Readings and texts
with short excerpts in my own translation
from Kai Nonnenmacher
Headings
(Les rubriques en français1 ):
Article | My own essays on contemporary French literature
meetings | Shorter entries about a literary text, brief review or selective reading, ideas while reading.
Sample | A selected excerpt, a passage that can stand on its own, translated but without commentary.
Reserve | A text, a work, an author, that is reopened and revisited.
debate | Review of literary studies and theoretical texts relevant to contemporary French literature.
Poetics of Childhood | Presentation of books that address the life phase of childhood and adolescence from a literary perspective.
Judéité French-Jewish literature is an imaginary territory in which belonging, memory and identity are renegotiated, for example genealogical tracing and questions of cultural/linguistic identity, political and historical questions.
Create justice Literature here is an instrument with which law and justice are not only addressed, but also aesthetically negotiated and questioned.
Dialogues | Contemporary texts that engage in a dialogue with works of literary history, intertextually, sometimes critically updating, sometimes as homage or transformation.
Content
- New articles and reviews
- Society in a mode of fragmentation – literature as a response to the crisis of representation: Robert Lukenda
- A thriller as a Corneille tragedy: Patrick Besson
- Beauty, corruption, and literary genealogy: Capote's guilt, Aragon's farewell, Simon Liberati, and Taïné's death
- The Unreachable City: Sanctity, History, and Violence in the French Jerusalem Novel
- War as a legacy: On the systematics of transgenerational imprinting in the work of Julia Weidmann
- Writing against the death of her lover: Céline Zufferey
- Francesco Petrarch and his followers: Étienne Anheim
- New samples
- Reserve: opened again
New articles and reviews
Society in a mode of fragmentation – literature as a response to the crisis of representation: Robert Lukenda
Robert Lukenda's study, "Representing Society in the Age of Singularities: Narrative Responses to France's Contemporary Crisis of Representation," is a comprehensive analysis of how contemporary French literature responds to the experience that "society" as a coherent whole has become increasingly elusive. Starting with scenes such as Annie Ernaux's ethnographic view of the supermarket or Éric Vuillard's reconstruction of nameless revolutionary actors, Lukenda demonstrates that literature intervenes precisely where political and media discourses distort or fail to capture social reality. In a first, broad theoretical section, he unfolds France's historical and contemporary crisis of representation—from the tension between the republican claim to unity and social inequality to the fragmentation into "France périphérique" and metropolises—before analyzing literary responses in the second part: autosociobiographical self-examinations (Ernaux, Eribon), documentary reconstructions (Vuillard), collective narrative projects ("Raconter la vie"), and serial formats. The review argues that Lukenda convincingly defines literature as a medium of "mediation" that makes social relations visible where classical forms of representation fail; at the same time, it critically emphasizes that this literature often privileges the perspective of the "invisible," while elites, political institutions, and aesthetic logics remain underexposed. These works create an image of a France that only inadequately describes itself—and of a literature that makes this gap visible without being able to fully close it.
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A thriller as a Corneille tragedy: Patrick Besson
Patrick Besson's crime novel "Presque tout Corneille" (Stock, 2025, cited as PTC) functions like a Corneille tragedy disguised as a holiday comedy: Georges Charpy, a fired Parisian journalist, encounters his former boss at the Hotel Aiglon in Corsica and begins to humiliate him at every conceivable game—swimming, tennis, chess, table tennis—driven by his Corsican wife, Colomba, who, like Mérimée's eponymous heroine, pushes the man toward a vendetta without ever explicitly stating it, a power structure that the essay identifies as the true center of the plot. Meanwhile, Lisa, the hotel director's daughter, reads Corneille's complete works chronologically by the pool—one tragedy per day—and her quotations comment on the events like a classical chorus: "Qui vit haï de tous ne saurait longtemps vivre" (from Cinna). “Qui se laisse outrager mérite qu'on l'outrage” (from Heraclius). Sentences that circle Corneille's central theme, namely the question of whether man can ever reconcile what he wants with what he is allowed to do, and which in the novel serve to make the act of murder appear morally predetermined, not as an exception, but as a consequence. The boss is found beheaded, later a second character as well; Georges confesses to both murders—the first out of honor, the second out of jealousy—and the essay reads this double murder as evidence that Besson is not introducing Corneille into the thriller, but rather showing that the thriller possesses the same moral architecture as classical theater: guilt arises where the will to gain satisfaction is stronger than reason, which urges moderation, and Lisa, who at the end cuts Corneille off—“Oui: trop de sang.” —thus performing the gesture that marks the core of the novel: literature can comment on violence, but it cannot stop it.
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Beauty, corruption, and literary genealogy: Capote's guilt, Aragon's farewell, Simon Liberati, and Taïné's death
Simon Liberati's "New York City Inferno" (Stock, 2026) concludes a trilogy of novels that began with "Les Démons" (2020) in late 1960s Paris and leads via 1970s Rome ("La Hyène du Capitole", 2024) to 1974-75 Manhattan – a New York at the turning point between pop and punk, between the last glamour of post-war culture and the first dark premonition of an epidemic that has not yet been named. At the center are the Russian-born siblings Tcherepakine: Taïné, androgynous, drug-addicted, proto-punk avant la lettre, who dies on the schooner Elseneur in Palma de Mallorca, and Alexis, the vagabond would-be writer who ultimately takes Capote's money and begins writing the book that is already the first volume of the trilogy—a Möbius strip in which genesis and work are inextricably intertwined. The essay interprets the trilogy as a circular structure: The book that Alexis announces at the end of the third volume bears the same title as "Les Démons," and this circularity is a poetics statement—literature does not arise from emptiness, but from survival, from the material of the dead. Truman Capote, who appears in the novel as a living corpse and gives the student the apostolic mission, is the key figure: Liberati accomplishes what Capote could not with "Answered Prayers" because the social victory had made writing impossible – he writes the American Proust as a French one, with the same social chronicle, the same betrayal, the same conviction that gossip is a literary form, but with the affective charge that Capote's clinical irony lacks. In this constellation, Louis Aragon's brief, hallucinatorily beautiful appearance also gains its full weight: The old communist, who looks through a fogged windowpane at a Balthus tableau and hums Nerval verses, is not only an intertextual gesture, but the witness of the end – the last representative of a European literature of engagement, who bids farewell to Bérénice (the name of the main character in Aragon's "Aurélien"), who, unlike in Aragon's work, is not a historical martyr in Liberati's version, but a purely aesthetic vision of youth, which the old man sees through glass and cannot touch before he disappears down the sandy path, taking an era with him.
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The Unreachable City: Sanctity, History, and Violence in the French Jerusalem Novel
What place does Jerusalem occupy in contemporary French literature—and what does this place reveal about literature itself? This essay examines eleven novels and short stories, ranging from André Schwarz-Bart to Nathan Devers, from Valérie Zenatti to Justine Augier, from Élie Wiesel to Mathias Énard, and demonstrates that Jerusalem is never merely a backdrop in these works, but rather a structuring principle: a city that disorients the characters, brings repressed memories back to the surface, imposes affiliations, and shatters established forms. Three functional types emerge from the comparison—Jerusalem as an eschatological space, as a political focal point, and as an existential mirror—which are distributed and overlap throughout the texts without ever converging. A specifically French perspective proves constitutive: Republican secularism, the legacy of the Enlightenment, the experience of the Shoah as part of its own history—all of this colors the perception of a city equally sacred to Judaism, Christianity, and Islam, and whose threefold sanctity has for centuries produced wars as well as longings. Arab and Muslim authors such as Karim Kattan, Amin Maalouf, and Adania Shibli add their own distinctive emphasis, describing Jerusalem not as the destination of a long-held yearning, but as the starting point of forced exile—and using French as a strategically chosen medium to inscribe Palestinian concepts and experiences into a Western discourse that otherwise does not recognize them. What unites the works examined, beyond all differences, is the awareness that Jerusalem eludes the sovereign narrative gaze: None of these texts triumphs over its subject; all bear the marks of the place where they have failed.
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War as a legacy: On the systematics of transgenerational imprinting in the work of Julia Weidmann
This review presents Julia Weidmann's study, "Continuum of Wars: Intergenerational Narratives of the World Wars in Contemporary French Literature" (Winter, 2025), as a fundamental, comparative investigation of a central phenomenon in contemporary French literature: the intergenerational narration of the World Wars. The starting point is the observation that subsequent generations—from the "wound" generation to the "inheritance" generation—reconstruct familial wartime experiences in literary form, mediating between archival research and imagination. To this end, Weidmann develops an original model of a "war continuum" that replaces traditional numerical generational categories with a metaphorical, trauma-oriented scale. She operationalizes this concept in a four-stage analytical method, which she applies to a broad corpus of authors (including Claude Simon, Patrick Modiano, Ivan Jablonka, and Anne Berest). The review particularly praises the methodological clarity, the nuanced close readings, and the identification of recurring narrative structures across generations, but also highlights limited weaknesses, such as a certain schematization in the comparative analysis and the relatively marginal treatment of aesthetic details. Overall, the study appears as a substantial contribution to literary memory studies, providing a viable set of tools for analyzing transgenerational memory and simultaneously opening up new perspectives for the exploration of future narrative forms.
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Writing against the death of her lover: Céline Zufferey
Céline Zufferey's novel "Maxence" (Gallimard, 2026) is a fragmentarily composed writing project born from the anticipated grief for a lover, defying any conventional love narrative. In loosely connected chapters—lists, miniatures, observations, reflections—a portrait of a man emerges that is simultaneously a love story, a memory experiment, and a poetics-based self-examination, driven by the central tension between the desire to capture the ephemeral and the realization of the fundamental inadequacy of linguistic fixation. The narrator writes against the future loss by meticulously registering Maxence's body, voice, gestures, and everyday practices, while increasingly reflecting that every description remains reductive and transforms the living into a potential "tombeau." The interpretation reveals that this very insight into one's own failure becomes an aesthetic principle: the fragmentary form, the rhapsodic temporal structure, and the shifting address (between third person and intimate "you" to both the living and the anticipated dead Maxence) are not merely stylistic devices, but rather necessary responses to the text's ethical and epistemological dilemma. By systematically uncovering the four axes of reading—love narrative, critique of knowledge, autopoiesis, and reflection on time—and simultaneously uniting the semantic fields of body, archive, and prolepsis, the review reveals a poetics of pre-mourning in the novel, in which death does not appear as an event, but as a permanent inscription into the present, leading to an intensification of the everyday: the writing, intended to banish loss, thus itself becomes a medium of heightened presence, without ever resolving the fundamental contradiction between life and recording.
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Francesco Petrarch and his followers: Étienne Anheim
Étienne Anheim's "Pétrarque: portrait de famille" (Minuit, 2026) reconstructs Francesco Petrarch's literary project as the result of dense familial entanglements and understands his work as a discursive "family portrait" in which genealogical construction, social embeddedness, and poetic self-stylization are inextricably intertwined. Based on a combination of textual analysis and archival research, Anheim demonstrates how Petrarch mythologizes his origins along a patrilineal notary genealogy, while simultaneously systematically marginalizing or silencing key figures—especially his mother, daughter, and the mothers of his children. The constellations of father (as a professional model to be overcome), brother (as a spiritual alter ego), Laura (as a real void, imaginary lover, and symbolic cipher of poetry), as well as children and friends, unfold as structuring relationships within which Petrarch shapes his authorial identity. Writing thus always appears as an addressed, fragmentary practice within an extended "familia" composed of relatives, correspondents, and literary successors. Anheim does not resolve the tensions between archivally reconstructible social history and literary self-presentation, but rather understands them as a productive site where Petrarch invents his own genealogy and simultaneously establishes the model of modern authorship—a model based on selective memory, symbolic reshaping, and the transformation of familial bonds into literary transmission.
➙ To the articleNew samples
Reserve: opened again
Exchange and misunderstanding: Jacques Decour, Philisterburg
Jacques Decour's "Philisterburg" (1932, Éds. Allia, 2023) is paradigmatic as a text of a poetics of the "in-between": a hybrid work between diary, essay, travelogue, and political diagnosis, which, from the perspective of a young French student of German studies, explores Germany in the late Weimar Republic while simultaneously reflecting on the epistemic conditions of this observation. At its core is not a one-sided portrayal of the foreign, but rather the productive tension between proximity and distance, between participation and critical self-examination, which manifests itself both formally—in the interweaving of narrative and essayistic passages—and in terms of content. Decour's text unfolds a dense panorama of social, political, and cultural forces in which characters appear less as individuals than as bearers of structural positions within the Franco-German relationship. Particular attention is paid to the role of language and translation as sites of both misunderstanding and insight, the analysis of stereotypes and enemy images, and the comparison of different educational systems as expressions of divergent worldviews. Against the backdrop of the escalating political situation around 1930, the portrayal gains a prophetic sharpness without ever lapsing into deterministic certainty. The review highlights how Decour understands the "in-between" not as a harmonious synthesis, but as a conflict-ridden, knowledge-generating space in which cultural difference becomes visible and conceivable – and how precisely this literary stance lends the text its enduring relevance and intellectual urgency.
➙ To the articleBetween myth and mass murder: German-French novels under the shadow of the Third Reich
Michel Tournier's "Le Roi des Aulnes" (1970) and Jonathan Littell's "Les Bienveillantes" (2006), despite the 36-year gap and two fundamentally different literary temperaments, are both Franco-German novels in the most precise sense: Tournier sends his Parisian garage owner Abel Tiffauges as a prisoner of war to East Prussia, where he experiences Germany as a mythological mirror land – herds of deer like heraldic animals, Göring's hunting lodge as a "palais sur rails", the Napola castle Kaltenborn as the fulfillment of an Erlking obsession – until the Jewish child Ephraïm inverts all his symbols at the end and transforms himself into the Star of David in the last sentence; Littell equips his first-person narrator, Max Aue, an SS officer and mass murderer, with Alsatian origins, a French mother, a Sciences Po education, and Parisian collaborators, so that Franco-German hybridity appears not as a humanizing bridge, but as a prerequisite for complicity—whoever knows Racine and Hölderlin equally well simply writes mass murder in better French. The present contrasting interpretation argues that both novels share precisely this commonality: They reject the comforting narrative that National Socialism was something culturally alien, imposed on the Franco-German heritage from the outside, and instead force their protagonists—the fascinated Frenchman as well as the hybrid perpetrator—to recognize their own education, fascination, and language skills as a gateway to the Nazi regime. The review sharply distinguishes between Tournier's mythological alienation – the crime is sublimated into archaic patterns (Erlkönig, Christopher, inversion of signs) in order to become visible – and Littell's hyperrealistic immanence, which denies any mythological shield and draws the reader into a complicity through Aue's cultivated narrative tone, from which he cannot escape; the review suggests that this difference is not only aesthetically but also historically explainable: in 1970 Auschwitz was still indescribable, it was sublimated – in 2006 it was academicized and museumified, and Littell insisted on its unprocessability. As Franco-German texts, both novels are also examined in terms of their language policy: the German, which Tournier leaves in the novel as reverently untranslated foreign material (Napola, Reichsjägermeister, Jungmann), and the French, which Littell chooses as the written language for the German mass murder – a literary sacrilege that turns the “clarté française” against itself and thus illustrates the thesis of the review that the Franco-German cultural community cannot close the black hole in its history, but can only circle around it.
➙ To the articleReconciliation is in the midst of conflict: Christine de Maizières
Christine de Maizières' "Trois jours à Berlin" (Wespieser, 2019; I was somewhat incredulous to find no German translation) transforms November 9, 1989, into a poetic mosaic of voices, memories, and perspectives. A French woman, Anna, travels to the divided city to find the man she once met—Micha, the son of an East German official. Interwoven with Stasi files, inner monologues, and the otherworldly perspective of the angel Cassiel, the novel unfolds a polyphonic narrative of history as a 'folding': Berlin becomes a vibrant metaphor for Europe, a "plain immense" filled with ruins, languages, and longings. The fall of the Wall appears not as a heroic moment, but as a delicate instant of permeability, in which silence, misunderstanding, and poetry subvert the power of ideologies. “Trois jours à Berlin” can be interpreted as a poetic reflection on a French perspective of Germany—as a work that makes the division not only political but also existentially tangible. De Maizières’s shifting narrative forms, her interplay between lyrical introspection and bureaucratic coldness, allow the event itself to speak: reconciliation as an aesthetic movement, not as a historical conclusion. In the tension between Anna and Micha, between the angel Cassiel and the people, we find the image of a Europe searching for its “missing part”—a lost tenderness that rediscovers itself in the moment of opening.
➙ To the articleNaked 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
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- Les rubriques en français
Product | Des articles sur la littérature française contemporaine ;
Report | Des notes plus courtes sur un texte littéraire, une brève discussion ou une lecture ponctuelle, des idées au fil de la lecture ;
Extract | An extrait choisi, a passage significant without commentaire, accompagné de sa traduction allesmande ;
Reserve | One text, one oeuvre, one author, repris and relu.
Debate | Discussion of texts, critiques, theories, pertinents for the contemporary French literature.
Poetics of Childhood | Présentation d'ouvrages littéraires consacrés à l'enfance et à l'adolescence.
Judéité | The Juive French literature is an imaginary territory or appartment, memory and identity that have been rediscovered, including the research of traces of généalogiques and questions of cultural/linguistic identity, politics and history.
Rendre justice | The littérature is an instrument that permet non-seulement d'aborder les themes du droit et de la justice, but also de les traiter et de les remettre en question sur le plan esthétique.
Dialogues | The texts contemporains qui dialoguent with the œuvres de l'histoire littéraire, de manière intertextuelle, tantôt dans an actualization critique, tantôt sous forme d'hommage ou de transformation.>>>