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Literary escapade : Hôtel Littéraire Le Swann – dedicated to Marcel Proust

July 6, 2019 16 comments

This week I had the opportunity to stay at the Hôtel Littéraire Le Swann in Paris. It’s a literary hotel dedicated to Marcel Proust and in the neighborhood where Proust lived his whole life. The building itself brings you back in time:

Proust in on the façade and inside, the decoration is Proust-inspired, in the lobby, the staircase, the rooms and in the breakfast room. There’s a timeline to disclose Proust’s biography, the room card have a Proust jacket and quotes from In Search of Lost Time are printed on the walls.

The rooms are Proust inspired, each of them is named after a character of In Seach of Lost Time and marketing did its best to play on the Proust pattern. See here the bathroom door, the nightstand and the coffee corner.

They did not put cork-padded walls like in Marcel’s bedroom and I’m not sure you can send the staff on nightly errands Proust used to do with his faithful servant Céleste Albaret.

All this marketed décor could be a bit tacky if the hotel had stopped there, after staging a Proust atmosphere. The charming part is in the display tables full of Proust memorabilia. There are display cabinets and tables in the lobby, with letters written by Proust to his friends. The visitor can admire a dress made by Doucet, the famous dressmaker of Proust’s time.

Here’s a display dedicated to Céleste Albaret, who gave us a lot of details about Proust’s quotidian in her memoir. It’s her Rememberance of Things Past and it’s a lovely read. My billet about it is here.

I think it’s moving to see her letters, her pictures here, in a place that celebrates her master. She shared precious information with Proust’s readers and we should all be grateful that she decided to talk instead of taking her memories to her grave.

There’s also a marvelous map of Paris and the places Proust used to shop to or visit.

Each place comes with a caption, its location and whether it still exists or not. I could have stayed in front of it forever to imagine a literary walk to follow Proust and Céleste’s footsteps.

The lobby includes a library full of books by Proust or about Proust.

This hotel truly celebrates literature and goes beyond exploiting the “Proust trademark”, if such a thing exists in our world. After all, I was the only guest walking around, spending time by the displays and taking pictures of everything I could. I can’t be cynical about this place because I felt a genuine love for books and literature. I thought it was charming and I take any opportunity to promote literature and reading as a good thing. There are never too many reasons to praise books and authors.

If you’re in Paris one of these days and feel like checking out the lobby, the address is 11-15 rue de Constatinople, 75008 Paris. Meanwhile, you can see better photos on their website.

I wasn’t going to participate to July in Paris hosted by Tamara because, being French, I feel like I’m cheating. But this billet goes well with the event, so I’ll join in.

Romain Gary enters La Pléiade

June 9, 2019 15 comments

I wasn’t about to write a billet about Romain Gary entering La Pléiade because, who wants to read another billet about my Gary addiction? And then I stumbled upon Le sens de ma vie in a bookstore, a transcription of an interview he gave to Radio Canada in 1980. I had to read it, now I want to write about La Pléiade and this interview.

On May 16th, Gallimard published the complete works of Romain Gary in their renowned collection La Bibliothèque de La Pléiade, better known as La Pléiade.  It is a very prestigious collection and it’s an honor for an author to “enter la Pléiade”. It’s a literary recognition for a writer’s work, a way to say that his/her books have a significance for the history of literature. The Pléiade catalogue is mostly composed of French writers but it’s also open to foreign authors, in bilingual editions or in French translations. If you want to browse through their catalogue, here’s the link to their website.

Romain Gary was a bit despised by the literary intelligentsia of his time. His French was too unorthodox for the conservative writers and he was Gaullist in a literary world dominated by communist trends. (Think about Sartre) Now, decades after his death, he enters the Pléiade, his books are read in school, always present in any decent bookstore and his pléiade edition makes the news. My favorite bookstore celebrated the event with a special wall display in the store, in addition to a full display in the shop window.

And near the cash register, I found Le sens de ma vie (The meaning of my life), an interview recorded a few months before Romain Gary killed himself. He comes back to the major times of his life, his youth and his mother, his time in the army during WWI, his time as a French diplomat and his time with the cinema industry. He started to write when he was nine and kept writing until he died. Books, writing and literature were his life companions. I didn’t discover anything major in this interview but it’s interesting to see what he puts forward and considers as worth mentioning.

In the last part, Le sens de ma vie, he closes the interview with his legacy:

Je trouve que c’est ce que j’ai fait de plus valable dans ma vie, c’est d’introduire dans tous mes livres, dans tout ce que j’ai écrit, cette passion de la féminité soit dans son incarnation charnelle et affective de la femme, soit dans son incarnation philosophique de l’éloge et de la défense de la faiblesse car les droits de l’homme ce n’est pas autre chose que la défense du droit à la faiblesse.

I think that the most valuable thing I did in my life was to include in all my books, in all my writing, my passion for femininity, either in its flesh-and-blood version – a woman or in its philosophical incarnation through the praise and defense of weakness, because human rights are nothing else than fighting for the right to be weak.

He believes that weakness is a strength because since you can’t rely on your force (muscles or power), you have to be inventive. He also thinks that tenderness, compassion and love are feminine values and virtues but he doesn’t mean that only women have them. I’m not sure that the feminine tag is necessary here but I respect his idea of promoting soft power against blind force.

He also talks about humor as a powerful knife against the crushing realities of life. I have mentioned this before because it is the heart of Gary’s work and a reader can’t understand his literature without having this key. He mentions the gentlemanly sense of humor of the British and has words for the powerful, virulent and tragic American humor of the Jewish NY literary movement. He refers to Saul Bellow, Singer and Malamud, writers I want to read too. And he mentions Portnoy’s Complaint by Philip Roth and I thought “Ha! I knew it! He had to love Roth” Each time I read Roth I feel a kinship with Gary’s work, certainly coming from their common Jewish background. They both use humor as a self-defense knife and I wish Gary had been alive to read Exit Ghost.

Coming back to La Pléiade: it is extremely rare that a living author is published in La Pléiade. And yet, Philip Roth entered this collection on September, 12, 2017. He died on May 22nd, 2018 almost a year before Gary joined him in this literary temple.

PS: For family and friends who read this billet, here’s a last quote:

Je me retrouve donc au lycée de Nice, je continue mes études, je fais du sport, beaucoup de sport, presque professionnel de tennis de table, j’étais devenu champion junior de la Côte d’Azur où j’étais payé, parce que nous n’avions pas un sou pour donner des leçons de ping-pong, comme on disait à l’époque, et je pars faire mes études à la faculté de droit d’Aix-en-Provence d’abord, puis à Paris. 

Black models: from Géricault to Matisse – an exhibition at the Musée d’Orsay

May 26, 2019 16 comments

Black models: from Géricault to Matisse – An exhibition at the Musée d’Orsay. 

I have attended a fascinating exhibition at the Musée d’Orsay entitled Black models: from Géricault to Matisse. It takes the visitors through a part of the history of black French people from the French Revolution to the 1930s.

The exhibition focuses on black models in painting and takes detours through literature and other arts. I rented the audio guide because I knew that some of the paintings were commented by Lilian Thuram and Ab El Malik. Thuram is a former football (soccer) player who won the World Cup in 1998. He’s bright, articulated and fights against racism. Abd al Malik is a rap singer, one with excellent lyrics.

The exhibition has three main sections: one from the Revolution until the abolition of slavery, one about blacks and art in the 19th century, one about the beginning of the 20th century.

The slavery times.

In 1794, the young French Republic abolished slavery in the colonies. Actually, it was only applicable in Saint Domingue, French Guyana and Guadalupe. It remained enforced in La Martinique (then occupied by the British) and at the Mascareignes (now La Réunion & Mauritius). It was never legal in the Nouvelle France. (Québec, Acadia and Louisiana). First black députés were at the parliament.

Napoléon 1st re-established slavery and the slave trade in 1802 and abolished the slave trade in 1815. Nothing changed during the Restauration (Monarchy) and in 1848, the Second Republic abolished slavery in France for good this time. 250 000 slaves were emancipated. That’s for history.

Some artists like Géricault or Verdier used their art to fight against slavery. See Le châtiment des quatre piquets dans les colonies.

This is such a normal scene for the colonies that a white woman is there with her child. The banality of it makes it even harder to contemplate. Verdier wasn’t allowed to show his painting at an official exhibition.

Some like Biard put their painting at the service of government propaganda. See here, Biard’s Abolition de l’esclavage.

The black characters on the painting acts like they are thankful. This painting shows the official vision of the abolition of slavery. It’s a gift when it’s not. It’s abolishing something that is inhuman and should not exist.

When preparing the exhibition, researches were made to find out the identity of the black models featured on the paintings. Sometimes, the titles of the paintings were changed because their original title is offensive now. The captions keep the history of the titles until the one chosen for the exhibition. If possible, it now relates to the models’ names. See this this painting by Marie-Guillemine Benoist in 1800. It was first intitled Portrait d’une négresse, then Portrait d’une femme noire and now it is Portrait de Madeleine.

The changes in the title feels right as long as we keep their historical thread. We see how society changed and where we come from. Just changing the name would erase the truth. When it was painted, her identity to the white world was not Madeleine. Her name didn’t matter. She was “just a nigger.” As Romain Gary pointed it out, racism is when people don’t matter. It is symbolic and important to give this woman her rightful name, her identity and her position as an equal human being in our eyes.

The 19th century after 1848.

Literature has its place in the exhibition as Jeanne Duval, Baudelaire’s lover was black and Manet painted her.

She was his muse and a recurring presence in The Flowers of Evil. She’s the black sun in his poetry.

I noted down several literary works featuring black characters: La négresse et le Pacha by Théophile Gautier, Le capitaine Pamphile by Alexandre Dumas, Toussaint Louverture, poème dramatique by Lamartine, Bug Jargel by Victor Hugo, Ourika by Claire de Duras. In 1921, René Maran was the first black writer to win the Prix Goncourt with his book Batouala. Véritable roman nègre. I’m tempted to read the Dumas because I like him as a writer and he was proud of his black heritage, despite the jibes and he wrote is Capitaine Pamphile as a statement.

And there was a display table about Uncle Tom’s Cabin, a book that was successful in France when it was published.

The 19th century is also the century of French colonization of parts of Africa. Cordier made gorgeous bronzes to celebrate the beauty of African people

Including one entitles Aimez-vous les uns les autres. (Love one another)

And at the same time, there was a horrible film taken at the Jardin d’Acclimatation in Paris in 1897. It was a human zoo representing an African village with actual Africans displayed in this fake village.

The early 20th century.

WWI brought more black people in France. The Senegalese tirailleurs, soldiers from African colonies were enrolled in the French army. The Harlem Hellighters, an African-American infantry regiment of the US Army were detached to the French army and wore French helmets during WWI.

It bothered me that the Senegalese tirailleurs and the Harlem Hellfighters were put together on the same wall. It’s not the same. The Senegalese tirailleurs are colonial troops who were sent to fight for a country that wasn’t theirs. They didn’t ask to be colonized and live under French rule. They got into this war because of the colonization.

The Harlem Hellfighters fought in France because the USA entered WWI. They were serving their country. To put them on the same wall as the Senegalese tirailleurs is like saying that, like them, they were fighting for a cause that wasn’t theirs. It denies the fact that these African-American troops had rightful American citizenship.

The arrival of 200 000 African-American soldiers in 1917-1918 for WWI brought jazz to France and it was the beginning of an African-American community in Paris. The exhibition branched out to show black artists in circus, in theatre or on shows like Josephine Baker. It reminded me of another exhibition The Color Line, about segregation and African-American artists.

It also focused on the concept of négritude by Aimé Césaire, it met the Surrealists’ political causes and was concomitant to the Harlem Renaissance movement. I loved to hear about Matisse and how his visit to Harlem influenced his painting.

The exhibition ends with a new reading of Olympia by Edouard Manet, first by Matisse:

and then by Larry Rivers in I Like Olympia In Black Face.

If you’re traveling to Paris soon, the exhibition lasts until July 21st and it’s worth the visit.

Of course, I wouldn’t be me if I didn’t live the Musée d’Orsay with two new books bought at the bookstore of the exhibition. Slavery Told to my Daughter by Christian Taubira and Letter to Jimmy by Alain Mabanckou, Jimmy being James Baldwin.

 

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Theatre: I Took My Father On My Shoulders by Fabrice Melquiot – a contemporary play

April 20, 2019 2 comments

I’ve been swamped by work lately and I didn’t have time to share my thoughts about three theatre plays worth seeing.

The first one is J’ai pris mon père sur les épaules by Fabrice Melquiot, directed by Arnaud Meunier. (I Took My Father On My Shoulders) It’s a contemporary play, written for this director. The author and the director wanted to produce a play about the French working class and today’s France.

We are in a council flat in a suburb. Roch lives with his grownup son Enée. They are unaware that they are both involved with their gorgeous neighbor, Anissa. She loves both men and can’t make her mind between the two.

After an introduction by Anissa, the play opens on a scene where Roch comes home and said he bought some meat as it was on sale and now, they have to cook it. A banal scene in appearance but Roch’s clothes, the décor of the apartment and the fact that meat is rarely affordable tell us that we are in a poor household. The two men barely make ends meet. They get along fine, have a good father and son relationship and Roch is like Enée’s rock.

So, when Roch calmy announces that he has cancer, Enée is shaken up. The play depicts Roch’s illness, his relationship with Enée, Anissa, his friend Grinch and their neighbors Bakou, Céleste and Mourad. We are in a banlieue, with its council flats, its kebab restaurant and its inhabitants of mixed origins.

Photo by Sonia Barcet

They represent today’s French society. A black woman, Céleste. A Muslim of North African origin, Mourad. An older man with his loneliness, Grinch. They have low paid jobs. They feel left behind, not represented by politicians and institutions anymore. They make do and hope for a better future, as far as Anissa and Céleste are concerned. Even if it’s not easy. Grinch is crippled by loneliness and there’s a very moving scene where he explains how he’ll find himself a nice woman to live with.

Roch’s health deteriorates and this patched up family knits a love and friendship safety net around him and Enée.

It’s a powerful play, often spot on to describe today’s France. It was written before the Yellow Vest movement but the people featured in this play belong to the social class that feeds the movement. They come from the same world as the characters in the last Prix Goncourt, Leurs enfants après eux by Nicolas Matthieu. (upcoming billet about this one) It’s as if the French literary world rediscovered the need to give them a voice.

I Took My Father On My Shoulders is loosely based upon The Aeneid by Virgil. The title comes from the second book of The Aeneid, when Aeneas (Enée in French), leaves Troy with his father Anchises on his shoulders. Enée is not a common name in French and if a character is named like that, it’s an obvious reference to Virgil. Like The Aeneid, the play is split in two parts. The first one tells Roch’s fight against cancer and the second is about a trip that Enée will take with his father. I thought that the second part was weaker than the first and that it was superfluous. But that’s a minor flaw.

I Took My Father On My Shoulders could have been bleak but it’s not because the friendship and love between the characters make up for the gloom brought by Roch’s cancer. The text is empowered by a company of excellent actors. Philippe Torreton plays Roch and he’s a natural, the trademark of a great actor. He never shouts but is always heard. He speaks on stage like he’s chatting with friends but has a perfect diction. I go to the theatre frequently. I’ve come to the conclusion that outstanding actors are the ones who are on stage and don’t seem to be acting. You watch them and it’s like they’re living their real life.

Torreton isn’t the only gifted actor here. Rachida Brakni, who plays Anissa is excellent as usual. Vincent Garanger is a true to life Grinch. Maurin Ollès holds his own as Enée, a character often on stage with the master Torreton. The other young actors Federico Semedo, Bénédicte Mbemba and Riad Gahmi were on a par with the more seasoned actors. (And it must be intimidating to play with Torreton and Brakni)

Even if it was a little too long, I Took My Father On My Shoulders is a good play written by a living playwright and for a director who wanted to bring our attention to a certain part of the population. It’s served by an excellent set of actors. For French readers, if this play is on tour in your city, it’s worth buying tickets.

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.

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