The book is so close to great. . . I was reading Sontag's Paris Review interview afterward, which is fascinating, obviously--at 13, she was apparently reading the journals of Gide--and I think it opened me up to the flaw in the book, which is structural. She had in mind this balletic structure modeled on the four temperaments--melancholic, sanguine, phlegmatic, choleric, although the last two are more like epilogues.
First, Sontag gives us an oddly sad story about this quiet aristocrat living in