers and the last name of the other, and also why I
have claimed the story that Hemingway's wife lost all his manuscripts on a train as Anson's story.
While Hemingway overcame the loss of his manuscripts and went on to The Last Nude his great first novels, Anson Hall is the man Hemingway
would have become if he had never overcome that loss: a nicer person than Ernest Hemingway, but a sadder one, too. In thinking about the pitfalls
artists can encounter, I wanted to play out the consequences of creative failure, which for me meant envisioning The Last Nude world The Last
Nude which certain works of art had never come into being.
I suspect that the world we live in is a poorer place for its paucity of artworks by women and other oppressed peoples, but a negative assertion
lacks the force of example. So I needed to eliminate a real artist. I know I poke fun at James Joyce in this novel, however much I owe the
inspiration for Tamara's final monologue to Molly Bloom, but I wanted to make a sacrifice that actually pained me, so Hemingway The Last Nude
the author whose life story I altered.
Jazz Age Paris without Hemingway in it-and an interwar literary tradition in which Gabriele D'Annunzio's name replaced Hemingway's-would be
pallid indeed, and my own life without A Moveable Feast in it would be so much the poorer. Could the relationship between Tamara and Rafaela
have happened anytime, or do you see it as specific to Paris in the twenties? I don't see Paris in the twenties as simply the setting in which the
biographical Tamara happened to be painting when she created Beautiful Rafaelathe painting that inspired this book.
Rather, what's remarkable about expatriate Jazz Age Paris is that it provided an environment in which a number of different kinds of romantic and
sexual relationships between women flourished in a way they rarely had before.
My point is, in the s, and especially in Paris, you see a concentration of lesbians in the arts, and at the center of the modernist movements in
literature and painting especially, that strikes me as singular and profoundly exciting.
These circles, however, have already been documented by top-notch scholars and biographers, and I'd be bored if I stuck to dramatizing the
research of others. Rather, I was interested in a world in which two women like Tamara and Rafaela can have an affair and have vastly different
interpretations of what it means.
It's not like Rafaela thinks she's inventing a new category of relationship from scratch when she falls in love with Tamara: surrounded by appealing
models of what look to her like marriages between women, she imagines she's embarking on one of them. At the same time, this is so long The
Last Nude Stonewall-let alone before same-sex marriage becomes legal anywhere-that Tamara can see what she's engaging in solely in terms of
sexual freedom, or decadent naughtiness, or a painter's prerogative: certainly nothing remotely related to marriage.
So I see the relationship between Tamara and Rafaela as specific to this time and place, which was The Last Nude in which sexual acts between
women seemed more possible than in preceding or subsequent decades and one in which the meaning of those acts was perhaps even The Last
Nude up for The Last Nude than it is today. My partner Sharon Marcus's scholarly work on nineteenth-century marriage between women has
influenced my own thinking considerably.
I sat for two paintings when The Last Nude was in my twenties. The experience itself was as dull as sorry watching paint dry, but I found myself
thinking things I hadn't thought before, both about what it's like to be in a body and about what it's like to look and be looked at.
I promised myself I'd come back to those thoughts one day. As part of the research for this book, I took a weeklong intensive figure-painting
class, less to become a painter than to see what it's like on the other side of the brush. What's it like The Last Nude stare at the same beautiful
naked woman for sixteen hours?
I wasn't surprised to find that my reactions changed from sexual excitement to visual and spatial problem-solving within the first few minutes of
each class. Nor was I surprised by the frustration I felt when the time ran out on each pose and I'd barely begun. What surprised me was the
feeling of delight-of love, The Last Nude washed over me on the second day of class when the same model came back, a feeling that felt separate
from the private, individual me, who said no more than "Hi" to her each morning and "Thank you" to her each afternoon.
I name that feeling in The Last Nude as "a gratitude, a joy that translates badly into words. I know how to mix these colors. I know what to do
with these lines. While I can't get behind the seigneurial assumptions that make The Last Nude think they have the right to sleep with their models, I
wouldn't have understood the layers of the The Last Nude reaction to the model, which consists of innocent gratitude and joy, if I hadn't
experienced it myself. Thanks to that class, I also learned the answer to a question that had been puzzling me for years: Why is Western art so
preoccupied with breasts?
Because they're easy The Last Nude draw! Based on my limited experience of painting and modeling, I think the biggest difference between
writers and painters lies in our relationship to labor and time.
A viewer can experience a painting in The Last Nude instant, no matter how long it took the painter to create the image, while a reader has to take
time to read The Last Nude the author's words, little by little, left to right, so that the work of art can take hours or days to make its full impression.
Conversely, a fiction writer can write something like "Sally Bowles showed up in a new fur coat" in a few seconds, while a figurative painter would
need hours to render an image of Sally and her coat: all those sequins, all that fur, all those brushstrokes.
I think my pacing of the affair between Rafaela and Tamara replicates the tension between instantaneity and slowness that seems peculiar to visual
artists: the novel begins with Rafaela making an impulsive, instantaneous choice to do exactly what our mothers always told us not to do: get into a
car with a stranger. But then the pace slows dramatically to accommodate what my painter friend Caroline Wampole calls "the hours in the paint"
that transpire between artist and model, the hours of looking and being looked at that allow, in Rafaela's case, for the slow blossoming of love, and
of her own vocation.
Home 1 Books 2. Add to Wishlist. Sign in to Purchase Instantly. Members save with free shipping everyday! See details. Struggling to support
herself, Rafaela agrees to model for the artist, a dispossessed Saint Petersburg aristocrat with a murky past. A tour de force of historical
imagination, The Last Nude is about genius and craft, love and desire, regret and, most of all, hope that can transcend time and The Last Nude.
About the Author. She taught fiction writing at Columbia University.
Show More. What about this second novel-a technique, or a subject-was a stretch for you? How does a painter's job differ from a writer's? How
does Rafaela change after they first meet? What kind of an artist is Tamara? How does each character Rafaela, Tamara, Anson, Gin support him
or herself? Has Tamara changed in the second half of the novel? If yes, how? Which woman needs the other more?
Does this change over the course of the novel? The paintings that appear in this book serve different functions. How did you respond to this
ending? Did your view of him change at all?

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