13, Rue Thérèse by Elena Mauli Shapiro

By Elena Mauli Shapiro

American educational Trevor Stratton discovers a field jam-packed with artifacts from global struggle I as he settles into his new workplace in Paris. the images, letters, and items within the field relate to the lifetime of Louise Brunet, a feisty, fascinating Frenchwoman who lived via either international Wars.

As Trevor examines and files the relics the field deals up, he starts to visualize the tale of Louise Brunet's lifestyles: her love for a cousin who died within the struggle, her marriage to a guy who works for her father, and her allure to a neighbor in her development at thirteen rue Thérèse. The extra time he spends with the items notwithstanding, the more true his imaginings of Louise's lifestyles turn into, and the extra he notices one other captivating Frenchwoman: Josianne, his clerk, who planted the field in his place of work within the first position, and with whom he unearths he's falling in love.

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His father is disappointed that the boy will not pursue his studies in law but understands that the boy is good with his hands and wants to do something with them. The boy has always been gifted with tiny work. His protruding ears are endearing. He is too young to even know that a portrait from a profile or three-quarters perspective would be immensely more flattering. The ears would not stick out so. Eventually, he will figure this out. If you were a romantic, and you hadn’t just been pulled back here through what is to come, you would say: He has his whole life ahead of him—how lucky he is.

These are the largest photographs—they rested on top of all the artifacts. They are approximately six by nine inches, and quite beautifully preserved. The first is dated 26 January 1943. ) a postcard from a father to his daughter from the front lines, dated 12 October 1918. a rosary. ” (The thing fits in the palm of the hand. ) two calling cards: one for M. & Mme Henri Brunet, and one for Madame Henri Brunet alone. (I have not yet found a photograph of the woman herself. Perhaps I will, but I’m not sure—perhaps she is not much for pictures of herself?

Well, you cannot, and such is the state of things. You will have to back up, and find another way around; it can’t be that complicated. ” The man enunciates clearly enough that Louise and Garance can hear his every word, though he does not raise his voice. His tone is not angry: it is merely a statement of what must be, with an edge of mocking dismissal rising into the last question. His voice admits no objection—Louise thinks its authority is even more attractive than that of the black-suited man on the metro.

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