Cloudy by the end of the day by Jacques Côté. (2000) Original French (Québec) title: Nébulosité croissante en fin de journée.
Nébulosité croissante en fin de journée is set in Quebec City in 1976 just before the Montreal Olympics and it’s the first installment of the Lt Daniel Duval series. Duval is a thirty-six-year-old widower living with his teenage daughter Michelle. He used to work in the Montreal police force, the SQ (Sécurité du Québec). He relocated to Québec after his wife’s death.
His partner is Louis Harel, a fat man whose personal life clashes with Duval’s. Duval runs marathons, takes care of his daughter and generally lives a quiet and healthy life. Harel gorges himself with cakes, he’s married but unfaithful and he’s now infatuated with a dancer/junkie. Duval is more respectful and intellectual than Harel. We’re in 1976, feminism is in full force and it’s another difference between the two men: Duval is a modern man, he acknowledges women’s rights and respects their fight for equality. Harel is a womanizer who objectifies women but still fell in love with his mistress Sandra. He’s the kind of man who can’t take care of himself after a divorce because he can’t iron, cook or clean after himself. The Duval/Harel duo resembles the John Kelly and Andy Sipowicz duo in the first seasons of NYPD Blue. Harel is irritating and gets on Duval’s nerves but there’s a real bond between the two.
Now that we know the detectives a bit better, the plot. When the book opens, we are introduced to a troubled young man with a big chip on his shoulder. H. has a long past as a delinquent and comes from a broken home. He lost his parents when he was a child; they died in a car accident and he went to live with his aunt. His cousin Paul was like a brother to him and H. never recovered from Paul’s death that happened during a car chase with the police. H. is fascinated by cars, speed and car wreckages.
H. got a diploma in mechanics in prison and he’s on probation working in a garage. But the other employees pick at him, he’s only doing menial tasks and he’s not using his skills as a mechanics. He gets humiliated one time too many, he fights back and gets fired. This pushes him over the edge.
He wants revenge for all the wrongs in his life and starts shooting at cars from a bridge over the boulevard Duplessis, the ring of Quebec City. Cars drive fast on this motorway and the shootings lead to car crashes. And H. loves watching car crashes, the sirens of the firetrucks and ambulances arriving on site. H. signs his crimes with 1000 Bornes game cards. He feels powerful and in control of other people’s lives.
Duval and Harel have to track down the killer who shoots at random and plays cat and mouse with them. The plot is classic crime fiction with policemen chasing after a dangerous killer. I wasn’t impressed by the plot but I loved the setting and the language.
Jacques Côté attended Quais du Polar and I had the opportunity to ask him questions about this series. I asked why he set his books in 1976. He said that he loves US crime fiction from the 1970s, the clothes and the music of that time. He wanted to give life to Quebec City in this decade.
He also said once that Quebec people are Francophones with a North American lifestyle. It stayed with me and came to my mind when I visited Québec last summer and it struck me as true when I read his book. There’s this familiarity mixed with differences. The architecture, the cars and the lifestyle make you feel like you’re in America and yet everything is in French. In appearance, it’s Anglo-Saxon and yet, you feel you’re in France when Duval can’t go to the Saint-Sacrement hospital because they’re on strike. (!!)
The French in Nébulosité croissante en fin de journée is different from the French from France, obviously. I expected a lot of different words and expressions because Quebec speakers still use old French words that we don’t use anymore but still understand. French people know Quebec Francophones as purists who refuse to use English words in their French, to protect the language. I didn’t expect all the English words or expressions I found in this novel. I asked Jacques Côté about it and he said he did it on purpose to reflect the 1970s language. The fight to keep the French devoid of English words started after the 1970s. He also mentioned that it is a way to differentiate social classes. The working class uses a lot more of English words in their French than the upper classes.
I know it’s a paradox but I thought you needed to speak English very well to fully understand Jacques Côté. There are all these English words but more importantly all these expressions that are literally translated from the English. I knew the English under this French, so I understood but I’m not sure a French would understand them otherwise. Here are a few examples:
- La salle de lavage se trouvait à dix mètres des casiers. In English, The laundry room was ten meters away from the lockers. In French from France, La buanderie se trouvait à dix mètres des caves. The expression salle de lavage is the literal translation of laundry room and the exact French word for it is buanderie.
- He uses the French word pot for pot (weed) while in France we’d say herbe. Weed means mauvaise herbe in French and un pot is more a jar or a tin.
- Il avait dormi profondément et n’avait pas entendu le damné store qu’il voulait remplacer par un voile. In English, He had slept soundly and hadn’t heard the damned blind that he wanted to replace with a curtain. In French from France: Il avait dormi profondément et n’avait pas entendu ce sacré store qu’il voulait remplacer par un rideau. You see here that the English swear word damned is replaced by the French damné, a word that exists but is only used in the religious sense in France. Ironically, the French equivalent of damned as a curse word is sacré, which means sacred. One religious word for the other!
- Il voulut aller au Towers mais il se rappela que le juge lui avait interdit d’aller dans ce magasin à rayons. In English, He wanted to go to Towers but he remembered that the judge had forbidden him to go to this department store. In French from France, Il voulut aller à Towers mais il se rappela que le juge lui avait interdit d’aller dans ce grand magasin. Magasin à rayons is the literal translation of department store. I don’t know why Quebec speakers don’t use the word grand magasin for department store. This word exists since the 19th century, think of Au Bonheur des dames by Zola.
I find all these details fascinating and I loved tracking them down. I’m happy to have a Quebec edition of Côté’s book. Some French publishers ask to Québec writers to amend their books to better suit the French public. I don’t agree with this. I wouldn’t want a Quebec character to speak like a Parisian. It would sound artificial and it’s disrespectful for the author. We need to respect the diversity of the Francophony, it keeps the French language alive.
Today was the last day of Quais du Polar 2017. This morning, we walked around the ground floor of the great book store. It is set in the great hall of the Chamber of Commerce, I suppose the stock exchange was here, the space suits this activity. As you can see, it was crowded and very busy. I wonder how many books were sold over the weekend.
This is only a fourth of a big bookstore.
This gives you an idea of the height of the building. This patio has a second floor with rooms.
I had the chance to talk to Dominique Sylvain and got her book Passage du désir. It called to me with its quote by Emile Ajar (Romain Gary) and its writer comes from the same region as me. It’s the first instalment of a series, so we’ll see. Marina Sofia introduced me to the Romanian publisher Bogdan Hrib and I came home with the book Spada by Bogdan Teodorescu. It’s a political crime fiction novel and I usually enjoy those. It’s going to be an opportunity to read something about Romania.
I attended a great conference by Michel Pastoureau at the Chapelle de la Trinité.
He’s an historian specialized in the history of colors. Since Quais du Polar’s color code is red and black, the interview was about the history and symbolism of the color red. I won’t relate everything he talked about but will concentrate on two ideas, the switch from red to blue as a preferred color and the origin of the French flag.
In Ancient Rome and Ancient Greece, red was an important color and blue wasn’t used a lot. It changed at the beginning of the Middle Ages and blue became an important color. It came from a need to picture heavenly light as opposed to earthly light. Artists started to use the color blue for heaven while normal light was white or yellow. Then the Virgin Mary started to wear blue dresses on paintings and kings of France (Philippe Auguste, Saint Louis) wore blue clothes. It became fashionable. And red, a color much fancied until then lost its first place as a great color.
About the French flag. As you probably all know, the French flag comes from the Revolution and is blue/white/red. In school, we all learnt that it looks like this because white is the color of the monarchy and it’s squeezed between the colors of the city of Paris. Actually, this is inaccurate. The French flag comes from the American flag. After the 1776 American revolution, in Europe, the people who supported the ideas conveyed by this revolution started to wear blue/white/red ribbons. So, when the French Revolution decided upon a new flag in 1794, it went for the same colors as the American flag. And since the Dutch had already horizontal strips, they used vertical ones. And since the American flag comes from the Union Jack, I guess France has a flag based upon UK colors. Weird story, right?
It was a fascinating conference, Michel Pastoureau is a wonderful speaker. He knows how to tell anecdotes and the public was drinking his speech.
After that, I went to listen to David Vann discuss with a journalist about his books. It was set in the room that was the former Tribunal de Commerce. (Trade Court)
He explained how he wrote his books. Sukkwan Island was written in two phases. The first part was written in 17 days when he was in a sort of writing trance on a boat trip from Los Angeles to Hawaï. The second half was written after. I haven’t read the book but it’s a significant piece of information to understand the book.
He gave us a lot of background information about his childhood in Alaska, his family and his personal history because all of this gives us a better understanding of his novels. Again, I won’t retell everything, you can replay this lecture on the Quais du Polar website. It was a fascinating hour with him. He’s an agreeable fellow, he’s been a teacher, so he’s articulate and used to speaking in public too. Plus, he has a great sense of humor. He said he never thinks too much about what he writes and then he comes to France and discusses his books with journalists who ask pointed questions and he has a new view of his work. 🙂 Here, the journalist knew his work very well and was able to fuel the discussion with intelligent questions.
It was a delightful hour where he explained his work, talked about American literary tradition and described how his books are influenced by Greek tragedies. I’m really looking forward to reading Caribou Island.
And that was the end of the festival for me. I had a lot of fun, bought great books, had the chance to chat a bit with some writers and attended great conferences. The literary concert was truly marvelous.
Although they probably won’t read this, I would like to thank the team who organized this festival and all the volunteers who were everywhere to ensure that things run smoothly. I found the writers happy to be in Lyon, smiling and glad to meet their readers and to be part of this giant celebration of crime fiction. Several of them were serial attendees, like Ron Rash (fourth time), Caryl Férey or David Vann. They all seem to enjoy it as much as the public does.
Today, the weather wasn’t as nice as yesterday and we started our crime fiction fun fest in the rain. Marina Sofia and I attended a conference entitled “Madame Bovary, c’est moi”, according to the famous word by Flaubert. David Young (UK), Ron Rash (US) and Caryl Férey (France) were in this panel as writers of books featuring women as central characters. The journalist in charge of this discussion was Michel Abescat and he was well prepared. He had obviously read several books of each writer and had imagined a series of question around the theme. In my opinion, Caryl Férey and Ron Rash were the most fascinating of the three to describe their creative process.
Ron Rash explained that he started to write Saints at the River with a male narrator but ended up making of Maggie the narrator. He said that after 40 pages into the novel, the man’s voice wasn’t convincing and Maggie’s voice imposed itself. Landscapes play an important role in his books and he confided that he viewed them as feminine. This reminded me of the discussion we had about the quotes by Jim Thompson I published recently.
He also talked about how he writes. He doesn’t find himself interesting enough to be the clay of his novels. He’d rather write about less boring people and he aims at creating memorable characters. The characters are the central piece of his books, before the story. He sees himself as some sort of phone tower that would capture stories that are in the air and that would plug on the right frequency to catch the voices of the characters. His characters inhabit him and express themselves through his pen. He said he’s “feeling, thinking their thoughts” and that he tries to wipe himself away in order to give himself totally to a character. In the end, he writes to understand what it feels to be human, what it means to be in this world.
Caryl Férey is a genuine guy who has a great sense of humor, a lot of presence on stage. He’s the antithesis of PC, which I love. He explained that he now prefers to write scenes that involve women. He also wants to write about oppressed people and since women are often among them, he’s interested in creating strong female characters. He was a bit provocative and said that men are more cavemen and that introducing female characters in his books obliged him to write with more finesse. And since his heroines wouldn’t fall in love with douchebags, he had to draw more sensitive male characters too.
Caryl Férey also talked about his creation process. He travels a lot. People he met through his travels influence his characters. His description was a lot like listening film directors when they explain the choice of an actor or an actress for a role. They often say “As soon as he/she entered the room, I knew he/she was the incarnation of the character”. Férey agreed with Rash about being inhabited by his characters during the writing of the book. He becomes a medium to pour them onto the page. He went as far as saying that he once fell in love with one of his characters, “as stupid as it may sound”, he acknowledged.
About first person narratives vs third person narratives. Both said it is more powerful to write first person narratives. Férey says that he rarely does, he’d rather write third person narratives and alternate narrators. Each narrator has their own style which may be a problem for Férey as a writer. When several third-person narrators meet, whose voice shall take over and tell the scene?
He also said that as a writer, he’s never off the clock. Musicians might think in sounds, painters in colors, he thinks in words and stories.
Both Rash and Férey are fond of poetry and they say it influences their writing. Rash explained that the last editing of his book consists in him listening to the sound of his sentences and polishing their sound, their rhythm. He wants to add another layer to his writing to enhance the reader’s pleasure. Férey pointed out that since poetry is not expected in crime fiction, he likes adding some to the mix.
To be honest, David Young seemed a little off compared to the others. His answers were interesting but his creation process seemed less artistic and less interesting to me.
This was a very good conference and you can watch it on replay on the Quais du Polar website, if you’re interested.
After that, I decided to attend a literary concert about Marcus Malte’s novel, Les harmoniques. This consisted in Malte being on stage with a jazz singer and a guitarist/double bassist.
Sorry, the picture isn’t good but at least, it gives you an idea of the setting.. Marcus Malte is on the left.
Malte told excerpts of his novel and between these excerpts, the musicians played songs related to the book. Les harmoniques, which I haven’t read yet, is deeply linked to jazz music. There’s a playlist at the beginning of the book and part of this playlist was played on stage. What a treat, really. Malte was well-prepared. He almost knew his text by heart and his narration was perfectly in tune with his words, with the music. The music agreed with the words, the words agreed with the music. Being there was a chance, a gift these talented artists gave to the public. It was set in the amphitheater of the Opera, away from the crowd, in a soft atmosphere. Jazz and crime fiction have a long common history and this literary concert was a marvelous experience. I can’t tell you how lucky the public was to attend such a performance, and for free. You can listen to it in replay here. It seems to be a very atmospheric book and I can’t wait to read it.
I rushed to the Chapelle de la Trinité, grabbing a sandwich on my way to meet with Marina Sofia and attend a conference entitled Exiled, locked away, tortured but alive: when pens become one with the wind of freedom. The participants were Víctor del Árbol (Spain), Marc Fernandez (France/Spain), Zygmunt Miloszewski (Poland) and Qiu Xiaolong (Chine)
All write about oppression and the dark corners of their countries. Miloszewski decided to write a book about domestic violence against women. Qiu writes about China. Fernandez wrote a novel about the stolen children of the Franco regime, a similar story to what happened in Argentina. Del Árbol writes about the hidden wounds of the Spanish Civil war and the Franco years. Miloszewski declared that patriotism means loving the glorious pages of one’s country’s history and being ashamed of his dark pages. Nationalism forgets to be ashamed of the dark pages. Del Árbol wants to address the issues that have been swept under the carpet to give the defeated a voice. He says that the vanquished, here the Spanish Republicans, were ashamed to have lost and had to stay silent. They were forgotten. Qiu explained that in China in the 1980s, graduate students from university were given jobs that they had to accept, whether the job was their cup of tea or not. This is why his main character, Inspector Chen reluctantly became a police officer. People have their future stolen by dictatorships or as Imre Kertesz perfectly described it, they became Fateless. The discussion was interesting, never going into actively promoting one’s last book but genuinely building on their work to foster the debate.
This was my last conference of the day. I then went into the giant bookstore. I wanted to talk to Jacques Côté, whose book I’ve just finished. I was glad to have answers to some questions I had about his book. I had books signed by Ron Rash, Megan Abbott and Víctor del Árbol. I bought a bande dessinée for my husband and books to give to other readers. And went home, tired but happy.
First day at Quais du Polar was a success! After a lovely lunch where Marina Sofia discovered what a café gourmand is, we headed to the Palais de la Bourse where the big bookshop is settled. Todau, the Palais de la Bourse is actually the headquarters of the Chamber of Commerce of Lyon. The name Palais de la Bourse means literally The House of Stock Exchange. I can’t tell you how pleased I am that a place that used to be a stock exchange is now hosting a huge book fair and a celebration of culture.
We wandered around the different bookstores, chatting about the books on the display tables, seeing where the different writers would be for their signing. Nothing’s better than browsing through books with another book lover.
I had the opportunity to talk to Marcus Malte and gush about how much I loved Le garçon. I purchased Les harmoniques, one of his earlier crime fiction books. Blues music plays an important role in the book and tomorrow he gives a lecture/concert about this book. I hope I can get in.
We decided to attend a conference entitled “Women as victims, women as executioners: what do these female protagonists tell us?” The participants to the conversation were Harold Cobert (French), Dominique Sylvain (France), Jenny Rogneby (Sweden), Andrée A Michaud (Québec) and Clare Mackintosh (UK). Cobert is the author of La mésange et l’ogresse, a book that attempts to describe the Affaire Fourniret from his wife’s side. Fourniret was a serial killer of young virgins and she was his supplier, luring the girls into his trap. I don’t want to read a book about this monster, but it doesn’t mean it’s a bad one, of course. Jenny Rogneby and Clare Mackinstosh have both worked in the police before writing novels. I guess they know how to add plausible details into their novels. I’m not going to relate the whole conversation about women, their place in crime fiction as victims or how they are received by the public when they are the criminals.
Both Rogneby and Mackintosh said that they want to give a voice to female victims, to give them some substance to avoid objectification. They want to show them as the humainbeing they were before becoming a victim. And how to we deal with female characters who are vicious criminals? There was an interesting discussion about whether women are as violent as men. I agree with Cobert’s assertion that imagining that women cannot be as violent or mean as men is another sexist way of seeing women. From this point of view, women would be soft and nice by essence, so not built as men and not their equals. I think that this vision comes from a distorted vision ingrained in people from childhood. Clare Mackintosh surprised the audience by explaining that, in her experience in the police force who intervene during Friday night brawls, women get as physical as men. She witnessed a lot of spontaneous aggressions from women too. They just fight differently scratching with their nails, pulling hair or kicking around. Personally, I’ve never seen two women or two girls fight physically. Have you?
Then the journalist asked about their self-censorship when they write. All agreed that they didn’t like to describe violence too closely, that they’d rather suggest it and that they want to avoid useless gore details and voyeurism. That’s better for the readers, in my opinion.
It was a good table discussion. It was located in the Grand Salon of the Hôtel de Ville (the city hall), a magnificent place where you can imagine the high society of the Second Empire having balls.
After that, Marina Sofia and I went our separate ways. I went to an interview of Megan Abbott. I’ve never read her books but since she’s inspired by Raymond Chandler, James M Cain, Patricia Highsmith and James Ellroy, she can’t be bad. (Unless she can’t write, which I doubt). She’s a lovely lady, she answered the questions gracefully and explained a bit about her source of inspiration, her love for Noir films and novels. She told us a bit about her writing process, where the ideas come from, what she starts with…I’m interested in one of her earlier books, Queenpin and in her last one available in French, You Will Know Me. It’s about a young adolescent who’s a gymnastic prodigy. She said she wanted to explore what having a gifted athlete could do to a family, to a couple. She explained that she could relate a bit since her brother was a baseball player. It’s an intriguing idea, I wonder what she made of it.
After this session, I had the chance to talk to David Vann and Todd Robinson who were sitting next to each other. Both are friendly and I appreciated that they made the effort to say a few words in French. As always, writers seem happy to participate to Quais du Polar. They take time to chat with readers, they are relaxed and I think warmly welcome by their bookstore host. Todd Robinson explained that these kind of book fairs don’t exist in the US and that he enjoys them. (There are a lot of “salon du livre” in France. Lots of cities host one) If writers are happy, visitors will be happy too. There were already a lot of people at the Palais de la Bourse today, it will be really packed tomorrow.
Today I came back home with four books.
Let’s see what tomorrow brings!
I was on a business trip this whole week and when I arrived at the station in Lyon this evening, I was surrounded by ads for crime fiction books and Quais du Polar. I took afew pictures with my phone.
I can’t wait!
Life is a Dirty Business by Janis Otsiemi (2014) Original French title: La vie est un sale boulot.
Janis Otsiemi is a crime fiction writer from Gabon who writes in French. He was invited at Quais du Polar last year and he will attend this year too.
Life is a Dirty Business opens with Chicano being released from prison in Libreville, the capital of Gabon. He was convicted for a murder he didn’t commit. It happened when he and three accomplices tried to rob a store and one of them ended up shooting down the owner of the shop. Chicano was arrested, went on trial and was condemned to several years of prison. He kept his mouth shut and never denounced the real culprit. What good would it have done? It was like becoming a living target for people who would have avenged for the man he would have put in prison. Better to be alive in prison than dead. Chicano is quite surprised to be released, actually, because he hadn’t done his time in prison. He got to understand that they set him free because of an administrative mess-up; somehow his name came up in the list of prisoners pardoned by the president of Gabon.
Chicano is not turning down this chance and he’s decided to live an honest life now. He’s heading to town to find out what his former girlfriend Mirna has become and start a new life with her. Unfortunately, she has moved on and is pregnant with another man’s child. When Chicano went to her neighborhood, he met his former friends and accomplices. They are working on a new robbery and are missing a person to do it. Their aim is to steal the pay of soldiers in a military camp when it arrives by truck on payday. They explain to Chicano that they have inside information, that it’s an easy job and easy money. And Chicano could use money to start his new life, so he accepts to participate.
rOf course, things don’t go as well as expected and for Chicano, life in prison was an easiet life that the one he just set himself up for.
The plot is classic noir fiction, with a guy with a shady past who tries to turn a new leaf but succumbs to one last fatal crime. It is the same kind of plot as in Eddie’s World by Charlie Stella. Efficient and time-tried.
I wanted to know how things would end up, even if I wasn’t optimistic for poor Chicano from the start, but the most enjoyable part of La vie est un sale boulot was discovering Libreville. Unlike Dernier refrain à Ispahan, this book is written by a local writer and it’s not written for a Western public. I loved the language and it was a fantastic opportunity to explore the variety of the French language offered by the Francophone world. You all know that French from Québec is different. French from Africa is different as well and I loved seing my language alive and vivid under Otsiemi’s pen. The French publisher, Jigal Polar added useful footnotes to explain words and expressions that a French reader wouldn’t understand. I don’t know much about African literature and it made me want to explore this part of Francophone literature.
Crime fiction is also often a good way to write about the unpleasant side of a country. It deals with crime and its darker side. La vie est un sale boulot is no exception. If what Janis Otsiemi describes is real, then there’s no need expecting anything good from the police. Here, they are corrupt and part of the crime world. They don’t really fight against crime, they take advantage of their job and status to benefit from crime. I’ve seen books where the police look the other way not to disrupt organized crime because somewhere they’re linked to the power in place. But here, they make money the same way that the criminals they’re supposed to chase do. Incredible and sad for the Gabonese people if it’s as bad as what Otsiemi describes. It was eyes-opening for the sheltered Westener that I am, another reason why it was worth reading.
While La vie est un sale boulot is not exceptional, Otsiemi does a good job and I’m glad a French publisher brought him to our attention. I’m sorry but this is not available in English. If you can read French, it’s worth trying out.
Zulu by Caryl Férey (2008) Original French title: Zulu
I picked Zulu by Cary Férey in preparation to the crime fiction festival Quais du Polar. He was invited again and I wanted to try one of his books. Other readers warned me that Zulu was rife with violence. It is, especially towards the end. For some reasons, it bothered me less than the violence in 1974 by David Peace. Perhaps it’s because I braced myself for it after the comments other bloggers had left. Or perhaps it’s because I expected violence from a book set in South Africa in 2008.
So what is Zulu about? Ali Neuman is a black man, now chief of the homicide branch of the Cape Town police. As a child, he was traumatized by what he witnessed during the war that the Inkatha militia led against the ANC. Even his mother, the only other survivor of his family doesn’t know what he endured.
As an adult, he represents the law in a society at war against violence and battling against the AIDS epidemic. The starting point of the novel is the murder of a young white girl, Nicole Wiese. She was slaughtered after ingesting a drug with frightening powers. The investigation will lead Neuman and his two colleagues Dan Fletcher and Brian Epkeen on the path of greed, madness and unadulterated violence.
Férey describes a society undermined by gangs who are heavily armed and ready to anything to defend their territory and their power. The country may have initiated a reconciliation process but the criminals from the past didn’t all pay for their crimes, nor did they change their mindset. The mental Apartheid still exists. Some methods from the past survive and have been passed to others. Drugs are a way to control the mob. We follow the investigation in the poor neighborhoods where kids are snatched in drug trafficking, where too many of them are orphans because of AIDS. It also shows the violence against women.
Neuman is a flawed character with one redeeming quality: he’s a good son. His mother is ageing and he tries to protect her as much as he can. But she’s a free spirit, she goes wherever she wants in her unsafe neighborhood and even when she’s mugged, she’s still not afraid. She puts her nose where it doesn’t belong and Neuman rightfully worries.
Brian Epkeen is also a tortured soul. He has a grown-up child, David but they don’t get along. His ex-wife Ruby divorced him a while ago and he still loves her. It doesn’t prevent him from being a womanizer. His past functions during the Apartheid regime gave him useful skills for his current job.
Neuman and Epkeen are reckless. They have nothing to lose. They know violence, it’s part of their bones. Dan Fletcher is the one with the wife and kids, the one who needs to stay alive and come home to his kids and wife, the one who has fear gripping his guts when he’s on dangerous grounds. And he’s right to be afraid.
Férey pictures a brutal city, in a country where the authorities struggle to contain violence. There’s so much misery, so many basic needs to fulfil in poor neighborhoods (education, drinkable water, safety). And yet, nature is magnificent, a reminder of the stupidity, the vanity and the evanescence of human activities.
Some of the violent patterns had me thinking about reconstruction after a time of violence, be it on the national territory or abroad. It reminded me of France after colonial wars, WWII and of the police force in 1974: what do you do with policemen who were on the wrong side or policemen who used to be in the military and used methods like torture in Africa during colonial wars? If you fire everybody, then you don’t have a working police force anymore. How do you eradicate racism from them, how do you make them drop these methods? How did it work in Argentina or Chile after the dictatorships fell? And in general, what does the new power do with the people who supported and lived off the previous regime?
Caryl Férey is French. So yes, the legitimate question is: how much of this is accurate? At Quais du Polar, he explained how he writes his books. He moves for a while to the country where the book is set. Then he reads, a lot. Thesis and essays. He said that he read a thesis about AIDS and women in South Africa. Some of the second characters were inspired by the interviews used as material for this thesis. He joked saying that beyond the doctorate’s teacher and family, he’s probably the only other reader of some of those thesis but that he loves them for the goldmine of information that they are. He also researched the politics, the history, the customs and the culture of the country. The book gives explanations about the fight of the ANC and the militia they faced against them. It was a quasi-civil war. Férey gives information about zulu rites and the different ethnic groups in the country.
Does is work? Well, I’ve never lived in South Africa, so I’m not sure my opinion matters. I’ll give it anyway because why write a blog if you can’t force-feed others with your opinion through a post? I think Férey’s book is amazing. It is extremely violent but I don’t think this violence is gratuitous. And I shudder to think he might not have invented all of the violent things he describes in Zulu. The sense of place, the pace, the description of neighborhoods, of behaviors, it all rings true. It’s dark, awful but strangely, it doesn’t sound as hopeless as 1974.
Zulu was made into a film by Jérôme Salle. Forrest Whitaker is Ali, Orlando Bloom is Epkeen and Conrad Kemp is Dan Fletcher. I haven’t seen it and I don’t plan to. I won’t be able to stomach the violence I’ve read if I see it on screen.