Top, screen captures from various webcams in Austria, Italy and Germany showing Northern Lights, May 10, 2024. Via Nahel Belgherze. Bottom, Clarence John Laughlin,
Woman Attacked by a Cloud (Descent of a Cloud), 1941, Silver gelatin print. Via.
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Throughout
The Mystery Guest, Boullier certainly does not sound like a man in top form, and his willingness to make himself appear buffoonish saves the book from being an agonizing exercise in flowery self-pity. In the kind of perfectly ironic detail that could only come directly from real life, he decides to distinguish himself by spending more than a month’s rent on a bottle of 1964 Margaux, only to learn that as part of her artistic practice, Calle keeps all of her birthday gifts in storage in their original wrapping. (If he really
had been Jesus Christ, a bottle of Evian would have sufficed.) At the party, Boullier talks shit, and crosses the line between anonymous, iconoclastic interloper and garden-variety wine-drunk jerk. The prose is breathless, sometimes drunk seeming itself, and there is something realistic, even touching, about its perpetual ricocheting between hope and despair, often within the span of a single sentence. It is a tightly written portrait of the artist as a young(ish) mess, and its ingenuity lies in its positioning of the “mystery guest” as an idealized state that exists in diametric opposition to the thoroughly unmysterious position of the ex-lover. Familiarity breeds contempt, and it can also hasten breakups. If Boullier can make himself unknowable enough again, perhaps he can represent not only Calle’s future but also that of the woman who once loved him.
His problem—much to our delight, since this dilemma is what lends the book its jittery edge—is that he cannot be mysterious to save his life. In the final pages of the book, Boullier and Sophie Calle meet again some years later, and despite his misogynistic flinching at her age (“in five years she’d be fifty-five, and then sixty, and that vision was hopeless and implacable”), it becomes clear that they are twin souls, if not necessarily cut out to be lifelong soulmates: obsessed with fate, and to some degree with themselves, they have an eye for the kind of minor details that make for terrific fiction, even when they are supposedly recording facts. For a time after this meeting, they were lovers, until Boullier eventually sent her a meandering, self-important breakup email. Calle—in a move that a man so obsessed with signs surely ought to have foreseen—anonymized him as “X” and turned the email into her 2007 entry for the Venice Biennale,
Take Care of Yourself, asking women from 107 different professions, from a cruciverbalist to a Talmudic scholar, to interpret his words. If dumping a writer is a risky move, dumping an artist might be more dangerous still: like an invading force, they tend to recruit collaborators.
