A portraitist for the Spanish aristocracy before being struck deaf after an illness in 1792, Goya (1746–1828) subsequently developed a bolder, rougher style of religious fresco, sided with the French after they invaded, was pardoned by the Spanish king in 1814, and lived a more and more reclusive life, finally going into exile in Bordeaux in his final four years. In a conceit familiar from her previous titles (including The Emperor's Last Island, where British writer Blackburn juxtaposed a chronicle of Napoleon on St. Helena with her own life and travels), this book is as much about Blackburn's life as it is the second half of Goya's. Blackburn free associates, for example, from memories of her mother's paint studio to episodes from the life of Goya, finding parallel grotesques in each world. She interlards her narrative of Goya's life with her own tourist trips tracking his movements through Spain and France to the point where it can be difficult to tell the sets of experiences apart. The faux naïve tone that dominates the book seems to be an attempt to imitate the art writer John Berger's famed "peasant" style, with vastly inferior results: "Goya the deaf man makes me think of a toad.... But before he was deaf he was able to hear and before he was old he was young." For those serious about Goya's life and work, this book obscures more than it reveals.(May 7)
Forecast:Blackburn's mode of biography is a quasi-memoir—and memoirs still sell. But without a hook that can address the larger question of "why Goya, why now?" this book should do moderate business among readers who already identify with art and artists.
