The disintegration of a powerful man

Karine Tuil's novel War by other means (Gallimard, 2025) is, among other things, an unflinching reflection on power, disillusionment, and the price of political ambition. At its center is Dan Lehman, a former French president who plunges into a profound existential crisis after his election defeat. But the novel is more than a political satire; it is also a psychological exploration of loneliness, disillusionment, and the social dynamics that unfold behind the scenes of power. Gallimard summarizes: “A year after leaving the Élysée Palace, former President Dan Lehman is a mere shadow of his former self. The iconic couple he forms with actress Hilda Müller is just a facade. An alcoholic and facing legal proceedings, he tries to return to the media stage, while Hilda stars in a film that could be selected for the Cannes Film Festival. But the fractures in their private lives blur the lines between personal drama and fiction. With this powerful new novel, Karine Tuil explores the cruel mechanics of power.” ¹ Lehman's career exemplifies the crisis of the political left in France: once celebrated as a beacon of hope for social justice, he is ultimately portrayed as a traitor to the working class. The criticism of his neoliberalism and his alleged betrayal of leftist values ​​is reminiscent of real political figures like François Hollande or Tony Blair. Particularly striking is the confrontation with a pensioner on television who denounces him as a "puppet of the elites"—a scene that perfectly encapsulates the growing distance between politics and the people.

From the very first chapters, it becomes clear that Lehman has learned to see himself as a brand: his bestseller list rankings, his television appearances, and his influence on the media preoccupy him as much as his political ideals. Tuil's novel is not only a reckoning with the political elite but also a character study of a man on the brink, with most of the characters plagued by addictions: alcohol, antidepressants, drugs, sex. Lehman is reminiscent of classic tragic heroes—intelligent, charismatic, but trapped by his own weaknesses. His alcoholism, his disintegrating marriage to the actress Hilda Müller, and his growing isolation are central themes of the novel. Here, a parallel emerges with Philip Roth's characters like David Kepesh or Mickey Sabbath: men who were once powerful and whose downfall is accelerated by their own hubris. Lehman, too, possesses such a self-destructive streak. His internal monologues, which he records on a dictaphone, are a mixture of megalomania, self-pity, and nostalgia – a desperate attempt to control his own story while reality has long since overtaken him.

The "Persona" section of Tuil's novel highlights the multifaceted identity of Dan Lehman, both politically and personally. The term "persona" originates from the Roman theatrical tradition and refers to the mask actors wear to portray a specific role, and the word "role" permeates the entire novel. In this section, Tuil explores how Lehman oscillates between these identities—the public intellectual, the failed politician, the husband, the father, and ultimately, the faceless man in exile. While Lehman remains a presence on the political stage, the power structures have shifted. Characters like his former advisor Éric de Mérieux and his lawyer Mathieu Brassard illustrate how fluid political loyalties are: they remain connected to him but have long since shifted their focus to new opportunities. At the same time, his inner circle demonstrates the ruthlessness of the political system: the media, led by journalists like Rachel Pilote, dismantle him with the same intensity with which they once built him up. Within this constellation, Romain Nizan also plays a significant role – not only as Hilda's new partner, but also as someone who himself utilizes the mechanisms of public discourse through the medium of film. While Lehman has lost his political influence, it becomes clear that other media forms, such as cinema or literature, can continue to shape discourses and form identities. While the first part, "Le Capital," focused heavily on Lehman's political past and his social downfall, the focus shifts in... Human The focus shifts to his inner experience and psychological turmoil. His world is collapsing not only externally but also internally. His alcoholism escalates, his marriage to Hilda finally falls apart, and his self-belief erodes. Lehman is left with only one role: that of a father. His relationship with his daughter Anna, who was born deaf, is the only real connection he still has. He tries to teach her sign language so he can communicate with her. But his inability to truly understand her world leaves him helpless. Has Lehman failed not only politically but also as a human being? While Anna shows him unconditional love, he is too preoccupied with himself to truly do her justice. The father-daughter dynamic is permeated by a profound tragedy: Anna sees him as a hero, while he considers himself a failure.

Michel Foucault, in modifying Clausewitz's dictum, formulates in his course Il faut defend the society (1976): “Politics is the continual war by other means.” Foucault sees politics as an uninterrupted continuation of power struggles that merely change their forms and means. In his analysis of power, Foucault interprets the state not as a neutral institution, but as an arena of domination relations in which social groups fight for influence. Foucault’s course took place in a political context where the repercussions of the 1968 protest movements were still palpable. Foucault examined, among other things, how the state used security measures and surveillance technologies to control social unrest—a modern form of political struggle. This lecture also offers an analytical framework today that remains relevant in the context of the mediatization of the public sphere, modern populism, and the rise of the New Right.

Karine Tuil's novel War by other means The novel takes up Foucault's thesis by dissecting the mechanisms of political and social power struggles: Former President Dan Lehman's fight for public perception takes place in a world where political power is exercised not through open violence, but through manipulation, strategic alliances, and symbolic battles—a form of "continual warfare by other means." The characters in the novel operate on a kind of battlefield where public opinion, media staging, and personal relationships serve as weapons. This makes Foucault's perspective tangible: Politics is not a peaceful sphere of mediation, but a continuation of conflicts using more subtle, yet no less violent, means. Foucault's formulation helps us understand power and politics as permanent struggles for influence and control: The battle for power is not fought on the battlefield, but in the discourses and media battles of modern society.

Karine Tuil emphasized in interviews that her new book is not a roman à clef. The book is dedicated to Robert Badinter, who died in February 2024 at the age of 95. He is an important authority for Tuil's exploration of politics, law, and ethics. Until 1965, Badinter was married to the actress Anne Vernon, and from 1966 onward to the philosopher and feminist Elisabeth Badinter. Both Lehman and Badinter are of Jewish origin but strongly identify with the French Republic and see themselves primarily as republicans. Lehman calls himself a "Jew of the State" and is described as "a Frenchman, republican, atheist, and attached to Judaism." ² Described – a phrase strongly reminiscent of Badinter's self-image. Badinter was a lawyer and later Minister of Justice for the Socialist Party; he was and remained a moral authority. Lehman, too, began his career as a lawyer before entering politics. While Badinter was considered a moral authority, for example regarding the abolition of the death penalty, Lehman is an ambivalent figure, navigating between power, privilege, and corruption, clinging to power while crossing ethical boundaries. Lehman reflects on several themes connected to Badinter's life: the role of law in politics, the harshness of public life, and the question of moral integrity in power. By dedicating the work to Badinter, Tuil creates a contrasting perspective: Badinter as the ideal of an upright politician whose private persona was indistinguishable from his public one, and Lehman as an example of the disintegration of a powerful figure.

In Tuil's novel, Léonie, the daughter of Dan Lehman and Marianne Bassani, represents a new generation of women who—following in the footsteps of Elisabeth Badinter—no longer submit to traditional gender roles but actively advocate for their independence and social values. Her character stands in stark contrast to the older female figures in the novel, particularly Hilda and Marianne, who were defined in different ways by their relationships with powerful men. Léonie, on the other hand, seeks an identity independent of male validation or familial tradition. She is portrayed as a self-assured, politically and socially engaged young woman. She studies political science and is actively involved in social movements, especially in the areas of feminism and social justice. Unlike her mother Marianne, who defines herself through literature, and her stepmother Hilda, who works in the film industry, Léonie chooses direct political activism to effect social change. Tuil describes Léonie as a young woman who understands and consciously rejects the mechanisms of power. She distances herself from the opportunistic practices of the older political generation—including her father's political strategies. While Lehman made compromises to gain political power, Léonie remains morally consistent and demands structural changes instead of tactical adjustments. While Lehman accepts the political realities and tries to operate within those limits, Léonie calls for a radical break with the existing structures. Her political activity is driven not by strategic considerations, but by moral conviction. A particularly powerful image of her emancipation is the scene in which Léonie is led away by the police during a demonstration against social injustice. While her father once viewed demonstrations as an instrument of political pressure, Léonie sees them as an authentic form of protest and self-empowerment.

Being Jewish and Politics in France

Lehman is writing a biography of Karl Marx, which has a double meaning: Marx was of Jewish origin but distanced himself from his religious identity. In his personal decline, Lehman repeatedly reflects on Jewish figures in history who stood between power and decay. Jewish themes play a significant, yet subtly interwoven role in the novel. War by other meansThey are particularly relevant for characterizing Dan Lehman as a figure struggling with identity, belonging, and political perception. The novel shows how Jewish intellectuals in French politics often face specific challenges, especially antisemitism and the pressure to either shed their heritage or be accepted as “other.”

Dan Lehman comes from a Jewish family with communist roots. His grandparents were Jewish immigrants from Eastern Europe and belonged to the communist resistance movement FTP-MOI (Francs-Tireurs et Partisans – Main-d'Œuvre ImmigréeThis demonstrates a connection between Jewish identity and political activism, particularly within the French left. His father, Abraham Lehman, however, distanced himself from this tradition and leads a simple life as the owner of a novelty shop. This suggests a depoliticization and de-ideologization of Jewish identity within the family. Lehman himself mentions several times that, as a Jew in French politics, he was always perceived as "different," and even within the Jewish community, the social climber experienced the game of distinctions as exclusion.

During Lehman's time in office, and especially after his defeat, antisemitic undertones surfaced in the public debate. In a talk show, he was indirectly confronted with the accusation that he had become too closely allied with the financial world and "big business"—a classic antisemitic narrative. Caricatures circulated depicting him as a puppet of financial elites or as a symbol of alleged Jewish control over politics. These comparisons were reminiscent of real attacks on Jewish politicians in France, such as Léon Blum and Dominique Strauss-Kahn. Lehman saw himself in the tradition of Jewish intellectuals like Pierre Mendès France and Léon Blum, who had also faced mistrust and prejudice. He addressed his cultural background ambivalently: On the one hand, he was proud of his heritage; on the other, he felt that it had always made him an outsider in French politics. This reflects a broader social reality: the difficult position of Jewish intellectuals and politicians in a country that is repeatedly confronted with anti-Semitism, both from the right and from parts of the radical left.

A recurring historical reference point for Lehman is Pierre Mendès France, the Jewish Prime Minister of France after World War II in the 50s. In an internal monologue, Lehman reflects on Mendès France as a symbol of the difficulty of achieving full acceptance as a Jew in French politics. Here, Lehman sees a parallel to his own political career. Like Mendès France, he sees himself as an intellectual distinguished by his analytical acuity and economic reforms. Yet, just like Mendès France, he is ultimately perceived as "different" and pushed out of the political elite. Another motif that Tuil subtly introduces here is that of the accusation of treason leveled against Mendès France—a parallel to Lehman's own situation. While Mendès France was accused of abandoning Algeria and weakening France, Lehman is defamed as a traitor to the working class and socialist values. This suggests that Jewish politicians in France often fail not only because of their political decisions, but also because of deeply rooted anti-Semitic stereotypes.

The parallel becomes even clearer with Léon Blum, France's first socialist prime minister in the 1930s. Blum was subjected to massive hostility from the extreme right because of his Jewish heritage and his progressive policies, and was later interned by the Vichy government during World War II. Lehman recalls the insults Blum had to endure and connects his own political experience with the historical reality of Jewish politicians: they are often perceived as not quite French, as outsiders who are not fully trusted. While Jewish intellectuals often play a key role in left-wing movements, they are often sacrificed when the political climate shifts. Lehman, too, was initially celebrated as a beacon of hope for the left before ultimately being abandoned.

In an act of self-justification, Lehman recalls that the Jewish Karl Marx himself was marked by profound contradictions. Both had grand political ideas, both were first revered and then questioned by their own political movements. As Lehman increasingly succumbs to alcohol and is pushed out of the political arena, he also reflects on exile as a recurring Jewish fate. He feels like a political pariah, a man without a homeland. Lehman's reflections on Jewish figures such as Pierre Mendès France, Léon Blum, and Karl Marx serve as a mirror to his own crisis. Through their biographies, he recognizes a historical pattern: Jewish intellectuals and politicians often rise to high positions, yet are made scapegoats in times of social unrest.

Ridiculous, funny, and tragicomic

A gossip magazine published a picture of the former French president, drunk and wearing a clown wig and nose, on the balcony of a private apartment during the Purim celebrations. The article accompanied the picture with a mocking comment about France's good fortune in having had such a festive president. The image spread rapidly through the media and social networks. Memes and parodies made Lehman a laughingstock worldwide. While other scandals might have been weathered, the element of ridicule in politics is deadly for careers: Lehman was branded "the clown," severely damaging his political credibility. After the photo's publication, Lehman withdrew from public life, avoided public appearances, and fell into a personal crisis. Despite advice from his advisors to ride it out, the incident had long-term repercussions for his image. Later, when he appears in public, he is insulted and spat upon by a man who calls him a "big clown" and a "fraud." Antisemitic insults are also hurled at him. Lehman eventually attempts to regain control of the narrative by publicly addressing the attacks. The parallel drawn to Dan's father, Abraham, and his laughter beyond the political sphere (or rather, the unspoken sadness of both) makes the clown scandal particularly tragicomic.

Karine Tuil's novel War by other means Tuil weaves together politics, media, power, and personal tragedies into a complex narrative that straddles satire, comedy, and tragicomedy. The novel employs comedic elements to expose power structures and societal dynamics, while tragicomedy serves as a strategy for portraying the ambivalence of human existence, poised between absurdity and despair. Tuil creates a satirical, almost grotesque, depiction of the political elite: her characters are driven by narcissism, media strategies, and self-interest. The humor arises from exaggeration and irony: Lehman, who sees himself as the greatest statesman of his generation, spends his days checking his book's Amazon rankings and lamenting his dwindling relevance. Authors, intellectuals, and filmmakers appear just as opportunistic and self-absorbed as the politicians. The cultural sector, which claims to be socially critical, is itself part of the system it denounces.

While the comedy stems from the characters' exaggeration and absurd behavior, the tragicomedy unfolds on a deeper level: Lehman is not merely a ridiculous figure, but also a human being struggling with the loss of his identity. The contrast between his former status as president and his current insignificance creates a tragicomic tension. His attempt to regain recognition by writing a book fails spectacularly—not only because the work is barely read, but because its content holds no interest. This situation is reminiscent of classic tragicomic heroes like Don Quixote, whose pathos is fueled by the discrepancy between their self-image and reality. But Lehman himself is also aware of his own absurdity. When, for example, he gets into his limousine after a talk show and immediately reaches for a bottle of alcohol because he cannot bear the emptiness of his life, the tragedy of the moment is heightened by his grotesque behavior.

Beyond the comical exaggeration of the elites, Tuil unfolds a deeper layer of tragicomedy in the private sphere. The marriage between Lehman and Hilda Müller is a prime example of the absurdity of modern relationships: While Hilda continues her career in the art world by appearing in the film based on the book by Lehman's ex-wife, Lehman sinks into self-pity and alcohol. This triangular constellation—a former president, his ex-wife as a writer, his new wife as an actress—reminiscent of a classic comedy of misunderstanding, but the characters' emotional emptiness makes the situation tragicomic. They are all prisoners of their vanity and their desperate attempt to find meaning.

Lehman's constant need for alcohol is also portrayed tragicomically in the novel, in the ritual of indulging in a drink after every defeat. Tuil uses this element to depict her protagonist's self-destruction with a certain laconicism: his drinking is not heroic, but pathetic. The tragicomic proves to be the dominant narrative strategy here, as the characters constantly stumble over themselves in their attempts to take themselves seriously. This form of humor reveals a deep melancholy and makes the novel a bitter reflection on power, transience, and the absurdity of human existence.

France has never had a Jewish president. However, it has had Jewish prime ministers, such as Léon Blum in the 1930s and Pierre Mendès France in the 1950s. Lehman, the first Jewish (former) president of France, confronted antisemitism with laconic humor. One example is a scene in which, after an antisemitic insult, he dryly remarks: "Finalement, un truc comme ça, aussi vite après l'affaire du clown, c'est peut-être la meilleure chose qui pouvait t'arriver." ("Finally, something like this, so soon after the clown incident, is perhaps the best thing that could have happened to you.") This demonstrates a typical form of Jewish humor: the ability to transform even the worst humiliations into an ironic punchline. Another characteristic of Jewish humor is the tendency to use pointed historical comparisons. In a conversation, Lehman is compared to the former Jewish politicians Léon Blum and Pierre Mendès France, who were also subjected to antisemitic attacks. Paul, one of his advisors, sums this up with a dry comment:

Lehman's relationship to religion is ambivalent: he sees himself as "French, Republican, atheist, but connected to Judaism." Nevertheless, he insists on celebrating Jewish holidays like Yom Kippur and Purim with his children. The clown scandal on Purim ruins his public image. The absurd combination of Jewish festival, alcohol, and public humiliation corresponds to a classic tragicomedy of Jewish humor. The Jewish humor in Tuil's novel is primarily evident in Lehman's ability to comment on his political and personal misery with irony. His dry remarks and sarcastic handling of his situation are typical of a humorous tradition that often arose out of necessity. As in the stories of Woody Allen or Philip Roth, humor serves not only for comedy but also for dealing with deep social tensions. Tuil integrates Jewish humor as a means of self-defense, of satirizing political power, and of reflecting on identity. Laughter here serves not only as amusement but also as a survival strategy in a hostile environment.

Presidential literature and dictaphone

The forms of communication in the novel are diverse and multi-perspective, shaping both the interactions between the characters and the overarching narrative structure. Lehman, once considered a brilliant orator, increasingly loses control of language—both in public discourse and in his personal relationships. It is particularly striking that while he remains reliant on strategic communication, in moments of crisis he either succumbs to cynicism or resorts to cryptic statements. His interviews are calculated performances in which he hopes to reconstruct his image, but the media machine has long since seen through him. Television and social media become platforms that can not only convey power but also destroy it. The character of the journalist Bernard Breguettes, in particular, illustrates this shift: he is not an investigative whistleblower but a moderator who understands the political arena more as an entertainment format.

At the same time, a profound silence pervades the book. In his marriage to Hilda, direct communication is virtually nonexistent; instead, their dialogues consist of mutual accusations and unspoken disappointments. This is even more radical in his relationship with Marianne: she no longer speaks to him, but responds only through her books, which Lehman reads obsessively. Even his relationship with his older children is marked by misunderstandings, particularly with Léonie, who confronts him with his political failures from a feminist and socio-critical perspective. This silence is also evident in politics: while Lehman was once known for his rhetorical brilliance, his communication increasingly sounds hollow—his words have lost their political impact. Narratively, the novel employs a multi-perspective structure that shifts between first-person narration and changing focalizations. This allows the reader to experience the same scene from different viewpoints, thereby highlighting the subjectivity of perception and memory. Lehman is often the focus, but Hilda and Marianne's perspectives offer alternative interpretations of events that deconstruct his self-presentation. This technique illustrates that in politics—and in life in general—there is no objective truth, only competing narratives.

Lehman's previous book, L'élan, was a bestseller, but his current work on Karl Marx, Love and struggle!The book languishes in the lower ranks of the sales charts. It's already clear that Lehman has lost relevance not only politically but also culturally. Lehman's book attempts to illuminate the complex relationship between personal life and political engagement: through his biography of Karl Marx, he explores how intimate relationships and personal struggles shape public action and political identity. Lehman aims to reflect on the connections between love, human aspirations, and social justice. He expresses his distaste for the current political landscape and criticizes the superficial perception of successes and failures. He sees the need to take human relationships seriously and considers sex an essential dimension of life that allows him to grapple with existential questions. The book reflects his inner turmoil and shows how personal grievances and societal expectations influence his political actions. The book is received very critically by the public and the media; for example, an erotic passage is perceived as inappropriate or ridiculous, leading to widespread ridicule on social media. In one scene of an interview, Lehman states that he wanted to address the connection between personal life and the political world in his book, but this does not receive the desired positive response.

The audio memos of former President Lehman form a central narrative axis of the novel and exist in a complex tension with the narrative passages: Lehman uses his dictaphone much like Richard Nixon – as a kind of private outlet for thoughts he cannot express in public. Lehman quotes Plato's gorgias In one of his internal monologues, he questions whether the exercise of power has corrupted him and when exactly the moment of moral erosion occurred. We read the audio notes as a counterpoint to the public portrayal of his downfall, as a medium of self-reflection. They reveal his anxieties, his political failures, his marital problems, and his growing sense of powerlessness. While the media portrayed him as a charismatic politician and part of a "power couple," his private audio diary paints a picture of a man who feels trapped in a distant, lifeless relationship. It reveals the contrast between public performance and private decay.

These personal accounts stand in stark contrast to journalistic reports that portray Lehman as a clown and a failed politician. While the media ridicule him, his dictations reveal a different Lehman: one who understands the mechanisms of power, who sees himself as a victim, who intellectually elevates himself above his critics, yet simultaneously wallows in alcohol and self-pity. In his own words, he confesses that he thought he was in control of his life—only to realize that he is helplessly at the mercy of the viral mechanisms of the media and the digital public sphere. The narrative passages, on the other hand, present Lehman from a multi-perspective distance. They give voice to other characters—journalists, former advisors, political opponents—who describe him as aloof, cynical, or lost. This creates a nuanced tension between Lehman's self-perception and how he is perceived by others.

The dictaphone also provides a narrative framework: it allows for flashbacks to Lehman's past—his childhood, his family, his political beginnings. These passages are introspective and often wistful. They paint a picture of Lehman as a man who turned to politics out of a deep need for recognition, but ultimately could not maintain control over his own narrative. The audio notes are an attempt at self-empowerment, but they ultimately reveal the former president's vulnerability and powerlessness.

Authorship and truth

À la recherche du désastre "The Book of Truth" is the title of a novel by Marianne Bassani (and the title of a section of Tuil's novel!), which some critics have hailed as a feminist novel. The work has also been adapted into a film, opening up a second narrative layer. The significance of this fictional novel extends beyond its content: it becomes a medium for a female author's self-assertion, an object of political and media controversy, and a projection screen for the relationships between art, power, and violence. À la recherche du désastre It is not merely a novel within a novel, but a reflection on literature and the public sphere. Karine Tuil plays with the boundaries between personal expression and media appropriation. A recurring theme in Marianne's work is the processing of personal experiences in literature. A particularly striking example is her earlier novel. M'arracher, in which she wrote about her childhood traumas. This approach points to a form of autofictional writing that plays a central role in contemporary French literature—particularly in the works of authors like Annie Ernaux and Édouard Louis. Bassani's book processes a personal trauma: she writes about her childhood and, in particular, the sexual abuse she suffered as a child. In this sense, it follows a literary tradition that dominates contemporary French literature from Annie Ernaux to Édouard Louis—the ambition to politically charge individual experiences.

The connection between Karine Tuils La Guerre par d'autres moyens and Philip Roth My Life as a ManThis is particularly evident in the explicit quoting of Roth's chapter "À la recherche du désastre". Both novels are about male characters struggling with the failure of their relationships, their power, and their identity. Tuil's former president Dan Lehman and Roth's protagonist Peter Tarnopol both experience a deep existential crisis accompanied by alcohol, depression, and failed relationships with women. Roth's chapter describes the destructive relationship between the protagonist Peter Tarnopol and his wife Maureen. The relationship is characterized by manipulation, violence, and psychological dependence. Tarnopol feels blackmailed by Maureen and forced into a marriage that is increasingly driving him insane. Maureen uses threats, especially of suicide, to bind Tarnopol to herself. Their relationship escalates into increasingly violent arguments, until finally Maureen's death in an accident brings it to an abrupt end. But instead of relief, he feels a deep existential vacuum – a central motif of the novel. The chapter condenses Tarnopol's inner turmoil between guilt, hatred, and the longing for autonomy. It highlights a central question of the novel: To what extent is a writer able to control his own story? Tarnopol tries to process his experiences through literature, but repeatedly fails to construct a coherent "true" narrative of his life. The title "In Search of Disaster" alludes to the fact that Tarnopol is not only a victim of disaster, but also actively enters into destructive relationships – be it with Maureen or with his psychoanalyst Dr. Play bird. This search for disaster is ultimately a search for a viable identity as a man and as an author. Roth asks whether autobiographical writing can truly be a form of liberation or just another form of self-deception. Roth's Tarnopol processes his personal disaster through literature – he creates the character Nathan Zuckerman, which in turn contains autobiographical elements. Lehman's first wife, Marianne, is a writer, and her literary interpretation of her ex-husband shapes the public's perception. This creates a multi-layered reflection on authorship, truth, and personal narratives – a central theme also in Roth's work. Tuil's third part will finally be called "À la recherche du désastre". Tuil signals a thematic parallel: Her protagonist Dan Lehman is also a man who falls into the abyss after losing his power and identity. Like Tarnopol, he is trapped in a web of self-destruction, failed relationships, and an inability to break free from his past. The “disaster” being sought is not only external – such as political defeat or the Lehman scandal – but above all internal: the confrontation with one’s own weakness, one’s own history and failure as a man and as a public figure. As with Roth, it's not just about individual tragedies, but about a larger narrative: the decline of a certain idea of ​​masculinity based on dominance and control. Lehman is searching – consciously or unconsciously – for the point at which everything finally collapses, much like Tarnopol in Roth's novel. Marianne Bassani's novelÀ la recherche du désastre is in La Guerre par d'autres moyens The novel is not merely a literary settling of scores with Dan Lehman; it also processes her failed marriage to the former president and paints a portrait of a man driven by lust for power, vanity, and moral ambiguity. At the same time, it addresses her own sacrifices—her withdrawal from her writing career in favor of his political one—and the humiliation of his public affair with Hilda Müller. Tuil suggests that Bassani's book also serves as an intellectual reflection on the mechanisms of male overestimation and political hubris. It receives a prestigious literary prize, which further humiliates Lehman, as his ex-wife now gains recognition as a serious author, while he fades into obscurity as a failed politician.

In Roth's work, Tarnopol's completed first-person narrative forms the more extensive second part: "My True Story," a fiction within a fiction. Tarnopol's "true story" is thus not an objective autobiography, but a literary construct commented on by various voices. Tuil adopts this technique in "À la recherche du désastre," distorting Dan Lehman's perception not only through his own eyes but also through the literary portrayal of his ex-wife, Marianne. As in Roth's work, the question is raised as to who can tell a person's "true story"—and whether such a story even exists. Marianne, Lehman's ex-wife, processes her past in a novel as a writer. Her literary perspective on Lehman influences public perception and potentially the reader's as well. This is reminiscent of Roth's concept: Tarnopol writes about his life, but his therapists, family, and critics also offer commentary that challenges his version of the truth. Both novels play with the idea that there is no objective truth, only subjective constructions. In Tuil's "À la recherche du désastre," the reader might ask whether this image of Lehman as a failed figure is truly his reality, or whether it has been shaped by the narrative of others (such as Marianne or the media).

The adaptation of À la recherche du désastre Director Romain Nizan transforms the literary material into a cinematic spectacle that bears little resemblance to the book, even adding a murder that doesn't appear in the original. The film explores "toxic masculinity" and power dynamics in relationships. The irony lies in the fact that the lead role is given to Hilda Müller. The situation is inherently absurd: the former president's new wife plays the protagonist in a film based on his ex-wife's book. This casting creates tension, especially since Lehman knew nothing about the project. Hilda had accepted the role without informing him, fearing he might try to dissuade her. The intertwining of politics, art, and personal relationships lends the film an additional layer of urgency. Marianne must confront the question of whether her writing is an act of emancipation or just another product of a market that promotes the "commodification of trauma." Her powerlessness in the face of the film adaptation demonstrates that literary texts exist in the tension between authenticity and commercial exploitation. The premiere at the Cannes Film Festival becomes a scandal: shocked audience members leave the theater, and heated debates erupt over the depiction of violence. This controversy points to a media reality in which women's suffering is often reduced to a consumable image—be it in literature or film. Marianne increasingly loses control over her work, which, in the hands of the film industry, mutates into a calculated shock effect.

Nizan's film adaptation is triggering strong reactions. Its producer describes the film as "a major political and social film in the tradition of Ken Loach or the Dardenne brothers, with the subversiveness of Lars von Trier." ³ Nizan sees himself in the tradition of political cinema and emphasizes that films should be a form of social struggle. In interviews, he stresses that films "must show reality as it is" and not merely entertain. This stance aligns with the cinema of Ken Loach, who consistently emphasizes that his films are not neutral but politically stanced. In a heated debate with Lehman, Nizan defends his film as a realistic depiction of a social problem. Lehman, however, accuses him of aestheticizing violence and portraying himself as a moral hero. He draws parallels between politics and the film world: both are characterized by staging, ego battles, and public perception. While politicians feel at least formally obligated to the common good, cinema is characterized by a radically individualistic struggle for survival. Lehman attacks Nizan with the accusation that, as a wealthy director, he lacks authentic access to the working class. This is reminiscent of the criticism leveled against Ken Loach—that while his films denounce injustices, he himself remains a privileged filmmaker. This also implicitly applies to a socialist ex-president.

While the director outwardly presents himself as a champion of the #MeToo movement, in reality he perpetuates the very patriarchal structures he claims to be fighting against. By adapting a book that deals with violence against women, he joins a line of men who use performative activism to gain a moral advantage without questioning their own behavior. His public persona is strategic: he recognizes societal shifts and adapts to secure his position. But this facade begins to crumble when his private actions come to light. His relationship with the actress Hilda follows a classic pattern of manipulation and abuse of power. He uses the hierarchy on the film set to his advantage, keeps her emotionally dependent, and ruthlessly crosses boundaries until the situation escalates: the director becomes increasingly possessive, aggressive, and ultimately violent. This escalation exposes him as a man who only advocates for equality as long as it benefits him personally. His subtle but particularly dangerous form of sexism is that of the disguised perpetrator who hides behind the mask of the progressive ally.

Lehman admires Marianne for her ability to delve deeply into psychological and existential abysses through writing. He describes her work as "troubled, tormented, traversed by existential questions, and a subversive charge that she did not possess or that she dissimulated in her life." Marianne's authorship stands in direct contrast to Lehman's political career, which is based on staging and image control. While he constructs his public persona through strategic communication, Marianne uses literature as a site of sincerity and revelation. This could be interpreted as a reflection of the general tension between politics and literature, with writing functioning as a moral authority. Marianne Bassani represents a radical form of authenticity and self-disclosure in literature, which distinguishes itself from strategic construction and external staging.

The writer Marianne appears as the ex-wife of former President Lehman in Tuils War by other means Marianne plays a special role. While most characters are portrayed in the third person, Marianne is the only one who speaks in the first person—a stylistic choice that privileges her inner perspective and underscores her authenticity, with the exception of the intimate perspective of Dan Lehman's audio notes. Marianne is not only a distinct character with a successful writing career, but she also embodies a specific view of literature. Marianne sees writing as an intuitive, almost compulsive process, whereas Lehman employs a strategic, almost mechanical style of writing for the public. Marianne embodies a literary ideal that resists being co-opted by other discourses—particularly politics and the media. Marianne and Dan Lehman represent two distinct forms of power: while he, as a politician, operates through public staging and strategic alliances, she operates in the quieter, but no less effective, world of literature. Both work thoughtfully with language, yet they use it in diametrically opposed ways. Lehman uses words to persuade, manipulate, and present himself in a particular light. Marianne, on the other hand, seeks truth in literature—or at least a subjective version of it. Her literary success is based not on swift political maneuvering, but on the ability to illuminate complex human relationships with a depth that transcends mere rhetoric. After her marriage to Lehman fails, she chooses not revenge or public settling of scores, but the more subtle, yet equally painful, strategy of writing. Her literary work becomes a mirror in which Lehman is forced to repeatedly recognize himself—and often dislikes what he sees. Lehman reads her books obsessively because he senses that she is speaking about him in them without naming him. Marianne gives him no direct opportunity for confrontation, but forces him to recognize himself in her fictional characters. This indirect form of engagement deprives him of any control over the narrative. While as a politician he was accustomed to having the power to interpret his own story, in the literary realm this power completely slips from his grasp. Tuil employs a metanarrative strategy here: through Marianne, the novel reflects on its own literary dimension and poses the question of who holds the power to interpret a story. The writer's character becomes a symbol of literary power—the power to create, and thus control, oneself and others through words.

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

Notes

1. "Un an après avoir quitté l'Élysée, Dan Lehman, former president of the République, n'est plus que l'ombre de lui-même. The couple iconique qu'il format avec the actor Hilda Müller n'est qu'une façade. Alcoolique, menacé par des affaires judiciaires, il tente de revenir sur la scène médiatique tandis que Hilda tient le rôle principal d'un film qui pourrait être sélectionné au festival de Cannes Mais les fractures de leur vie privée brouillent les frontières entre drame personnel et fiction Avec ce new roman puissant, Karine Tuil sonde les mécaniques cruelles you power.">>>
2. “Bien qu'il ne fût pas pratiquant et qu'il aimât se définir comme un Français, républicain, athée, attaché au Judaïsme, Lehman aims to retrouver ses enfants trois ou quatre fois par an pour les principales fêtes juives ; il insistait pour maintenir ces réunions familiales Malgré les reproches de Hilda qui critiquait sa façon de faire perdurer ce qu'elle appeal " a polygamy bourgeoise ", Lehman jeûnait seul, chez lui ; il ne rejoignait pas ses enfants à la synagogue où sa presence aurait créé un attroupement mais partageait le Repas avec eux, dans l'appartement des Lilas que Marianne n'avait pas quitté - ils avaient un petit-fils de deux ans, Raphaël ; These vestiges de coutumes are available maintenu pendant des années une forme de stability. He is available to celebrate Pourim avec this année, a Jewish festival that commemorates the sauvetage des Juifs de l'Empire perse dans l'Antiquité. À Pourim, il ya deux coutumes qui symbolisent la joie: boire du vin jusqu'à devenir quasiment saoul – ce qui plaisait beaucoup à Lehman – et se déguiser – ce qui rendait les enfants “Happy.” – “Although Lehman was not a practicing Jew and liked to describe himself as French, a republican, an atheist, and connected to Judaism, he enjoyed seeing his children three or four times a year for the major Jewish holidays; he insisted on maintaining these family gatherings despite Hilda’s accusations, who criticized him for maintaining what she called ‘bourgeois polygamy.’ On Yom Kippur, Lehman fasted alone at home; he did not go to the synagogue with his children, where his presence would have caused a crowd, but shared the meal with them in the apartment in Les Lilas, which Marianne had not left – they had a two-year-old grandson, Raphael; these remnants of custom had maintained a kind of stability for years. He had promised them that this year he would celebrate Purim with them, a Jewish festival commemorating the deliverance of the Jews from the Persian Empire in ancient times.” On Purim there are two customs that symbolize joy: drinking wine until you are almost drunk – which Lehman liked very much – and dressing up in costumes – which made the children happy.”>>>
3. "— Selon votre productrice, c'est a grand film politique et social dans la lignée du cinéma de Ken Loach ou des frères Dardenne avec le côté subversif de Lars von Trier, rien que ça. Enfin, moi je ne l'ai pas vu.">>>