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An Open Wound by Patrick Pécherot – About the Paris Commune of 1871

December 30, 2018 25 comments

An Open Wound by Patrick Pécherot (2015) Original French title: Une plaie ouverte.

*Sigh* A missed opportunity, that’s what An Open Wound is. Patrick Pécherot supposedly wrote historical crime fiction here. The setting is Paris, back and forth between the Paris Commune of 1871 and 1905. Here’s what Wikipedia sums up about the Paris Commune:

The Paris Commune was a radical socialist and revolutionary government that ruled Paris from 18 March to 28 May 1871. The Franco-Prussian War had led to the capture of Emperor Napoleon III in September 1870, the collapse of the Second French Empire, and the beginning of the Third Republic. Because Paris was under siege for four months, the Third Republic moved its capital to Tours. A hotbed of working-class radicalism, Paris was primarily defended during this time by the often politicised and radical troops of the National Guard rather than regular Army troops. Paris surrendered to the Prussians on 28 January 1871, and in February Adolphe Thiers, the new chief executive of the French national government, signed an armistice with Prussia that disarmed the Army but not the National Guard.

On 18 March, soldiers of the Commune’s National Guard killed two French army generals, and the Commune refused to accept the authority of the French government. The Commune governed Paris for two months, until it was suppressed by the regular French Army during “La semaine sanglante” (“The Bloody Week”) beginning on 21 May 1871.

Debates over the policies and outcome of the Commune had significant influence on the ideas of Karl Marx, who described it as an example of the “dictatorship of the proletariat”.

The pretext of the plot is that Dana, a participant in the Commune of Paris has been sentenced to death in absentia for a murder on the Haxo street during the Paris Commune. In 1905, Dana is still missing and no one knows where he is or if he’s still alive. Rumors say he might be in America.

Dana was part of a group of activists during the Paris Commune, a group of historical figures (Courbet, Verlaine, Louise Michel, Vallès) and fictional characters like Marceau, the man who wonders what has become of Dana.

So far, so good. Good blurb, excellent idea for a book. Its execution was a death sentence for this reader. There are so many things that went wrong for me that I abandoned it, despite a genuine interest in reading about the Paris Commune.

The layout of the book:

Different typos to help the reader know where they are: normal for relating the Paris Commune in 1871, italic for the quest in 1905 and normal with another font to write about the murder. Tedious. I wonder how it turns out in audio book. I hate this device: the writing should be good enough to make the reader understand they’re back in time or moving forward or changing of point of view. It’s a lazy way to overcome the difficulty of changing of time, place and narrator.

Losing the plot line

The investigation to discover what has become of Dana should be our main thread except that we have a hard time figuring out it’s supposed to be the plot line. Thank God for the blurb. It’s not a real and methodical investigation so, right after I finally got it was the purpose of the book, I lost sight of it.

Missing key elements on the historical events. 

The Paris Commune events are told in short paragraphs with their date, to give the reader a chronology of the movement and its fall. Fine. But, as a reader who knows next to nothing about the Paris Commune (and I’m sure I’m not the only one) I didn’t understand how it happened, who were Communards, the ones fighting against the Thiers government. Thank God for Wikipedia.

Mixing historical characters with fictional ones. 

Except for the obvious ones, I couldn’t figure out who were real participants and who were literary characters. I don’t know how much Verlaine was involved in the Paris Commune or if it’s true that his wife was one of Louise Michel’s pupil. I suppose it’s true.

The style

The last straw that broke my reader’s back was the style. At times some sort of lyrical prose overflowing with words and at other times, half sentences, almost bullet points. Add to the mix, embedded verses by Verlaine when a paragraph features the poet, like here:

Il faudrait questionner Courbet, savoir ce qu’il peint d’un modèle. Ou Verlaine. Son rêve étrange et pénétrant n’est jamais tout à fait le même ni tout à fait un autre.

Patrick Pécherot, Une plaie ouverte, p141

Je fais souvent ce rêve étrange et pénétrant

D’une femme inconnue, et que j’aime, et qui m’aime,

Et qui n’est, chaque fois, ni tout à fait la même

Ni tout à fait une autre, et m’aime et me comprend.

Paul Verlaine, Mon rêve familier.

And the language is uneven, moving from one register to the other, often using argot from I don’t know what time. 1871?

I tried to soldier on but I was at the end of my rope page 166, out of 318. I say I gave it a good shot. Like the one Dana gave to Amédée Floquin, the man he murdered? I guess I’ll never know whether he actually killed him or if he’s still alive in 1905. The style is really what made be abandon the book, it grated too much. I was still learning things about the Paris Commune (with Wikipedia on the side) but the style was too unbearable for me to finish the book.

That’s a pity. Maybe I wasn’t in the right mood, maybe I’m too demanding, I don’t know. An Open Wound won a literary prize for crime fiction, Le Prix Transfuge of the best Polar. I fail to see how this book is a polar at all but I’m not proficient in putting books in literary boxes.

The good thing about aborted read is that I got to browse through the list of books that are based upon the Paris Commune. I need to read La Débâcle by Zola, at least I know the style will be outstanding. There are poems by Victor Hugo, L’Année terrible. There’s L’Insurgé by Jules Vallès and Le Cri du peuple by Jean Vautrin, that was also made into a BD by Jacques Tardi. And Tardi is a reference in the BD world.

Two Stories of Prague by Rainer Maria Rilke

December 29, 2018 8 comments

Two Stories of Prague: King Bohush and the Siblings by Rainer Maria Rilke (1899) My French edition is Histoires pragoises, suivi de Le Testament. Translated by Maurice Betz, Hélène Zylberberg, Louis Desportes and Philippe Jaccottet.

I have read Two Stories of Prague by Rainer Maria Rilke in French and my edition also includes a translation of another text, Le Testament. (Das Testament in German, I’m not sure that there’s an English translation; I suppose it’d be Legacy) Two Stories were published 1899, Rilke was 24 at the time. Legacy was written much later, abroad, in the winter 1920-1921.

Two Stories of Prague is composed of two related short stories, King Bohush and The Siblings. They are related to Rilke’s youth in Prague, his hometown. They were put together by Rilke himself with this quick introduction:

Ce livre n’est que passé. Son arrière-plan : le pays et l’enfance, tous deux lointains depuis longtemps. Aujourd’hui, je ne l’écrirais pas ainsi, mais je ne l’écrirais pas du tout. Cependant, à l’époque où je l’ai écrit, c’était pour moi une nécessité. Il m’a rendu cher ce que j’avais à demi oublié et il m’en a fait don. Car, de notre passé, nous ne possédons que ce que nous aimons. Et nous voulons posséder tout ce que nous avons vécu. This book is only about the past. Its background: my country and my childhood, both gone for a long time now. Today, I wouldn’t write it that way, but I wouldn’t write it at all. However, at the time I wrote, it was a necessity to me. It made dear to me things I had half forgotten and it made me a gift. Because from our past we only own what we love. And we want to own everything we’ve been through.

I like his introduction, his voice. He’s only 24 and he’s already aware that he’s moved on from his formative years in Prague but he still cherishes his early work. He knows these stories are clumsy but he doesn’t turn his back on them. He owns them as part of his past, a reminder of his younger self.

King Bohush describes how Rezek turned King Bohush, a pacific character of the Prague scene into a political activist who went into underground meetings to promote Czech nationalism. King Bohush opens with a scene at the Café National, actually the Café Slavia. Actors, journalists, students and Czech nationalists met there and discuss art and politics Founded in 1884, Rilke used to meet friends there and this café remained a place for political dissidents as it was also the one where Václav Havel used to spend time in. Poor Bohush is quite flattered to draw Rezek’s attention and he gets sucked into the Czech nationalist movement and forbidden political activities.

The Siblings is also set in Prague. We are with Zdenko and Louisa Wanka who just moved to the city from the country with their mother after their father died unexpectedly. They struggle to make ends meet and their mother works as a domestic in a German speaking household. Zdenko goes to medical school, at the Czech speaking university and Rilke explains that it’s less prestigious than the German speaking one. Zdenko also becomes one of Rezek’s followers and also gets involved in political activities.

The two stories have a lot in common. Set in Prague, the Czech activist Rezek appears in the two stories and both are focused on the division between the German speaking and Czech speaking inhabitants of Bohemia. Rilke explains that Czech-speaking are seen as second-class citizen, that everything German is supposedly better and that the elites of the country are looking west and tend to turn their back to Bohemian folk culture. The German speaking represent 10% of the people of Bohemia but seem to concentrate a lot of wealth and power and they clearly look down on the Czech speaking people. It is quite clear in the offhanded comment the German housewife makes about the Wanka. That part was interesting.

I like The Siblings better, probably because Louisa becomes a more prominent character as the story unfolds. She’s the symbol of the hope of reconciliation between German and Czech speaking Bohemians.

While the stories betray that their writer was a little green in his trade, they are still interesting for the descriptions of Prague and the glimpse of Rilke’s poetic eye and pen.

Les premiers soirs de printemps, l’air est d’une fraîcheur humide qui se pose doucement sur toutes les couleurs et les rend plus lumineuses et plus semblables les unes aux autres. Les claires maisons du quai ont presque toutes pris la teinte pâle du ciel, et seules les fenêtres tressaillent de temps en temps dans une luminosité chaude et, réconciliées, s’éteignent au crépuscule, lorsque le soleil ne les dérange plus. Seule, la tour de Saint-Vit reste encore debout dans son antique et éternelle grisaille.

In the first evenings of Spring, the air has a humid coolness which slowly settles on all the colors and make them brighter and more alike. The light houses on the embankment have almost all taken on the pale shade of the sky. Only the windows still quiver from time to time in a warm light and, reconciled, switch off at dusk when the sun doesn’t bother them anymore. Lonely, the Saint-Vit Tower stands still in its eternal dullness.

(my clumsy translation, sorry Mr Rilke)

Walking around Prague with Boshush and the Wanka siblings make you want to visit Prague and that’s already a success for Rilke’s stories. After all, it was about his hometown and his childhood.

A few words about Legacy. It’s a collection of short texts, drafts of letters written during the 1920-1921 winter. Rilke was staying at the Berg castle near Zurich. The foreword by Ernst Zinn was a riddle impossible to decipher for a non-Rilke specialist. When you need footnotes to a foreword, it’s like a Russian doll game for the reader. Legacy in itself will probably be of some interest for Rilke’s fans who know a lot about his life and wanderings. For philistine readers like me, it was almost impossible to follow because a lot of references were lost on me.

Good news for English speaking readers, it’s no big deal that your edition of Two Stories of Prague doesn’t include Legacy.

For other billets about Rilke’s work see: Au fil de la vieLetters to Lou Andrea SalomeThe Notebooks of Malte Laurids Brigge, and Letters to a Young poet.

The Rosie Project by Graeme Simsion – Entertaining

December 24, 2018 14 comments

The Rosie Project by Graeme Simsion. (2013) French title: Le théorème du homard.

This month, I’m supposed to read Dead Souls by Gogol before my next Book Club meeting. I am too tired to concentrate on it and so far, I haven’t been able to go further than page 2. Yes, it doesn’t sound good. So, I’ve been reading easy books for the sake of entertainment. I had The Rosie Project by Graeme Simsion on my kindle and it seemed the right time to get to it.

Don Tillman is a professor of genetics at the university of Melbourne. He’s single, almost forty, never passed the first date stage and now wishes to get married. His friends Gene and Claudia tried to set him up with friends but to no avail.

He decides to set up a very detailed questionnaire to find the perfect wife. This is how he starts The Wife Project. When Gene sends Rosie to Don’s office as she has a question related to genetics, Don misunderstands her coming to him and thinks that Gene sent her after she applied to The Wife Project.

Don starts taking interest in Rosie’s search for her biological father. He gets invested in what becomes The Father Project. Rosie inserts herself into his life, and although he dismissed her as a valid candidate for The Wife Project, he slowly discovers that science cannot solve everything.

Don is the narrator and we understand from the start that he has an IQ higher than everyone, that he has trouble interacting with people, that he painfully lacks social skills. His life is organized by the minute on a white board and he aims at maximizing his time for everything. Scientific thinking is his only way of thinking. He’s rational and has trouble with spontaneity and non-analytical behaviours and responses.

Gene and Claudia tried for a while to assist me with the Wife Problem. Unfortunately, their approach was based on the traditional dating paradigm, which I had previously abandoned on the basis that the probability of success did not justify the effort and negative experiences. I am thirty-nine years old, tall, fit and intelligent, with a relatively high status and above-average income as an associate professor. Logically, I should be attractive to a wide range of women. In the animal kingdom, I would succeed in reproducing. However, there is something about me that women find unappealing. I have never found it easy to make friends, and it seems that the deficiencies that caused this problem have also affected my attempts at romantic relationships.

This is typical of Don’s voice.

At the beginning of the novel, he replaces his best friend Gene to be the speaker at a conference about Asperger’s syndrome. His reaction to the public and the few words he says about the content of the conference leads the reader into thinking that Don has Asperger’s syndrome. But it’s never said directly and that was clever of Simsion. He avoids further criticism about inaccurate psychiatric details and Don isn’t pigeonholed as someone with a disorder but just as someone odd. Rosie brings spontaneity into his life and breaks his routine, throwing him out of his comfort zone. Her presence disrupts his life and forces him to come out of his self-built shell.

The Rosie Project reminded me of Addition (2008) by another Australian writer, Toni Jordan. In Addition, Grace, the main character has OCD and a life with a lot of rules and habits, just like Don.

The Rosie Project is tagged as a “feel-good” novel. If the narrator and the writer were female, I bet it would be tagged as chick lit. I suppose that, like Addition, it a romcom with an unusual character, one who’s socially inapt but still loveable. Don’s deadpan tone is quite entertaining and he finds himself in situations that become comical. His vision of life is endearing as he tends to take everything at face value. Since he has trouble understanding non-verbal messages, he has difficulties in social settings. Lots of miscommunication happen. Rosie has her own issues and interacting with matter-of-fact Don isn’t easy for her either. He doesn’t know how to sugar-coat things, he always speaks his mind and he can be hurtful. Unintentionally.

The Rosie Project won several prizes and I suppose that in its category, it’s a good book. It’s easy to read and written in a good style. It’s a perfect distraction, an excellent Beach & Public Transport book. It’s also a novel that reminds us that it takes all sorts to make a world and that we shall accept people the way they are and not always try to change or improve them or make them enter into some socially accepted standards.

For another review, see Lisa’s here (She also mentions Addition) and Sue’s here.

Half Life by Roopa Farooki – A lovely journey back to full life.

December 16, 2018 6 comments

Half Life by Roopa Farooki (2010) French title: Le Temps des vrais bonheurs. Translated by Jérémy Oriol.

It’s time to stop fighting, and go home. Those were the words which finally persuaded Aruna to walk out of her ground-floor Victorian flat in Bethnal Green, and keep on walking. One step at a time, one foot, and then the other, her inappropriately flimsy sandals flip-flopping on the damp east London streets; she avoids the dank, brown puddles, the foil glint of the takeaway containers glistening with the vibrant slime of sweet and sour sauce, the mottled banana skin left on the pavement like a practical joke, but otherwise walks in straight line. One foot, and then the other. Toe to heel to toe to heel. Flip-flop. She knows exactly where she is going, and even though she could have carried everything she needs in her dressing-gown pocket – her credit card, her passport, her phone – she has taken her handbag instead, and she has paused in her escape long enough to dress in jeans, a T-shirt and even a jacket. Just for show. So that people won’t think that she is a madwoman who has walked out on her marriage and her marital home in the middle of breakfast, with her half-eaten porridge congealing in the bowl, with her tea cooling on the counter top. So that she won’t think so either. So she can turn up at the airport looking like anyone else, hand over her credit card, and run back to the city she had run away from in the first place.

The opening paragraph of Half Life by Roopa Farooki has in itself most of the key elements of her novel. This is Aruna’s point of view.

It’s time to stop fighting, and go home is a verse of a poem by a minor Bengali poet, Hari Hassan. Hassan is dying in a hospital in Kuala Lumpur and reflects on his life. His last wish is to see his estranged son one last time. Hassan looks back on his love life, on past friendships and on the war that resulted in the creation of Bangladesh in 1971. He and his best friend weren’t on the same side. He will be the second voice of Half Life.

Aruna read this verse in a collection of poems by Hassan that her childhood friend turned lover gave her. Jazz, that’s his name, lives in Singapore and will be the third voice of Half Life.

Aruna has been in London for two years after she fled from Singapore, leaving Jazz behind, never looking back, never contacting him again. She got married to Patrick, a doctor who works in a local hospital. She’s bipolar and struggles with her illness. Her tone is rather detached, as if she goes with the flow of her life without being truly engaged in it. Her description of her relationship with Patrick is quite harsh and I pitied him a bit. But is Aruna a reliable character? Is Patrick as oblivious as she thinks?

Jazz has stayed in Singapore, has a new girlfriend and tries to move on from Aruna. He doesn’t speak to his father Hari Hassan anymore and doesn’t know he’s dying in Kuala Lumpur. Aruna’s departure was brutal after they discovered a disturbing fact about Jazz and her. They grew up together, their parents living in the same neighborhood, two Bengali kids in school, looking alike and linked by a strong bond. Their relationship moved from deep friendship to lovers. Until a family secret shattered their love bubble.

And then Aruna left. Abruptly. Just like she does this very morning in London, leaving her husband, their flat and their life behind in the middle of breakfast. It’s time to go back to Singapore, see Jazz again and look for the answers behind the secret they discovered. It’s time to stop hiding, to learn the truth to finally heal.

The good part of writing billets about books I read a few months ago is to assess what stayed with me. If I don’t read my notes or reread passages of Half Life by Roopa Farooki, I’m left with a bittersweet impression of a main character, Aruna who goes on a few days journey to put together the puzzle of her identity and her life. It will take her three days and three nights.

I didn’t like her very much at the beginning, I thought she was cruel to others and quite selfish. But maybe she felt so bad that all her strength was used to keep living her everyday life, work, interact with Patrick, his family and friends. Perhaps it consumed all her energy and left nothing to reach out to other human beings around her. Nothing left to give. Selfishness in survival mode.

Jazz and Hassan need closure. Jazz does to move on, to have Aruna in his life as a friend and not as a partner. Hassan wants to die in peace and reconcile with his son and his best friend.

Half Life is what these three characters have been living. Hassan has forever been cut in half after the civil war that brought the creation of Bangladesh. His former life was in Pakistan. His heart was in Bangladesh. Aruna and Jazz cannot live a full life without a new foundation to their relationship. They have to move back to friendship because they need each other. Without this, they only engage half way in their life and current relationships. It’s time Aruna gives more credit to her feelings for Patrick. (In a way, she reminds me of Marguerite Duras in The Lover.) It’s time that Jazz invests in his relationship to June. Their partners deserve it. Half life also refers to geography. For the three characters, half of their life is in another country.

I enjoyed the setting, the descriptions of Singapore and of Aruna and Jazz’s childhoods. It brought me to places I’ve never been to. Farooki’s writing is fluid, with a pleasant melody, one that stays with you and makes you remember fondly of this unusual story and its engaging characters.

PS: According to her biography on Wikipedia, Roopa Farooki has moved from corporate finance and advertising to literature, a brave and radical change of career that she can be proud of.

PPS : I’m sorry but again, I prefer the French cover to the Anglo-Saxon one.

Pike by Benjamin Whitmer – Excellent American Neo-Noir

December 2, 2018 8 comments

Pike by Benjamin Whitmer. (2015) French title: Pike. Translated by Jacques Mailhos.

We are now in December and I’m starting to realize I still have FIVE unwritten billets and that I have to catch up within a month. That’s going to be a challenge considering my current workload and family occupations. I would like to say that I have a method to tackle the pile, like alternating FIFO and LIFO methods but I don’t. So today, it’s going to be Pike by Benjamin Whitmer. It’s crime fiction again, a series of billets I might close with Wake in Fright by Kenneth Cook.

Set in the Appalachees and in the 1980s, Pike is American neo-Noir brought to the French public by the excellent publisher Gallmeister.

Douglas Pike is retired from crime and murder. He’s back in his hometown in the Apalachees and makes a living doing odd jobs with his partner, Rory. Pike tries to survive, to leave the past behind and takes care of Rory in a gruff and discreet way. His life changes when he discovers that his estranged daughter Sarah overdosed and he’s the only one left to take care of his twelve-year-old granddaughter Wendy. A granddaughter he’d never heard of until that day.

While he’s busy settling into a new life with a kid and bonding with Wendy, he soon realizes that Derrick Kreiger, a corrupt cop from Cincinnati, takes an unhealthy interest in his granddaughter. Protecting Wendy will push him to investigate what happened to his daughter and to try to understand what Derrick Kreiger does behind his police officer uniform.

Pike is a pure Noir gem with a great gallery of characters. Pike is still haunted by his past, does his best to move on but Wendy will force him to dive back into his old world. He’s taken Rory under his wing, being a father figure to this young adult who tries to do something with his life and defy the odds his background put against him. Iris is a waitress at a diner Rory and Pike go to. She has a soft spot for Pike and is part of his new “family” or support system in Nanticote. There’s all damaged by life. Here’s Pike and Wendy’s first meeting at the diner, under the Iris’ and Rory’s incredulous eyes.

It gives you a idea of Whitmer’s style, of the atmosphere of the novel and of Pike’s task with Wendy. She’s a tough cookie and she’s not ready to open herself to this stranger of a grandpa.

The other side of the book is the manhunt in Cincinnati, the depiction of a corrupted police force and its meddling with organized crime. Derrick Kreiger is not someone you want to mess up with and Pike arriving in the picture doesn’t sit well with him.

You’ll have to read it to know more…

As always, Gallmeister did a wonderful job of bringing excellent American literature to the French public. Pike will be a success with fans of classic Noir. It’s like watching a movie. Benjamin Whitmer was in bookstore in Lyon recently for a reading and a book signing. I wish I could have gone and met him. *sigh* I need to work on this quote by Michel Serres Travailler moins pour lire plus. (Work less to read more)

PS: I can’t help commenting the American and French cover of the book. The French one is so much better, at least for me. It conveys everything, the main protagonists, the atmosphere and the danger.

Heatwave by Jean Vautrin – French Noir

November 27, 2018 4 comments

Heatwave by Jean Vautrin (1982) Not available in English.

Jean Vautrin (1933-2015) was a writer and a scriptwriter. Heatwave was our Book Club pick for November and it was a stark contrast to The Ice Princess, the crime fiction we read the month before.

Heatwave opens on a runaway criminal, Jimmy Cobb who has attacked a bank in Paris. He’s in the Beauce countryside, the agricultural region near Paris. There are large flat fields there and nowhere to hide. The police are after him and he’s digging a hole in a field to hide his loot from the robbery. He’s dressed in an elegant suit and it draws the attention of eleven-years old Chim. He sees him from his hiding place and decides to steal the money and hide it somewhere else.

Chim comes from the Morsang farm, the closest house. That’s where Jimmy Cobb decides to hide when the police’s chopper starts making rounds above his head.

The Morsang farm is the home of a violent and mostly uneducated family. Horace Maltravers married Jessica to take over the farm and its vast estate. His drunkard brother Socrate lives with them. Horace has a grownup daughter from a previous marriage, Ségolène. She’s not right in her head and a total nympho. She keeps assaulting men around her. Jessica had Chim with a seasonal farmhand before her marriage to Horace. Three employees work on the farm, Saïd from Algeria, Soméca Buick from an African country and Gusta Mangetout.

At the Morsang farm, they all have issues, except the employees. Horace is extremely violent and volatile. He hates Chim. Socrate could be sensible if drinking had not changed him into a useless slob. Jessica has locked herself into her housework, bringing cleanliness in the house since she can’t have a safe and sane home. Ségolène is creepy, always trying to corner males employees. They are all horrible in their own way. Horace and Ségolène clearly have mental health problems. Socrate and Jessica try to survive in this environment in their own way. And Chim is damaged for life.

The novel is a man chase, the police being after Cobb and the inhabitants of the farm willing to take advantage of his presence for their personal gain. Will Cobb get out alive of the farm? Will the police catch him or will the Morsang inhabitants get to him first? The whole novel happens in the span of two days.

Heatwave is a polar written in the pure tradition of classic Noir in bad French translations. In the 1950s and 1960s, most of the American crime fiction was published in the famous Série Noire. They were published quickly, translated in a way to respond to the French public, sometimes without much respect for the original text. If passages were too long, they were cut to keep the book within a certain number of pages. Thick argot was used, some of which got old quickly and is incomprehensible today.

Heatwave was written in this Série Noire tradition. It’s a polar à la San Antonio. It’s full of play-on-words, of twisted French and old-fashioned gangster way of speaking. When I started to read it, right after The Emperor’s Tomb I felt disoriented.

Heatwave is written in a style that requires a bit of adjustment from the reader. It’s also a succession of quick vignettes that betray Vautrin’s experience with cinema. It felt stroboscopic. It was like entering a nightclub and needing a moment to adjust to the place, the noise, the dark and the flashing lights. At first, you’re overwhelmed. Then, once you’ve been here for a while, you get used to it and you start seeing details, enjoying the décor and having fun. The reader must reach page 50 to get accustomed to Vautrin’s brand of writing and to start enjoying the atmosphere and the inventive style. It’s better to read Heatwave in a few sittings or the process of adjusting to the ambiance is to be done each time. Among the horrible argot, we can find poetic descriptions of the landscape,

Vingt-deux heures cinq

C’est l’heure des exhalaisons soudaines. Au moindre souffle de la brise, les odeurs voyagent à dos de pollen ou de petit lapin. Chiendent, blé tendre, coquelicots, fleurs neuves, les senteurs de la nuit sortent de terre. Elles remercient le soleil

10 :25 pm

It’s the time for sudden exhalations. With each breath of breeze, scents travels on pollenback or on rabbitback. Couch grass, common wheat, poppies, new flowers, the night’s scent come out of the earth. They are thankful for the sun.

and quirky descriptions.

It’s also extremely violent. Gunshots, torture and violence to women. I was also bothered by the descriptions of Saïd and Soméca Buick, full of clichés coming from colonial France. Maybe it was tolerated in 1982, twenty years after the war in Algeria and decolonization but now, it’s shocking. And I’m happy to be shocked because it means that things have improved.

I thought it was rather unrealistic as far as police procedural is concerned. The GIGN intervenes. They’re Special Operations in the gendarmerie, elite corps who come in touchy situations. They don’t show their face to cameras and don’t give their names. And here, they introduce themselves as country gendarmes do. But I guess accuracy is not the point of the book.

I don’t know what to think about Heatwave. It’s obviously classic noir, written into a tradition. The gangster jargon used here and there felt like a pastiche, a will to follow the Série Noire rules. It is a pity that Vautrin tried too hard to do that because when his own writing dominates, it’s powerful with clear-cut descriptions, sharp portrays and poetic descriptions of the landscapes.

Heatwave is not available in English but it has been made into a film directed by Yves Boisset. The lead actors are Lee Marvin, Miou-Miou, Jean Carmet and Victor Lanoux. I won’t be watching the movie because I have a better tolerance to violence when it’s written than when it’s on film. When I read, I manage to block images from flooding my head, something I can’t do with films.

For foreign readers curious about Vautrin’s style, I would recommend to check out the sample on Amazon, you’ll see what it sounds like.

The Emperor’s Tomb by Joseph Roth – German Lit Month – Wunderbar

November 18, 2018 17 comments

The Emperor’s Tomb by Joseph Roth (1938) French title: La crypte des capucins. Translated from the German by Blanche Gidon.

Nous avions tous perdu notre position, notre rang, notre maison, notre argent, notre valeur, notre passé, notre présent, notre avenir. Chaque matin en nous levant, chaque nuit en nous couchant, nous maudissions la mort qui nous avait invités en vain à son énorme fête. We all had lost our position, our rank, our house, our home, our money, our worth, our past, our present and our future. Each morning when we got up, each night when we went to bed, we cursed death who had invited us in vain to her grand party.

The Emperor’s Tomb (1938) is a sequel to The Radetzky March (1932). You don’t need to have read the first one to read the other but both feature the same Trotta family. The Radetsky March takes us from the 1860s to 1916, the year the Emperor Franz Joseph died. Roth pictures the tragic fate of the Trotta family, a fate that is linked to the slow death of the Austro-Hungarian Empire. He shows how rotten the Empire had become and how ready to collapse it was.

Then The Emperor’s Tomb pictures the Trotta family after the collapsing due to WWI, during the fragile First Austrian Republic up to the Anschluss in 1938.

It begins in April 1914. Franz-Ferdinand Trotta is 23. He’s young, idle and spends his nights drinking and partying with his friends. He’s living a dissipated life and barely sees the sun because he only lives at night. He’s influenced by his friends, he wants to fit in so badly that he represses his true self. He doesn’t openly court Elisabeth, one of his friends’ sister, because it was not fashionable to be in love. He’s carefree to the point of carelessness. He’s totally unprepared for adult life and he’ll have to grow up quickly because his life is about to change.

Franz’s father has just died and left some money to Joseph Branco, a cousin of the peasant branch of the Trotta family, the one still living in Slovenia. Branco is a farmer during the summer and a travelling chestnut seller during the winter. Franz-Ferdinand welcomes him with open arms, somehow glad to be with someone who is a link to his countryside roots.

During his winter travels around the Empire, Branco has befriended a Jewish coachman from Galicia. His name is Marès Reisiger and he has a son who wants to study music in Vienna. Franz calls for a favor and the young man gets in his music school.

A bond is formed between Franz, Branco and Reisiger, strong enough for Franz to go to Galicia during the summer 1914. That’s where he is when WWI starts. He comes back to Vienna to join his regiment, marries Elisabeth in haste and in fear of not coming back and leaves town. He quickly asks to change from his designated regiment to a less prestigious one to be with Branco and Reisiger. They are quickly captured by the Russian army and spend the whole war in a prisoner camp in Siberia.

Back to Vienna, Franz tries to adapt to the new reality of his life. Everything he knew has fallen apart. The Austro-Hungarian Empire is dead. His wife is a stranger. His mother is ageing and declining. He has no trade and is unfit to earn any money. His fortune is vanishing quickly, due to poor investments and the economic situation of the country.

Franz is a disarming, charming and yet infuriating character. His candidness is endearing and he doesn’t try to hide his flaws. He’s not class-conscious and doesn’t look down on Branco. He never makes fun of him, even when he takes him to breakfast in a posh café in Vienna and he asks for soup because that’s what he eats at home. He’s not ashamed of him and he even envies him in a way. Branco knows his place in the world, in the society.

Franz partially died when the empire fell. He’s a man from the past and he has trouble adjusting to the moving reality. Roth describes a feeling of disorientation and loss. Franz has lost his identity. He feels “ ‘extraterritorialised’ from the land of the living.” Franz is nostalgic of monarchy made of different countries and people, patched up into an empire through administrative and everyday life landmarks, like the railway stations and the post office. There are no borders and things feel familiar everywhere he goes. You could say that it is the beauty of colonialism seen from the side of the colonizer and that the people of the Austro-Hungarian empire certainly didn’t feel that way. But Roth argues through Franz that the Empire collapsed because it failed to see that the people from the Slovenia, Galicia, Romania, etc. were its wealth thanks to their diversity. Vienna made the mistake to turn to their German roots instead of embracing the vitality and diversity of the people of the Austro-Hungarian Empire.

The Interwar period in Vienna sounds similar to the Interwar period in Budapest described in books by Zsigmond Móricz or Dezső Kosztolányi even if the description of the political context is not the aim of their books.

Contrary to The Radetsky March, The Emperor’s Tomb is a first-person narrative. Franz talks to us, bares his soul and lets us in. He shows his helplessness. He knows he’s not equipped to survive properly in this new world. He tries to stay afloat  and live one day at a time. He’s oblivious to the changing political context, he’s too focused on what he lost. He’s like the frog who is in a water bucket and the temperature of the water increases, increases, increases and the frog is dead before it realized it was time to leap out of the water.

The Emperor’s Tomb is really moving even if I wanted to shake Franz and urge him to live his live instead of suffering through it. But Franz, like the monarchy he was born under, is an oak with old roots. And oaks, like Lafontaine told us, do not bend like reeds when the wind is too strong. They get uprooted and die.

There would be a lot more to explore about this book, about its form and its substance. I didn’t write anything about its style but it was exceptional. I have read The Emperor’s Tomb in an excellent French translation by Blanche Gidon who knew Roth when he was exiled in Paris in the 1930s. My paperback edition includes a good foreword by Dominique Fernandez and a touching afterwords by Blanche Gidon about her last meeting with Roth and her take on The Emperor’s Tomb. There’s an English translation by Michael Hoffman, and I heard from you all that he’s a good translator.

This was my second contribution to Caroline’s and Lizzy’s German Lit Month. I had The Emperor’s Tomb by Joseph Roth on my shelf and I’m happy that Lizzy’s readalong pushed me to read it at last.

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