Kurt L Mercier , one might reasonably say, likes, indeed is drawn to the immediacy of spoken words. One can almost say that they are like social hallmarks, stamped on the rich, variegated air of bustling places. These are places for familiar faces and strangers and the author realises this most keenly. The copy is neatly sliced into a form which in the main, hints at a cinematic or televisual dialogue and the scenes kept crisp and fresh. The very real life setting of the familiarity of the café which becomes something of a 'must go to' venue might remind the reader (and potential viewer) of the charmed familiarity of speaking with and meeting with friends in a sort of 'social sanctuary'. Details are kept deliberately terse and one might go so far as to say that overt description and even 'tools' such as colouration and the concept of the passer by, say for distraction, (a walk-on part) are quite abandoned as part of the plan, the better to concentrate on the characters and their individualities. Everyone becomes a 'talking portrait.' Their very real conversations are compelling and one almost feels like an eavesdropper! One might think of the old cliché, 'If only the walls could talk' for we imagine that they must have ears! The café is kept deliberately anonymous and surely will make everyone think of their own favourite meeting spot - venues in real life in London, say, like Maison Bertaux, Richoux, Patisserie Valerie and so many whose names might be hard to recall (and many have closed) but one can easily find in the pages of history, as they are familiar venues, stages and pages where surely the coffee-quaffers become performers. Mercier immediately reminds that the very concept of 'café society' is one which is instantly European as anyone who has, say, enjoyed the pleasures of legendary Parisian venues such as café de Flor or Aux Deux Magots - both have been in the long past and now, gathering points for intellectual and also by the by chatter. Think a little and imagine what Budapest or Vienna for example would be without a vibrant café society. Berlin, of course, too. And back to London...Could the famous, international Edgware Road be anything without its intimate refreshment spots cheek by jowl with those green grocers selling jewel-like fruits, sculptural vegetables and unusual spices? These establishments are pit-stops, meeting salons, places to see and be seen...There is a sense of 'a quiet occasion' about them all.
But the location is everything. The café becomes part of the visitors, their confidante, their refuge and indeed, their sanctuary. You feel a sense of safety and secrets shared in your favourite place. cafés are magical magnets and Mercier's intent is one of certain celebration of the fact - from the bricks and mortar to the familiar hiss of the gleaming, silver tone and stalwart Gaggia machine.
ROBIN DUTT Author, Journalist, Lecturer.
His books include, 'DANDEMONIUM' - (The Dandy Defined), two volumes on the art of painter Martin Leman and a monograph of the artists, Gilbert & George. he has also written several introductions for gallery catalogues. He has appeared on TV as a presenter and also created the costumes for the art house film, 'Against Nature' starring Adrian Dunbar, Alan Corduner and Tyne O'Connell.
