{"product_id":"metropolitan-stories-isbn-9781635420937","title":"Metropolitan Stories","description":"\u003cb\u003e\u003cb\u003e“Only someone who deeply loves and understands the Metropolitan Museum could deliver such madcap, funny, magical, tender, intimate fables and stories.” —Maira Kalman, artist and bestselling author of \u003ci\u003eThe Principles of Uncertainty\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e \u003cbr\u003e\u003cb\u003e\u003cb\u003eFrom a writer who worked at the Metropolitan Museum for more than twenty-five years, an enchanting novel that shows us the Met that the public doesn't see.\u003c\/b\u003e\u003c\/b\u003e \u003cbr\u003e\u003cb\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e Hidden behind the Picassos and Vermeers, the Temple of Dendur and the American Wing, exists another world: the hallways and offices, conservation studios, storerooms, and cafeteria that are home to the museum's devoted and peculiar staff of 2,200 people—along with a few ghosts.\u003cbr\u003e\u003cbr\u003eA surreal love letter to this private side of the Met,\u003ci\u003e Metropolitan Stories\u003c\/i\u003e unfolds in a series of amusing and poignant vignettes in which we discover larger-than-life characters, the downside of survival, and the powerful voices of the art itself. The result is a novel bursting with magic, humor, and energetic detail, but also a beautiful book about introspection, an ode to lives lived for art, ultimately building a powerful collage of human experience and the world of the imagination.“A love letter to the monumental institution…[\u003ci\u003eMetropolitan Stories\u003c\/i\u003e] reads like a work by John Cheever…[Coulson] captured the spirit of the place and brought it magically to life.” —\u003ci\u003eWall Street Journal\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Coulson worked at the Met for 25 years…Now, she is writing in her own voice—and sometimes, in the voice of the artworks themselves. Her debut novel, \u003ci\u003eMetropolitan Stories\u003c\/i\u003e, goes behind the scenes at the museum. It’s a series of loosely connected stories about the people and objects that fill the galleries.” —NPR, “All Things Considered”\u003cbr\u003e\u003cbr\u003e“This series of vignettes goes beyond what a casual visitor to the museum might see and offers a witty, enjoyable look at the elegant and sometimes unhinged world that exists within its walls.” —\u003ci\u003eTown and Country\u003c\/i\u003e, The Must-Read Books of Fall 2019\u003cbr\u003e\u003cbr\u003e“A vivid, comedic, tender, and episodic debut…Coulson is emotionally keen, acerbically witty, fleetly imaginative, and lyrically resonant, her love for the Met, for humanness, and for beauty radiant on each surprising page.” —\u003ci\u003eBooklist \u003c\/i\u003e(starred review)\u003cbr\u003e\u003cbr\u003e“[A] sly, whimsical debut…Those who think they know [the Met] will be beguiled by the look behind the scenes; those unfamiliar with it will be prompted to make its acquaintance.” —\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Delightful and sharply observed…Coulson’s erudition is worn lightly, and any worry that the Met’s self-importance has rubbed off on her is quickly banished by the author’s sly wit.” —\u003ci\u003eNew Criterion\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“In this series of loosely linked surreal vignettes, Coulson takes us on a tour of the hidden world that tourists never see…an alternative guidebook to [the Met’s] rich treasures.” —\u003ci\u003eKirkus Reviews\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Written with elegance, wit, and a flair for comic genius, \u003ci\u003eMetropolitan Stories\u003c\/i\u003e describes the museum world as it is and as it strives to be. Coulson is a brilliant narrator of the fantastical and the all-too-plausible excesses of curators and museum directors. Her infectious sense of fun, her steady flow of insights into the human heart and its foibles, her wanton but beady-eyed attention to blind ambition, her passion for art itself, and most of all her deep sense of human character make this not only a delightful book, but also a deeply rewarding one. It marks the emergence of a major new talent.” —Andrew Solomon, author of \u003ci\u003eThe Noonday Demon\u003c\/i\u003e and \u003ci\u003eFar from the Tree\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Only someone who deeply loves and understands the Metropolitan Museum could deliver such madcap, funny, magical, tender, intimate fables and stories. We are swept away in the museum. Beauty abounds. Yearning too. The art literally comes to life. And it makes perfect sense.” —Maira Kalman, author of \u003ci\u003eThe Principles of Uncertainty\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e“With \u003ci\u003eMetropolitan Stories\u003c\/i\u003e, Christine Coulson gives us a book as kaleidoscopic and enchanting as the museum it brings so imaginatively to life. Witty, enthralling, and utterly original, this novel is a treasure.” —Caroline Weber, Pulitzer Prize finalist for \u003ci\u003eProust’s Duchess \u003c\/i\u003eand author of \u003ci\u003eQueen of Fashion: What Marie Antoinette Wore to the Revolution\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“This book—which is about art but really about life, and the afterlife of art—is a wonder. Coulson reverses the currency between spectator and spectacle, and in the process explodes the idea of how art lives. She accordions time, history, art theory, and the sub-sub culture of a massive public institution into 245 pages of mischievous, heart-tugging, and surreal fancy. My visits to the Met will never be the same.” —Leanne Shapton, National Book Critics Circle Award–winning author of Swimming Studies\u003cbr\u003e\u003cbr\u003e“Every painting, every tapestry, every fragile, gilded chair in the Met not only has a story, but gets to tell it, in Christine Coulson’s magical book. The history, humor, wonder, and—perhaps above all—beauty that Coulson absorbed in her twenty-five years at the museum burst forth from these pages, in her wry and imaginative tales of the people and objects that make the Met all that it is.” —Ariel Levy, staff writer for \u003ci\u003eThe New Yorker\u003c\/i\u003e and \u003ci\u003eNew York Times\u003c\/i\u003e bestselling author of \u003ci\u003eThe Rules Do Not Apply\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e“Stories define museums, and none more so than the Met. But it takes imagination as much as knowledge to recognize and appreciate them, as Christine Coulson’s enchanting novel reveals. Melding fact and fiction, art history and autobiography, her strange tales of mutually dependent artworks and caretakers beat with a pulse that oscillates between the real and the unreal, the ordinary and the extraordinary. More than any scholar or connoisseur, Coulson’s exquisite book captures the essence of the Met—its ability to delight, surprise, astonish, and, ultimately, to dream.” —Andrew Bolton, Curator in Charge, the Metropolitan Museum’s Costume Institute\u003cb\u003eChristine Coulson \u003c\/b\u003ebegan her career at the Metropolitan Museum of Art in 1991 as a summer intern in the European Paintings Department. She returned in 1994 and, over the next 25 years, rose through the ranks of the Museum, working in the Development Office, the Director’s Office, and the Department of European Sculpture and Decorative Arts. In 2019 she left the Met to write full-time.\u003cb\u003eWE \u003c\/b\u003e  \u003cbr\u003e   \u003cbr\u003eWe protect them and save them and study them. After a time, we realize—some of us slower than others—that they are protecting us, saving us, studying us. “We” are generations of golden children, thousands of staff members, raised by the Metropolitan Museum, put in its ward and shaped and stretched until our eyes can spot beauty like we’re catching a ball, quick and needy, clutching it to our chests so it is ours, all ours.\u003cbr\u003e Our knees buckle as we learn every one of the museum’s tangled paths—every gallery, every limestone hall, every catwalk and shortcut, every stairway up and down and across and over—until our muscles, tutored and trained, always bend us in the right direction. \u003cbr\u003eWe dream of chalices and Rothkos, African masks and twisting Berninis unfolding in our minds like so many fluttering pages. Our hearts stutter with their stories, so many stories that words won’t do. We need to show you what we see, what we have woken up, right here, right now, in this shiny box.\u003cbr\u003e “They” are the objects, the art, the very stuff of the place. The things the public comes to see and longs for us to sing about, loudly and clearly and with every breath, until the visitors are too inspired, too tired, to see another bronze, another altarpiece, another sword or portrait or vase. After buying a bag of proof in the shop—a sack that says the museum has been done, with Van Gogh napkins to prove it—the visitors leave.\u003cbr\u003e We and the objects stay. We have our evenings to cling together and our mornings to reunite. We connect like neighbors across a fence, one side always knowing more; we like to think it’s us, but it’s them. Our hungry scholarship scratches for what they’ve already lived. Those objects were there, saw the whole thing, right in front of them. Watched the tomb door close, pinching the sunlight until it narrowed to one last blinding stripe, then \u003ci\u003ethrrump! \u003c\/i\u003eGone. \u003cbr\u003eWe depend upon their magic, know it like a quiet superstition. The objects glide into our world—once fixed, now moving—each time showing up somewhere we did not expect. Because we did not realize that we needed to be rescued by marble and silk, or canvas and oil paint, or charcoal upon a page, pushing beyond gilded frames and glass cases to reach out and do with us what they will, always for good. Never against us. Those works of art \u003ci\u003ework\u003c\/i\u003e—to make the right things happen and sweep the wrong things down the steps of the museum in heavy drips that collect and wash away. And we are breathless and relieved to have the art on our side. It is why we never leave. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCHAIR AS HERO \u003c\/b\u003e  \u003cbr\u003e  \u003cbr\u003eSometimes I wish we had a support group. We would start by introducing ourselves. “Hi, I’m a fauteuil à la reine made for Louise-Élisabeth, Duchess of Parma.”\u003cbr\u003e The other chairs would immediately think I’m an asshole, particularly the older Windsor chairs.\u003cbr\u003e Everyone would know that I still have my original upholstery and that I’ve made cameo appearances in a few minor paintings. There’s some cred in that, but also a lot of resentment.\u003cbr\u003e I remember back in Paris when a master carver sculpted me into coils and tendrils, decoration so florid that even my smoothest surface arched into acrobatic movement: swinging, reaching, bounding, wrapping with wisteria determination. \u003cbr\u003eGold leaf coated each of these spiraling forms. The sheets of the precious metal, impossibly thin, floated onto my exposed wood like a soft rain, cool and tender. Silk velvet was then stretched across my curves, a fine, bespoke suit, taut and precise, with glistening ornament along its edges.\u003cbr\u003e I can picture Louise-Élisabeth’s daughter, Isabella, age eight, on the day I arrived from France at the Ducal Palace of Colorno in Parma. It was 1749, and she stroked my crimson velvet with such care, trying to appear grown up and sophisticated.\u003cbr\u003e But I also remember when she curled herself within my arms and cried fat, messy tears, her knees tucked tightly beneath the panniers of her gown with its flowers and ribbons. I can still feel the heaving of her chest against my back as she shivered gently to the rhythm of her sobs. How I wish I could have swayed along with that pulsing sorrow to comfort her.\u003cbr\u003e Only five years later, Isabella’s siblings, Ferdinand and Maria Luisa, would topple into me during \u003cbr\u003eaudiences with their parents and pull at my gold trimmings, as clumsy and silly as any children, despite their finery.\u003cbr\u003e One time at the Met, a small boy—not more than three years old—wandered past the barriers in the Wrightsman Galleries and headed straight for me. Almost two hundred and twenty-five years had passed, but he reminded me so much of those toddlers back in Parma.\u003cbr\u003e \u003ci\u003eCome on little guy! \u003c\/i\u003eI thought from behind the gallery ropes. \u003ci\u003eYou can make it! \u003c\/i\u003e\u003cbr\u003e The boy’s plump hands extended forward, propelled by his thick, tumbling waddle, his shoes clomping on the gallery floor. I felt like I was hanging from a cliff waiting for him to grip my arm and save me. Then a breeze of moist heat floated past as his mother grabbed him at the very last second—just before he reached me. That was 1978. I still dream about it. I imagine the boy climbing up onto my seat. His pleasant folds and warm, springy pudge nestled between my arms. A small puddle of drool soaking into my velvet, the life of it racing through to my frame. \u003cbr\u003e\u003cbr\u003eI would share those dreams in the meetings.\u003cbr\u003e Of course, I remember the lonely attics and warehouses, too. Rooms of swollen heat and shrinking cold. Dark, hollow, airless. A desolate purgatory, despite the stacked and crowded landscape, a bulging mountain range of the stored and forgotten.\u003cbr\u003e In the brittle stillness, dust showered down upon me with a fragile constancy, like some gray and final mist, ashen drifts accumulating on my every surface. For decades, I ached for the feel of footsteps rattling through the floorboards, quivering up my legs, delivering some—any—faint agitation of life. And oh, to be the chosen one when that door finally swung open, the chooser blackened against the blaze of ripe and glorious light! Storage would definitely come up in the meetings, too.\u003cbr\u003e Eventually I landed back in Paris at Maison Leys, the city’s foremost interior decorating firm at the turn of the century. There, in 1906, the legendary connoisseur Georges Hoentschel sold me to the American giant J.P. Morgan, along with two thousand other pieces of furniture. Morgan gave the whole lot of us to the Met, where I will always live in great splendor. \u003cbr\u003eBut Parma was my home. I will never forget the light and shadow of those glorious rooms of my youth. Some days I trace every detail in my mind, the way prisoners do to survive captivity. I feel Louise-Élisabeth’s body collapsing onto me, tired and alone: the fearless daughter of a king, frustrated by her timid spouse and hindering lack of beauty. I can still smell the sour odor of her flaccid husband as he picked at my gilding.\u003cbr\u003e Little Maria Luisa eventually became Queen of Spain after she was engaged to her cousin Charles at age eleven. Short and not as pretty as her older sister, her feet swung lazily from my edge as she listened to her mother explain the arrangements of the loveless marriage. As rebellion or consolation, a parade of lovers would later sink into my velvet during Maria Luisa’s reign.\u003cbr\u003e Maria Luisa kept me with her until she died in Rome in 1819. I held her through the fear and tragedy of twenty-four pregnancies over twenty-eight years. Only six babies survived.\u003cbr\u003e I wouldn’t talk about those memories in the meetings.","brand":"Other Press","offers":[{"title":"Default Title","offer_id":46299907457253,"sku":"NP9781635420937","price":17.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781635420937.jpg?v=1767732600","url":"https:\/\/k12savings.com\/es\/products\/metropolitan-stories-isbn-9781635420937","provider":"K12savings","version":"1.0","type":"link"}