Archive

Archive for the ‘About reading’ Category

I’ve been on a theatre binge

January 19, 2020 10 comments

It’s time to have a little chat about theatre as I’ve been on a theatre binge lately. I’ve seen four plays in a month.

The first one was Vie de Joseph Roulin by Pierre Michon, directed and played by Thierry Jolivet.

I’ve never read Pierre Michon but I know he’s a praised French writer. When I picked this play, I thought it would be the opportunity to discover a new author. The theme of the book is interesting: Joseph Roulin is the postman in Arles who befriended Van Gogh. (His portray is now at the Boston Art Museum) Michon explores the friendship between the two men, who were drinking companions at the local café. Roulin was not an educated man and knew nothing about art. Van Gogh was his friend and a painter, a poor one. He didn’t know he was living next to a genius and the text questions who gets to decide that an artist is good or not and when. That’s the idea and it’s a fascinating topic to explore.

Unfortunately, Michon’s text is too bombastic for my taste. It could have been a vivid succession of scenes from the postman’s life and its interaction with the artist and his art. Jolivet chose to tell the text on a monotonous tone, like  rap music without the rhythm. Behind him, pictures of Van Gogh’s painting were projected on the wall.

Photo by Geoffrey Chantelot

It was supposed to be hypnotic, I guess it worked since I kept dozing off and so did my neighbor in the theatre. Such a waste of a good idea. The text and the direction were a lethal combo for me, I disliked both.

Fortunately, the second one was Zaï, Zaï, Zaï, Zaï by Fabcaro, directed by Paul Moulin and it was a blast.

How do you make a BD* into a theatre play? Paul Moulin did it marvelously. Zaï, Zaï, Zaï, Zaï is a man hunt in a dystopian world. A BD author, Fabcaro’s doppleganger, forgot his loyalty card at the supermarket. Before security takes him away, he runs away and becomes the most wanted man in France. Everything about this man hunt is absurd and huge fun. (For more details, see my previous billet here.)

Paul Moulin used a very efficient trick to transpose the BD into a play: it becomes the recording of a radio show. The actors are behind lecterns, with headsets and play the different roles as if they were recording it for the radio. On the side of the stage, actors do the sounds effects, again, as if they were recording.

It is an excellent way to transpose the atmosphere of the BD and it is hilarious. It lasts 50 minutes and the public had huge grins when they came out of the theatre. It was a wonderful moment and highly recommended to anyone and especially to teenagers, as it is a way to show them that theatre plays are not always stuffy Corneille affairs.

The next play I went to was Le Porteur d’Histoire written and directed by Alexis Michalik.

The title means The History Carrier and it was tagged as literary treasury hunt. How could I resist? It’s a contemporary play that won two Molière awards in 2014. The play opens on Martin Martin getting lost on his way to his father’s funeral. They were estranged and he never visited his father’s new house in the French Ardennes. When he takes care of his father’s belongings, he finds a mysterious notebook and an extraordinary quest will take him across continents and History.

It’s a wonderful text inspired by Alexandre Dumas and his compelling stories. I can’t tell much about the plot because it would spoil the story and the biggest charm of the play is to let yourself be taken away by the storytelling. It’s like a fairytale where some djinn takes you on a magic carpet to travel the world and live fascinating adventures. The text is an homage to the 19th century novels that were published in newspapers as feuilletons, with cliffhangers at the end of each chapter to push the reader to by the next newspaper. And it works.

The direction is a tour de force. The spectator is thrown in different places, in different times and follows the story with eagerness, wondering where it will take them to. It lasts more than one hour and a half and I was captivated from the beginning to the end. This is another the kind of play to take teenagers to, to give them the theatre bug.

The next play scheduled in my theatre subscription was Lewis versus Alice, adapted from Lewis Carroll by Macha Makeïeff. The play is a succession of scenes that alternate between key passages from Lewis Carroll’s works and moments of the writer’s life. Macha Makeïeff showed us how Carroll transposed some of his life’s traumatic experiences into literature. The show went back and forth between his literary world and his life, including his sad years at Rubgy, his questionable attachment to Alice Liddell and his work as a teacher. The play showed Charles Lutwidge Dodgson, the man hidden behind his penname Lewis Carroll.

Lewis versus Alice is tagged as musical show but it’s not a musical. The cast of actors were French and English speaking natives, all speaking in both languages. Some passages were in English, repeated into French. There were songs and acrobatics. Among the cast was Rosemary Standley, the singer of Moriarty who sang two of their songs. The text used some excerpts from Alice in Wonderland and The Hunting of the Snark. The staging was clever, taking us from Alice’s wonderland to England in the 19th century.

Photo by Pascal Victor

It was delightful and brightly played and well-served by excellent actors/dancers/singers/acrobats. It’s a joyful show, a wonderful homage to Carroll’s imaginary world and an attempt to better understand how this man ended up telling these stories.

What’s next? Retour à Reims by Didier Eribon, directed by Thomas Ostermeier. I expect it to be good as I’ve heard about the book and Eribon’s take on it. (It’s available in English under Returning to Reims.) I’m looking forward to it.

And guess what! There’s a new theatre version of Promise at Dawn by Romain Gary and directed by Stéphane Freiss! I’d love to see it but it’s in Paris…

PS: Glossary for new Book Around the Corner’s readers: BD is a French acronym for Bande Dessinée. It is a generic word which covers comics and graphic novels.

About reading, a quote by Margaret Atwood

January 3, 2020 12 comments

In A Wolf in Wolf’s Clothing published in the magazine America, Margaret Atwood writes:

A book is a voice in your ear; the message is –while you are reading it –for you alone. Reading a book is surely the most intimate experience we can have of the inside of another human being’s mind. Writer, book, and reader –in this triangle, the book is the messenger. And all three are part of one act of creation, as the composer, the player of the symphony, and the listener are all participants in it. The reader is the musician of the book.

As for the writer, his or her part is done when the book goes out into the world; it is the book that will then live or die, and what happens to the writer is at that point immaterial, from the point of view of the book.

I agree with her about the intimacy of reading. Besides going to places I’ll never see in real life, being in someone else’s mind is the most fascinating experience of reading. Sometimes it’s a terrifying place to be, sometimes it’s comforting in a ah-you-too? kind of way and sometimes it’s eye-opening.

Her last paragraph about the writer’s role after the book is published? It probably explains why I rarely read interviews of writers about their books, especially when they are on tour to promote their new one.

Literary escapade: Holiday bookish snippets

August 18, 2019 26 comments

I’m back home from a three weeks holiday break and as usual, I’ve collected random bookish pictures and facts.

Park and Read, this parking meter seems to say…

Books left for grabs, by the beach

Beautiful library in Casa Museu Freitas. (Sorry for the poor quality of the pictures, I’m not a professional photographer and I don’t get to visit places when the light is at its best for photos.)

A corner to read by the fire, a corner to play games and shelves of books…I’d prefer a décor in lighter tones since I’m not fond of the red-dark-wood-man-cave vibe but I’d love to have such a spacious read-and-chill room.  

Of course, I tend to visit bookstores. Here’s one that looks more like a book cave than anything else:

Books are piled everywhere. They are filed in a computer system but only the owner seems to be able to locate a specific book. The reader walks slowly in the aisles, tries not to bump into anything in fear of starting an uncontrollable domino effect. This place is fascinating.

While wandering in another bookshop, I stumbled upon a school edition of No et moi by Delphine de Vigan. This novella is on the school syllabus for middle school and look at the format of the book: it screams ‘I’m homework!’ and not ‘Please read me, it’ll be fun’.

It’s a disaster. The cover mentions a dossier and exercises. The actual story only begins after 22 pages of explanations that are, in my opinion, part of the teacher’s job as a middleman between the text and the students. And then, on each page, you have numbers to locate specific sentences in class and dissect them. Where’s the pleasure of reading in that?

Let’s face it, there’s little chance that a middle school student will have fun reading Le Cid by Corneille. The odds of instilling undying love for books with Le Cid are close to zero. These odds improve with books like No et moi, stories that teenagers who don’t read might enjoy. And this edition, it’s like going to a blind date with Literature and she has not removed her green face mask, her curlers and she’s wearing her tattered bathrobe. It kills the mood. It’s like watching a movie with the description of all the special effects in the subtitles. It’s distracting, you’re so blinded by the mechanics that you forget to enjoy yourself.

I think that we have our priorities in the wrong order. In times where books are in competition with videogames, TV shows and social networks, the first aim in school should be to give the kids the reading bug. The rest will come with it. The reading bug is a lifelong thing, a great companion for life.

Another bookstore in Lisbon.

Don’t ask me why it’s written in French on the walls. Inside, the space is gorgeous with its old wooden shelves.

Another bookstore, and I found funny tote bags for my friends. Here are two of them:

I walked a street covered with portraits and pictures made with recycled cans. Here’s Fernando Pessoa

Google translate says that the caption means “it’s all worth it when the soul is not small”. And I have to end this post with a Mafalda picture, from the same street.

The caption seems to say “This is the rubber to erase ideologies”. Very Mafalda, if I may say. If a Portuguese native speaker sees this, please feel free to elaborate about the captions and correct the automatic translation.

An article of the FT Weekend caught my attention in a hotel. It said Kerouac, but cleaner? A journalist decided to check out what road trips could be with an electric car and did one between San Francisco and Reno, Nevada. Let’s say it’s not as romantic as On the Road. It reminded me of On the Holloway Road by Andrew Blackman, his debut novel in which he shows that road trips à la Kerouac on British highways are what American coffee is to espressos.

I had a lot of books with me on the first leg of my holidays…

some I brought with me to read, some because I needed to catch up on billets, some aren’t my TBR, and some I bought during my stay. On the second leg, I intended to read American Pastoral but I didn’t have enough quality reading time for that. Partie remise! 🙂

That’s all, Folks! I hope you’re having a great summer.

Quais du Polar 2019 – Day 3: Criminology and translations

March 31, 2019 7 comments

For my last day at Quais du Polar, I decided to attend to two events, one entitled “CSI in the 19thC: when literature looks into the birth of crimilogy” and one which was actually a translation battle.

I started with the one about criminology, a conversation between Coline Gatel and Fabrice Cotelle. We were in the Jacquard room of the Palais de la Bourse. Coline Gatel wrote Les suppliciées du Rhône, a crime fiction book set in Lyon at the end of the 19th century. Fabrice Cotelle is a commissaire, and the staff chief of the SCPTS (Service Central de la Police Technique et Scientifique), the French CSI. The real police forces are involved in Quais du Polar, as a way to make their work better known and I found it marvelous that they are willing to take part in the festival.

Lyon has a long tradition around solving crime. In the 19th century, Alexandre Lacassagne (1843-1924) was a famous criminologist and specialist of forensic medicine. Edmond Locard (1877-1966) is another forensic scientist who formulated the basic principle of forensic science. Meanwhile, in Paris, Alphonse Bertillon made huge progress in indentification. He’s the inventor of the mug shot. Nowadays, the headquarters of Interpol are in Lyon and the national school for police captains is near Lyon. It is open to the public during Quais du Polar. I visited it once, and it was fascinating. There’s a fake apartment where students learn how to retrieve clues from a crime scene and an interesting museum about criminology. Moreover, the police stations of the 1st and 4th arrondissements were open to the public during the weekend. The public could meet and chat with authors who are also detectives or police officers.

The meeting between Coline Gatel and Fabrice Cotelle was absolutely fascinating. She has written a book with Lacassagne as a character and she brings back to life the beginnings of forensic science. The turning of the 20thC was a critical period for crime investigation as several sciences made progress at the same time: medicine, photography, psychology and psychiatry.

Mr Cotelle had read Mrs Gatel’s book and could easily interact with her, explaining what he discovered in her book and going back to the history of criminology. He told us what methods invented back in those days are still used today. He shared about the changes, mostly DNA exploitation and digital traces. Of course, we know that we live traces with our phones and credit cards. But did you know that the computer in your car records when and how many times a door was opened? So, if you say that you were alone in your car and that your connected car recorded that the passenger door was opened, you’ll have some explaining to do. (I’d be a suspect: I always open the passenger door to put my bag on the passenger side because I don’t want to twist my back by doing it from the driver’s side!)

The challenge is also to turn some state-of-the-art technique only used in special cases into readymade and efficient processes that can be used on the field, on a daily basis to help policemen and gendarmes solve everyday criminality.

I loved this exchange so much that I decided to buy Les suppliciées du Rhône, just to discover who Alexandre Lacassagne was. Lyon was a hotspot for science in those years and I’m looking forward to knowing more about my adoptive hometown. I also liked that Fabrice Cotelle didn’t look down on crime fiction writers, pointing out inconsistencies. I also appreciated that he took the time to read Les suppliciées du Rhône to have an enlightened discussion with its writer. He was respectful and engaging, just as his neighbour was.

I’m glad that the festival managed to involve the police in the conferences and the events of the festival. It’s a rare opportunity to hear them talk about their job.

In the afternoon, I decided to attend the translation battle around an English text. We were again in the Jacquard room.

 

It was a short story by Jamey Bradbury, an American writer born in the Midwest and now living in Alaska. (She’s published by Gallmeister, there’s a good chance that her book is good) Two translators worked on a French translation of her story. They presented their translation to the attendance and another translator acted as an anchorman and asked questions about their choices and the differences between the two texts. Jamey Bradbury was there too and she could give her opinion about the option taken in the translation of this or that word. The art of translation fascinates me. The translators explained their choices and basically had the same issues with this translation. Words like to hum, to poke, to squint, to waggle one’s eyebrows, to scavenge; to pee…have no direct equivalent in French and are a hurdle. Just like something and whatever.

I loved attending this exchange and I envy their job. I think that bringing foreign books to local readers who wouldn’t have access to them otherwise is a fantastic job. It brings us a world of literature we’d never know.

That’s all for this year, folks! It’s been a great three days and I’m looking forward to the next edition.

Book haul for the day:

 

Quais du Polar Day 2: James Sallis, Michael Connelly, Ron Rash and others

March 31, 2019 10 comments

You will probably never guess it from my billets about Quais du Polar but this year, the focus is on Nordic crime fiction. Lots of writers from Norway, Sweden, Iceland, Denmark are invited to the festival. Since I’m not a great reader of Nordic fiction I chose to attend other events.

Sorry if anyone expected billets about Nordic fiction. 🙂 You can always listen to the conferences on replay here. But let me share with you my second day at Quais du Polar.

My first panel featured Ron Rash, Colin Niel, Ingrid Astier and Monica Kristensen. The theme was Great landscapes and Noir fiction. It echoes to the conference I recently attended about Nature Writing. We were in the room Tony Garnier at the Palais de la Bourse.

Ron Rash writes novels set in the Appalaches and nature is an important part of his protagonists’ way of life. Colin Niel writes crime fiction novels set in French Guyana. You can find my billets about his books here and here. He used to work there as a environment engineer and contributed to the creation of a national park.

Ingrid Astier wrote a surf novel set in Tahiti, French Polynesia. She spent a few months there, to understand the land and talk to the natives of the area. Her book focuses on a special and very dangerous wave that surfers want to ride in Tahiti.

Monica Kristensen is a scientist, a climatologist and the first woman to have led an expedition to the South Pole. She writes crime fiction novels set in the North Pole in Norway.

What I enjoyed about the panel was the good interactions between the writers or how they bounced on each other’s ideas. They listened to each other and even if each of them told stories related to their books and their specific natural environment, they managed to find common points between the issues described. One of the issues is how to combine human activities that ensure that the populations living there can work and make a decent living and protect the environment. Tourism is not always a good solution. They pointed out how our relationship with nature is different according to who we are. Colin Niel said that hiking in the Amazonian forest with soldiers is not the same as hiking there with natives.

They seem to have a common goal with their books: give a voice to the local populations, make their voices heard. And you should have heard Monica Kristensen talking about polar bears! I would have loved to hear her trade bear stories with Craig Johnson.

A very interesting moment with these four authors.

The second event I chose was a mix between jazz and literature. It was set in the Opera of Lyon and James Sallis and Michael Connelly talked about jazz and their literature. Here’s a picture of the premises, for you to have a feel of the jazz club atmosphere.

A quartet played songs between bits of conversation between the two guests, artfully guided by a journalist. It was a wonderful moment, good music and also a great conversation between two writers who truthfully enjoy jazz.

Sallis is actually a specialist and he has written books about jazz music. They made the link between jazz and their work, how it influences their style. Sallis made interesting comments about the music we had just listened to and the process of writing. He pointed out the lead of the song and its patterns and how the quartet improvised from it and came back to the lead and pattern. He said that writing a book was a bit like that. The writer has a lead, he pokes around this idea, plays with it and comes back to it. They have pattern in their writing. He said that music helps him get in the right zone for writing, in the state of mind that will engender his literature. Fascinating stuff.

The third event was a panel with Ron Rash, James Sallis and Chris Offutt about the “Great American Noir novel”, at the Chapelle de la Trinité. Gorgeous place, isn’t it?

They connected well, interacting cleverly, answering the questions of the journalist. They seemed happy to be there, discussing their working habits. Rash and Offutt both write books set in the Appalaches, where they come from. They evoked the nature there and the culture of the inhabitants. Both say that they keep writing about the same place, hoping that if they dig far enough, they’ll reach the universal and be relevant to readers coming from different backgrounds. Sallis has moved a lot in his life and he said that writing about a place was a way for him to absorb the place, to understand it and get to know it deeply.

The three of them have a close relationship with nature and want to stress on the importance of the natural environment on the men who are settled there. Nature influences people’s way of life and their culture, whether they are conscious about that or not. It was a lively conversation with writers who were willing to share, to give us clues about their writing.

I had a lovely time listening to these great writers. I’ve never read Chris Offutt but since he’s published by Gallmeister, I’m sure I’ll like him.

What I love about Quais du Polar is that the writers are not on an obvious promotion tour. Of course, they may be invited to talk about their last book and they sell and sign books. But they are also invited to discuss themes that are in line with their work but not always direct promotion. It avoids readymade comments about their book to questions journalists ask over and over again. They have to play another partition, they have a chance to chat with likeminded writers and that makes it more enjoyable to the public.

Book haul of the day:

A whodunnit in the Proust world written by an academic specialized in Proust. It was wrapped in a nice tote bag designed by the publisher Viviane Hamy. I’m sure cat lovers who will read this post will appreciate it.

Day 3 will be about criminology and about translations.

Quais du Polar 2019 – Day 1: Brian de Palma, Michael Connelly and a good book haul

March 30, 2019 5 comments

The 15th edition of Lyon’s crime fiction festival started on March 29th, 2019. It is a large festival dedicated to crime, with a giant book store, numerous conferences, investigation games in the city, several escape games and films at the Institut Lumière, the museum of cinema. (The cinema was invented in Lyon, where the first film ever was made.) It is set in different historical buildings in the city center, giving the attendants the opportunity to see places that are usually closed to tourists.

It lasts three days and I plan to take advantage of the three days.

First, I attended interview of Brian de Palma and Susan Lehman who wrote a crime fiction novel together, Are Snake Necessary? That’s the translation of the French version of the book, Les serpents sont-ils nécessaires? I don’t know the actual English title because the book is published in France but not in the USA. This means that, although it was originally written in English, it has not found its publisher in the US. Amazing. To be honest, this interview was disappointing. The journalist had obviously prepared her questions and knew de Palma’s filmography well but he kept deflating questions with jokes, never really answering anything. Susan Lehman tried to compensate for his lack of response but it was not enough to make of this meeting an engaging conversation.

Then I went to the cinema to see the preview of a documentary about Michael Connelly and Los Angeles. Olivier Marchal, a French former cop and crime fiction filmmaker flew to Los Angeles to visit the city, the places mentioned in Connelly’s books and to meet with the real-life cop who inspired Harry Bosch. I have never read anything by Connelly but the documentary was excellent, showing Connelly and Marchal driving around Los Angeles. Connelly talked about Harry Bosch, his work and his love for LA. Olivier Marchal is a great fan of Connelly’s and he was like a kid in a candy store who has met their favorite star. It gave a special atmosphere to the documentary as his enthusiasm and awe are visible. It will be on the French television soon. Connelly was in the movie theatre, discovering the film at the same time as us and he spoke to the public a little bit. He seemed quite approachable for such a successful writer.

After this good time at the cinema, I went to the bookstore at the Palais de la Bourse (The Chamber of Commerce) and wandered among the various stands, all belonging to independent bookstores.

Of course, my wallet didn’t come out of this unscathed but I had a lot of pleasure buying books, discussing with passionate libraires and other readers. Here’s my book haul:

Santiago Gamboa is a Colombian writer. I’ve never heard of him, it was an impulse purchase based on the cover and the name of the publisher. Usually what Métailié publishes is excellent, so I trust them on this one.

I also chose to buy Serena by Ron Rash in English because I knew from his previous visit to Quais du Polar that he reads his book aloud to himself when he writes. He started writing with poetry and moved to novels and short fiction later. He likes to check the sound of his prose. Since I had no trouble reading his Burning Bright collection of short stories, I thought I’d get this one in the original.

For the first time, James Sallis is at Quais du Polar. I’ve never read anything by him, except Drive. I’m curious about Moth (Papillon de nuit in French) and the New Orleans setting appeals to me. I’m curious to compare his New Orleans to the one pictured by James Lee Burke.

Reading Michael Connelly seemed obvious after watching the documentary. It made me curious about Harry Bosch, so I decided to start at the beginning and read the first of the series, The Black Echo.

I enjoyed Nothing But Dust by Sandrine Collette and I had the chance to tell her how good her book is. She signed my copy of Les larmes noires sur la terre and I’m looking forward to reading it, even if I already know it will be bleak.

Tony Cavanaugh is described as the Australian Michael Connelly, so we’ll see how I like his book. He was very friendly with his public and stunned to learn that the young couple in front of him had come from Lille (700km away) just to attend a book festival. Yes, we French love our crime fiction.

It was a good day to take time at the bookstore and chat with writers. I’m glad I could tell Bogdan Teodorescu how much I loved Spada. (Still no English translation in sight, apparently, no publisher wants it.)

My program of Day 2 is a panel with Ron Rash, Colin Niel, Monica Kristensen and Ingrid Astier about landscapes and Noir. Then a jazz and literature hour with James Sallis and Michael Connelly. Then a panel entitled Eternal flame, the great American Noir novel, featuring James Sallis, Ron Rash and Chris Offutt.

If you want to see the whole program of the festival, you can visit their website. All the talks, interviews and shows are available on replay here.

Fête du Livre de Bron – Bron literary festival.

March 10, 2019 18 comments

It’s currently the Fête du Livre de Bron, a festival for contemporary literatures, one of the numerous literary festivals in France. This year’s theme is La vie sauvage. (Wild Life in English). Friday morning, I attended two conferences, one by Oliver Gallmeister, the founder of Gallmeister publishing house and one by Pierre Schoentes, professor at the Gand university in Belgium.

Regular readers of this blog know that I love books published by Gallmeister. They are specialized in American literature with two strong preferences, Nature Writing and Noir fiction. All books show a certain side of America and in their way, question the American way of life. Their books are right in the theme of the festival.

Oliver Gallmeister was interviewed by Thierry Guichard and the interaction between the two was lively. It was interesting to hear the point of view of a publisher. He runs an independent publishing house and his only compass is that he publishes books that he loves. Old ones with new translations or new ones. He comes from the countryside and says that nature has always been part of his life.

Gallmeister publishes Edward Abbey, Pete Fromm, David Vann, Jean Hegland, Gabriel Tallent but also Ross McDonald, Craig Johnson or Thoreau. They publish writers whose books could not be transposed anywhere else. Books that are intrinsically American.

He talked about nature in America, the way it is part of the American psyche and in their daily life, something we can’t understand in Europe where wilderness is when a garden in unkempt. In the books Gallmeister publishes, nature is an important part of the plot. It’s almost a character or at least something so present that it influences the character’s way of life.

I’m not going to paraphrase everything he said about Nature Writing but I’d like to share what he said about publishing.

80% of the books they publish come to them through literary agents. Gallmeister starts to be well-known in America for publishing a certain type of American literature. They receive around 500 books per year and publish 20. Some of these books are not even published in English because no American publisher wants them. For me, it’s quite puzzling to read a book in translation that has not even been published in its own language. It’s the case of Evasion by Benjamin Whitmer.

Oliver Gallmeister said that France is a little paradise for some of the writers they publish. France still has a unique dense and active literary ecosystem made of libraries, independent bookstores, festivals and partly relayed in the school system. When they first come to France, their writers are amazed by the crowds they meet and it’s something I’ve witnessed at Quais du Polar. Writers are sitting at their table to sign their books and they’re pleasantly surprised by the queue of people, patiently waiting their turn to have their book signed and a quick word with its writer. There are a lot of people attending literature festivals, them being free probably helps too.

Can you imagine that? Some of Gallmeister’s writers are so successful in France that it helps them being published in their home country or live off their books. Some keep on writing thanks to the French public and their book buying. (Now I have an excuse to splurge at Quais du Polar…)

I’ve already mentioned that Gallmeister’s traductions are outstanding. They work with a steady team of translators and their watchword is to disappear. The translator shall not be visible and they have each translation controlled by a team to ensure that the translation reflects the author’s text. There is no room for the translator’s voice or interpretations. Their efforts are visible in their translations. I speak English well enough to hear the American under the French, but it’s still written in a French that a French would speak. And yet, it reflects the American way of speaking and Frenglish with literal translation of expressions doesn’t have its place here, which is excellent because it’s irritating. It sounds odd to readers who don’t speak English and they leap to the face of the English-speaking reader. Honestly, it made me want to be part of their team who checks on translations.

I loved this interview because I truly share Oliver Gallmeister’s passion for American literature and also his non-academic relationship with literature. He doesn’t lose the most important part of why we read: pleasure. I managed to muster the courage to talk to him at the end of the conference and ask if they’d branch out to Australian literature and suggested a book that seems right in their publishing policy: The Hands by Stephen Orr.

Last info: Gallmeister will have a stand at the London Bookfair on March 15th.

The second interview was in total contrast with the first one and soon became a snooze fest. Pierre Schoentjes is certainly a very competent academic. He has written an essay about “nature writing” in French literature, which explains why he was Oliver Gallmeister’s counterpart. His first sentence included a word of literary theory that I didn’t know. That didn’t bode well for the rest of the talk. His speech was not totally accessible to non-academics. Sadly, he reminded me why I never wanted to go to university and study literature.

To sum it up: there’s no real nature writing in French literature for different reasons. There’s a genre called “régionalisme”, about peasant stories and it’s not considered as noble as literary fiction and it’s a put off. Europe doesn’t have wilderness anymore. Post WWII intellectuals were mostly urban writers and were more interested in the working class than in nature. It seems that books about nature were a political statement, either to contrast with the brutality of war (Giono) or to promote ecology.

The two interviews really illustrate my perception of American vs French literature. American writers (at least the ones I read) tell stories and nature or wilderness can be part of their story. French writers often fail to avoid the pitfall of introspection and intellectualization of things even when it’s not needed. One example: The Sermon on the Fall of Rome by Jérôme Ferrari. An American writer published by Gallmeister would have written a story about the two friends taking over a café in Corsica. All the stuff about Saint Augustine would never have been there.

I don’t want a novelist to show off how erudite they are, it’s boring and in a way, it says, “I only write for like-minded people”. I see literature as a way to escape, a way to see the world and broaden my horizons. Why should I need a degree in literature to read novels?

So yes, I’m going to be a very good customer to Gallmeister. The icing on the cake? The book covers are gorgeous.

On Saturday, I attended the interview of Fabrice Caro, a BD (comic books) writer and novelist. It was a very funny interview by one of his passionate reader, Maya Michalon. We went through his work as he shared anecdotes about his life, his creation process and his interactions with the public.

I bought his BD Zaï, zaï, zaï, zaï, the story of the absurd manhunt that starts in a supermarket when a consumer forgot his loyalty card. He had no papers. I haven’t read it yet but from the excerpts I’ve heard yesterday, it’s totally hilarious in an off-beat sense of humor. The idea behind the loyalty card is to show what could happen to someone who doesn’t have an ID card.

I’d also like to read his novel, Le discours and his other autobiographical BDs entitled Le Steak haché de Damoclès, Like a Steak Machine and Steak It Easy. He can’t tell you why all the titles have steak in them, except for the pleasure of a good word.

There were a lot of other conferences that seemed fascinating but alas, one is always caught put by pesky things called work and chores.

%d bloggers like this: