Ekphrasis

The category "ekphrasis" encompasses texts in which literature enters into a productive tension with the visual arts—from painting and photography to film and digital visuals. Historically, the term refers to ancient rhetoric, in which ekphrasis functions as vivid, evocative description capable of bringing the absent into focus. Aesthetically, this unfolds into a field of intermediality in which writing not only describes images but also reflects on their modes of perception, their materiality, and their epistemic orders. From a literary studies perspective, ekphrasis thus opens access to texts that not only thematize visual cultures but also reimagine and critically examine them within the medium of language itself.

The world as surface, the surface as world: trompe l'œil and ekphrasis in the work of Maylis de Kerangal

Maylis de Kerangal's novel "Un monde à portée de main" (2018) follows Paula Karst, a young Parisian woman who learns the art of trompe l'oeil at a Brussels institute and later works as a decorative painter in film studios, church restorations, and villas, until she finally contributes to a monumental reproduction of the Lascaux cave paintings. This essay reads the novel as the literary counterpart to its own theme: just as Paula's painting aims to obliterate itself in favor of a deceptively realistic surface, Kerangal's prose also proceeds ekphrastically and illusionistically—conjuring colors, materials, and visual spaces so sensuously that the reader forgets the words behind the world. The perfect trompe l'oeil requires not only the moment of deception but also that of disillusionment—only when the eye recognizes the illusion as art does the work unfold its true beauty. From there, the interpretation expands the question to the relationship between original and copy, which is radically subverted in the novel, from the Brussels training to the Egyptian funerary statue in the Turin museum: The copy is not a lie, but a creation of reality – and Paula's work on Lascaux ultimately poses the oldest question in art history anew: What is an original if the cave paintings of prehistory themselves wanted nothing more than to make the world so real that one could touch it?

➙ To the article

Trace instead of monument: aesthetic revolt and the birth of a true book in the work of Cécile Guilbert

Cécile Guilbert's debut novel, "Le Musée national" (Gallimard, 2000, cited as LMN), is told from the first-person perspective of Juliette Cramer, who, after abandoning a legal career, leads a seemingly marginal, but in reality radically self-determined life as a museum guard in Paris. Between tennis courts, a love affair, chess games, and above all, the intense contemplation of paintings, she develops an attitude that understands art not as discourse, but as direct experience. The novel does not follow a conventional plot, but rather unfolds as a series of observations, reflections, and aesthetic experiences that intensify as the narrative moves between the Petit Palais and the Musée d'Orsay, ultimately culminating in Juliette's decision to abandon mere note-taking and write a "true book"—the very book the reader is currently holding. This essay reads the text as a triply coded project: as a social novel that dissects the spectacle and media culture of the late 1990s with satirical precision; as an aesthetic manifesto that advocates for an immediate, physical-sensual perception of art against academic over-shaping; and as an autopoetological novel that reflects on and performatively enacts its own genesis. The descriptions of the paintings are read as key passages in a poetics of "pure seeing," the social satire as a critique of a cultural establishment that replaces experience with event. By finally interpreting the novel's ending as a self-referential turning point—the book read as the result of the narrated decision—the interpretation makes it plausible that LMN tells less a story than it experiments with a form of existence: literature appears here as the last resort for escaping institutional control over perception and language.

➙ To the article

Vision at its limit: aesthetic overwhelm in the work of Nicolas de Crécy

Nicolas de Crécy's "Le syndrome de Kyoto" (Gallimard, 2026, cited as SDK) is an artist's novel that expands the pathology of an image-saturated consciousness into a cultural-diagnostic metaphor: At its center is Alexandre Vollin-Delbar, a painter whose hypertrophic art memory replaces any direct perception with art-historical overlays, thus making him both the ideal recipient and an incapable producer. The novel develops this constellation in a twofold movement of narrative representation (the stay in Kyoto as a failed attempt at healing) and reflexive self-reflection (the form of the text imitates the encyclopedic flood of images experienced by its protagonist), thereby making the individual illness legible as a symptom of an image-saturated present. The essay argues that Crécy's text should be understood less as a psychological case study than as a poetics of failure: the painter's "hypertrophy of art memory" acts as an intersection of perception theory, art criticism, and media analysis, revealing the paradox that the total availability of images leads not to increased creativity, but to its stagnation. Furthermore, the juxtaposition of Alexandre and the art historian Julie develops an alternative model of seeing—a distanced, historically reflective perception that does not overwhelm, but orders. The article explores how the novel systematically subverts classical forms (Bildungsroman, Künstlerroman), aligns its own narrative structure with the logic of hallucination, and simultaneously formulates a subtle satire on the art market, conceptual art, and digital visual culture. In the final image—the silent, free drawing after the silence of inner images—the review ultimately recognizes not a simple salvation, but a minimalist counter-poetics: art does not arise from the accumulation of references, but from the reduction to perception and gesture. Thus, in this reading, SDK appears as a commentary on the conditions of artistic creation in the age of total visibility that is as skeptical as it is precise.

➙ To the article

The Stolen Sun: Art as a Collective Utopia in Duvalier-Era Haiti by Luce Perez-Tejedor

This essay interprets Luce Perez-Tejedor's "Saint-Soleil" (Seuil, 2026) as a novel that intertwines the emergence, flourishing, and destruction of a Haitian artistic community in the 1970s with the long duration of colonial violence. At its core is the project of a collective, ritually grounded artistic practice that defies Western aesthetics of genius and market logic: peasants, workers, and outsiders develop—guided but not dominated—an independent visual language from local materials and spiritual practices, whose vibrant colors and expressive gestures unfold an aesthetic splendor that is directly and sensually perceptible. At the same time, this artistic development is embedded in the repressive political context of Haiti under the Duvalier dictatorship, where violence, corruption, and control of living space are omnipresent and constantly threaten the community's utopia. The moment it becomes visible, art is endangered: international recognition, mediated by André Malraux and others, turns into appropriation, and the images become commodities in a global art system that perpetuates colonial ways of seeing. This interpretation reads the novel as a systematic juxtaposition of two incompatible logics—an aesthetic-spiritual practice of the shared and an economic logic of extraction, which materializes not only in the art market but also in drastic motifs such as the blood plasma trade. The concentric structure of the plot, the vertical spatial order (mountain vs. city), the semantic fields of sun and blood, and the parallel montages (gift vs. theft) are all read as expressions of the same historical dialectic. Thus emerges the image of a novel that reflects on its own poetics while simultaneously demonstrating that every representation of this art is already entangled in the very mechanisms it criticizes.

➙ To the article

Three intermedial Orpheus variations: Palermo, Berlin and Trump's USA in the work of Sébastien Berlendis

This review reads Sébastien Berlendis's new novel, "24 fois l'Amérique" (Actes Sud, 2026, cited in FA), in conjunction with two earlier books ("Revenir à Palerme," 2018, and "Seize lacs et une seule mer," 2021), as part of a cohesive poetic constellation. All three texts explore a common narrative motif: a first-person narrator follows the trail of a missing woman, traversing landscapes steeped in history, memory, and melancholy. While the first novel unfolds an almost claustrophobic search for the lost lover, Délia, in a decaying Palermo, staging photography as a medium of remembrance, the second relocates this search to the summer lakes of Berlin, where Super 8 films of a mysterious woman become the starting point for a leisurely reconstruction of the past. FA now expands this movement into a road movie through the American Rust Belt: The narrator travels from New York to Lake Michigan to find Marianne, who has been present for years only through drawn postcards. The novel unfolds a visually structured journey through motels, industrial wastelands, and lake landscapes, in which photographic equipment, overexposed images, and cinematic shots become central metaphors for the unreliability of memory. Marianne appears less as a real figure than as a "presence through absence," whose trace the narrator follows in a landscape of fragmented memories. – The article argues that these three novels can be read as an intermedial variation on the Orpheus myth. Berlendis's narrator constantly moves in a paradoxical motion between memory and the present: Like Orpheus, he tries to retrieve a lost Eurydice, but the search does not lead to the recovery of his beloved, but rather to an aesthetic transformation of the loss. The analysis reveals that this poetics is strongly influenced by visual media. Photography, film, and Polaroid images not only structure the characters' perceptions but also the formal organization of the texts—particularly in the most recent novel, whose twenty-four episodes resemble cinematic shots from a melancholic road movie. Simultaneously, the article interprets this latest novel as an indirect political novel about contemporary America: The journey through the Rust Belt leads through deindustrialized cities, religiously charged landscapes, and migrant-dominated urban spaces, resulting in a multifaceted portrait of a socially fractured country. The interpretation argues that Berlendis does not formulate this political dimension programmatically but rather allows it to emerge from a poetics of observation in which personal memory, media perception, and historical landscapes are intertwined.

➙ To the article

Hermaphroditic Writing: A Night at the Museum with Éric Reinhardt

Éric Reinhardt's "L'imparfait" (Stock, 2026), part of the book series "Ma nuit au musée," begins with a seemingly simple premise: a night alone in the Galleria Borghese. However, from this institutionally framed experiment unfolds a multifaceted text that interweaves self-examination, art contemplation, myth, and romantic fantasy. At its center is the Sleeping Hermaphrodite, whose dual physicality becomes the central figure of the entire book: identity appears not as a fixed form, but as a phenomenon dependent on perspective. The night in the museum dissolves the familiar order of time; memories, previous visits to Rome, imagined scenes, and present perceptions merge. Artworks are not explained in art historical terms, but experienced as counterparts—as silent, resistant bodies that permit intimacy while simultaneously maintaining distance. In parallel, the story of Gloria and Bruno unfolds, transforming Ovid's ancient myth of Salmacis and Hermaphroditus into a modern tale of transformation and love. Ultimately, what remains is less a completed plot than an atmospheric state: the awareness that beauty, identity, and memory exist only in the mode of the incomplete—in the imperfect tense. The review makes it clear that this book should not be read as a museum report, but rather as a poetics experiment. It shows how Reinhardt uses the hermaphrodite, Bernini's sculptural hybridity, and mythical metamorphosis as models for his own writing: the text itself becomes "hermaphroditic" by fusing essay, novel, and autobiography. The review particularly highlights the tension between proximity and unavailability: the narrator can lie beside the statue, cover it in his imagination—but he cannot possess it. The ending, too, is interpreted as deliberately sobering: with morning, the world returns, loud and prosaic, while art sinks once more into its marble inwardness. The experience of the night remains as an echo, not as a transformation.

➙ To the article

Hitler's visit to empty Paris: Michel Guénaire

Michel Guénaire's "La visite" (Grasset, 2025) reconstructs Hitler's two-hour visit to Paris on June 23, 1940, not as a historical episode, but as a highly concentrated aesthetic act. The text depicts a deserted city, which Hitler traverses at dawn like a museum without an audience: Paris appears as a "dead star," as pure architecture, detached from social life. Guénaire replaces action with perception, making the walk, the gaze, and the silence the very substance of the narrative. The city becomes both the benchmark and the rival against which Hitler's aesthetic ambitions are ignited: Paris is admired, assessed, and simultaneously interpreted as a challenge to the never-realized "Germania" project. In the encounter with monuments such as the Opéra, the Trocadéro, and the Invalides, the narrative unfolds as a political-aesthetic study of power, form, and appropriation, in which architecture becomes the language of totalitarian imagination. The review reads "La visite" as a model case of authoritarian rule and analyzes Guénaire's argument beyond its historical context. It shows how the text does not explain power psychologically, but rather exposes it as a form of perception and staging: Hitler appears not as a thinking subject, but as a seeing entity, surrounded by an archetypal entourage of technicians, artists, and functionaries who aesthetically secure power. The deserted city, however, refuses the expected response, thus revealing the emptiness of totalitarian gestures. The review particularly emphasizes the metaphor of the "silent film," with which Guénaire describes the visit as an unreal, almost surreal moment—a peaceful staging at the heart of a war of annihilation. From this perspective, "La visite" becomes a universal reflection on authoritarian systems: The focus is not on the individual dictator, but on the recurring structures, roles, and images through which power produces itself—and ultimately fails in a world that cannot be fully appropriated.

➙ To the article

Art as work: Dominique Auzel on Gustave Caillebotte

In the book Ouvriers, artisans du beau selon Caillebotte In the 2024 volume of the book series "Le roman d'un chef d'oeuvre," Dominique Auzel undertakes the ambitious yet delicate task of intertwining art historical analysis, historical research, and literary imagination. His starting point is a single painting, Gustave Caillebotte's Parquet robots from 1875, but it quickly becomes clear that this painting serves less as an isolated masterpiece than as a crystallization point: for questions about modernity and realism, about work and body, about social visibility and aesthetic dignity, and finally about the inner biography of an artist whose work had long been overshadowed by his Impressionist contemporaries.

Caillebotte's painting occupies a unique liminal position within modernism. It stands in contrast to the established narratives of Impressionism because it is neither entirely dissolved by the dissolution of form nor by the pure primacy of atmosphere. Rather, Caillebotte combines a rigorous, almost classical compositional discipline with the radical choice of modern subjects. His cityscapes, interiors, and scenes of work are permeated by clear lines, precise perspectives, and unusual viewpoints reminiscent of photographic or architectural techniques. Here, modernism reveals itself less as a departure into formal indeterminacy than as a new order of seeing: urban space, private interiors, and the human body are grasped as structured yet contingent fields of experience.

Read more

This article is written in German and can be found at https://rentree.de. Automatic translations into English and French are available. English, French.

Exposed body and melancholy of the trail: Joy Majdalani and Robert Mapplethorpe

This review interprets Joy Majdalani's novel "Le goût des garçons" (2021) and essay "Jimmy Freeman" (2025) as two complementary stages in a consistent literary project. The novel "Le goût des garçons" is a subjective exploration of female desire, shaped by the tension between religious upbringing, guilt, and self-empowerment. Male figures appear less as psychologically developed characters than as projection surfaces on which power, fantasy, and transgression can be tested. "Jimmy Freeman" takes these themes further, shifting them from the narrative risk of the novel to a poetic-essayistic reflection: Starting with Robert Mapplethorpe's photograph of Jimmy Freeman, Majdalani explores desire, objectification, and the violence of form from an art-theoretical and existential perspective. The essay functions as a condensation and commentary on the novel, in which autobiographical experience, aesthetic analysis, and ethical self-examination overlap. Central to this article is the homoerotic art of Robert Mapplethorpe, whose work is interpreted as a hinge between classical beauty and radical body politics, as a perfectly formed, disciplined object of desire. At the same time, the analysis reveals that this aesthetic objectification of the body is always accompanied by a melancholy of trace, for photography preserves only the imprint of a living, mortal body. In the tension between formal eternity and physical transience, Mapplethorpe's work unfolds a desire that is as monumental as it is profoundly vulnerable. His photographs represent an art that simultaneously canonizes and exposes the male—especially the Black—body, thereby making questions of power, the gaze, and subjugation unavoidable. This tension is overshadowed by the knowledge of AIDS and the early deaths of Mapplethorpe and many of his models, giving the images, in retrospect, the character of a final flicker—immortalized in beauty, mortal, and irretrievable.

➙ To the article

Nouvelle Vague as a novel: Patrick Roegiers

Patrick Roegiers' "Nouvelle Vague, roman" (2023) translates the thinking of cinema into prose, not retelling the Nouvelle Vague but re-staging it as an aesthetic movement. Instead of chronological film history or biographical portraits, a cinematic fabric emerges, assembling scenes, spaces, and characters like shots from an invisible camera. Roegiers lets the reader drift through the editorial offices of "Cahiers du cinéma," through the apartments, filming locations, and symbolic landscapes where Truffaut, Godard, Chabrol, Rohmer, and Varda invented their cinematic language. Historical facts, anecdotal material, and iconic film scenes are woven into a larger literary rhythm like found footage, a rhythm that doesn't fix the narrative thematically but shapes it as a fragile, vibrant composition of images, movements, and perspectives. The review argues that the novel derives its power precisely from the fact that it performatively inscribes the aesthetic principles of the Nouvelle Vague itself into its prose. It is understood not as a contribution to film historiography, but as a literary choreography that reproduces the thinking of filmmakers—their distrust of conventions, their predilection for the fragment, the present, improvisation, and direct observation—in textual form. The interpretation demonstrates how Roegiers' montage techniques, his anachronistic encounters, and the fusion of documentary material and fiction reactivate the openness and fluidity that made the Nouvelle Vague an aesthetic revolution. The literary form itself becomes a laboratory for a freely moving perception, demythologizing historical figures while simultaneously revealing their aesthetic radicalism anew—as a continuation of a revolt that was never truly complete.

➙ To the article

Algerian War, Oresteia, Film noir: Serge Raffy

Serge Raffy's "L'odeur de la sardine" (Fayard, 2025) is a hybrid work situated at the intersection of crime novel, historiographical fiction, and political allegory. The mysterious murder of former police chief Charles Bayard in Paris proves to be the catalyst for a profound exploration of the incurable wounds of the Algerian War. Raffy employs a poetics of "mentir vrai" (telling the truth) to expose repressed traumas and the "dark side of Gaullism." The titular "disgusting smell of the sardine" becomes a penetrating symbol of the inescapable war guilt and post-traumatic stress that haunts Bayard and the entire nation for the rest of his life. The constellation of characters—from the truth-seeking Jeanne Obadia to the journalist Rochas, suffering from writer's block, to the ambivalent investigator Sarda—reflects diverse positions within the discourse on memory and guilt. At its core, "L'odeur de la sardine" is a modern Algerian novel and can be read as an epilogue to the ancient "Oresteia," in which the search for justice and atonement reveals the "bad French conscience." Raffy illuminates the transgenerational silence and the "empty graves" as metaphors for a systematically repressed past. Raffy avoids a simple resolution to the crime and the historical guilt. Instead, he stages a polyphonic, cinematic narrative characterized by film noir aesthetics and the fragmentation of memory. Thus, the Algerian War remains an "unsolved case," its "scent" lingering in the souls and minds across the Mediterranean, demanding a reconciliation that is still pending.

➙ To the article

Naked Reality: On the new edition of early Claude Simon

Claude Simon's novel "La corde raide" (1947) is a mosaic of scenes, memories, and reflections, ranging from swimming in the sea with the young Véra to childhood recollections and wartime experiences, culminating in considerations of art theory. The "taut rope" in the title represents a delicate balance between vitality and awareness of death, between chaotic life experience and its artistic shaping. These early works by the author, reissued in 2025 by Éditions de Minuit in a volume together with "Le tricheur" (1945) and presented by Mireille Calle-Gruber, had long been out of print, as Simon had not desired their republication during his lifetime. Calle-Gruber interprets the texts as a poetics laboratory in which montage, fragmentation, the simultaneity of time, and the primacy of sensory perception over action are already discernible—techniques that would characterize his later work. The new edition fills a gap in the work's history by making this moment in its literary development accessible again (both texts are missing from the Pléiade edition). – The article interprets "La corde raide" as a non-linear narrative, an associative network of scenes and leitmotifs linked by semantic fields such as water, light, vegetation, body, and movement. War experiences are not depicted heroically, but as a chaotic, bodily-sensory reality; childhood scenes serve as a base layer of perception and a foil for contrast to the existential present. The tension between appearance and reality is central: Simon criticizes "falsification" in art and society and seeks a naked, unvarnished truth, with Cézanne serving as a positive counter-model to academic painting. Architecture, color, and lighting are employed, as in painting, to structure memory and perception. Overall, “La corde raide” is understood as an early, but already consistent, exploration of a poetics that balances perception, memory and form on a “tightrope” between chaos and structure.

➙ To the article

Waltz of the Ruins: Jean-Jacques Schuhl

Jean-Jacques Schuhl's novel "Ingrid Caven" (Gallimard, L'Infini, 2000), winner of the Prix Goncourt, is more than a mere biographical exploration of the artist and the author's partner. It can be read as a cultural-historical diagnosis of an era, its defining themes, and the fascination with a specific German mythology from a French perspective. This encompasses key historical markers such as the war and the "zero hour," figures of a "German mythology" like Rainer Werner Fassbinder and the Red Army Faction, as well as the omnipresent motif of "longing." At the same time, the novel's aesthetics express a distinct understanding of literature on the part of Jean-Jacques Schuhl himself, reflecting on his own role and that of the publisher Philippe Sollers in literary production and reception.

➙ To the article

He is the one who holds me: Simon Chevrier

“Photo sur demande” (Stock, 2025) by Simon Chevrier is an autofictional novel that illuminates the life of a young man over the course of a year. The novel won the Prix Goncourt du Premier Roman 2025 and was also a finalist for other prizes. The book traces the precarious existence of a young man teetering between incomplete studies, escort work, and a stressful family situation. This existence culminates in a profound personal crisis, triggered by the progressive illness and death of his father during the COVID pandemic, which sets off an intense search for meaning and an almost obsessive engagement with the “erased” story of a man in a photograph.

➙ To the article

Poetics of Childhood: Annie Ernaux

Annie Ernaux's poetics of childhood is an evolving, central dimension of her work, inextricably linking personal memory with collective, social, and historical dimensions. Her childhood in her parents' café-grocery store in Yvetot instilled in her a profound sense of in-betweenness and fragmentation—born of a lack of privacy, early exposure to poverty and social disparities that intensified during her private school years and resulted in a break with her family background. Rather than presenting a linear, traditional narrative of childhood, Ernaux dissects her memories, analyzing the formative influences of language, social origin, gender roles, and cultural norms, and illuminating how these factors shaped her identity as a child and young woman. She seeks to unravel the "unspeakable scene" of her childhood and embed it within the generality of laws and language, often presenting herself as an "ethnologist of herself." Her depictions of childhood are therefore not idealized or nostalgic reminiscences, but sharp, often painful investigations that reveal the ambivalence and social tensions of her origins.

➙ To the article

A negative trend: Audrey Jarre

Audrey Jarre's debut novel, "Les négatifs" (2025), is not only a novel set in a big city and an exploration of female subjectivity, but also a contribution to contemporary literature on seeing, being seen, and the role of images. Photographic metaphors permeate the entire novel. Already in the epigraph—a quote from Roland Barthes' "La Chambre claire" about photography as a "micro-expérience de la mort"—Jarre suggests that her text is in close dialogue with image theory. Photography is not only thematically addressed but structurally implemented. The story follows Alice, a young French woman completing an internship in New York, where she enters into an intense and increasingly toxic relationship with photography student Nathan. The novel's fundamental narrative motif is both becoming visible and simultaneously withdrawing from it. Caught between the desire to be seen, to be part of an urban bohemian scene, and the fear of losing herself, Alice oscillates in a world of art, surface, emotion, and imagery. Her relationship with Nathan, but also with his charismatic girlfriend Léonore, becomes a projection screen for Alice's insecurities and longings.

➙ To the article

Painting was therefore language: Intermediality in Elsa Gribinski

Elsa Gribinski writes short stories because she prefers concise and dense writing. This led to her being shortlisted for the Prix Goncourt de la Nouvelle in 2024. The sixteen texts she has collected in "Toiles: nouvelles" (Mercure de France, 2024) are particularly interesting from an intermedial perspective: each fictional work, or "canvas," explores painting within an aesthetic context, often in everyday life. Gribinski employs a specific artistic and intermedial approach for each story, one that is linked to the narrative's theme and aesthetics. The stories grapple with perception, artistic representation, and the fleeting nature of impressions. Each story not only adopts a particular painting technique but also translates it into a literary form, allowing the book to be read as an intermedial experiment.

➙ To the article

Yannick Haenel and Francis Bacon

Francis Bacon's art is a cry: his paintings, characterized by carnality, distorted faces, and shadowy existences, express humanity in a fragile yet violent way. Yannick Haenel's literary approach to Bacon's work in "Bleu Bacon" is an uncompromising immersion into the foundations of these images. The text itself becomes a kind of performative art, a linguistic reflection of Bacon's deformations, distortions, and existential urgency.

➙ To the article

Zoomer à mort: Grégoire Bouillier on Monet's Water Lilies

During a visit to the Musée de l'Orangerie in Paris, where Monet's Nymphéas are exhibited, the narrator suffers a sudden panic attack. This unexpected discomfort stands in stark contrast to the general perception of these monumental works, which are often understood as symbols of peace, meditation, and harmony. But instead of quickly dismissing the feeling, Bouillier embarks on an obsessive search for its cause. The text becomes a kind of artistic detective story, in which the narrator—in the role of Detective Bmore—develops the suspicion that Monet might have concealed something within his paintings. This premise leads to an investigation that grapples not only with Monet's art but also with questions of perception, art history, and the historical dimension of art. Grégoire Bouillier's "Le Syndrome de l'Orangerie" combines essayistic reflection, detective work, autobiographical reminiscences, and art-critical analysis into an extraordinary narrative form.

➙ To the article

These barely conceived creatures of the painters

On les distingue à peine tant ils sont petits, au fond de this majestueuse allée bordée d'immenses cyprès. What if you are intimate in the décor with the écrase? Et pourquoi le dessinateur at-il voulu leur thunder this vie, pour minuscule qu'elle soit ? Entendait-il, de ces silhouettes tout juste identifiables, faire des créatures humanes, des personnages ?

Read more

This article is written in German and can be found at https://rentree.de. Automatic translations into English and French are available. English, French.
Rentrée littéraire: contemporary French literature
Powered by  GDPR Cookie Compliance
Privacy Overview

This website uses cookies to give you the best possible user experience. Cookie information is stored in your browser and performs functions such as recognizing you when you return to our site, and helps our team understand which sections of the site are most interesting and useful to you.