2012 – Rentrée littéraire: contemporary French literature

From history to legend: Alexander the Great in Laurent Gaudé's work

31.05.2631.05.26

Laurent Gaudé's "Pour seul cortège" (2012) radically shifts the historical Alexander narrative from the level of event-driven history to the threshold between death and afterlife. Instead of recounting the conqueror's well-known milestones, Gaudé focuses on Alexander's prolonged death in Babylon and the struggle over his body, which becomes the symbolic center of the novel. This essay argues that it is not Alexander as a historical figure, but rather his mortal body that is the true protagonist of the work: it is the embodiment of power struggles, the work of remembrance, and the question of the dead man's belonging. Based on an analysis of the polyphonic narrative structure, the dramatic form, and the mythically charged imagery of body, hunger, saffron, and wind, the text demonstrates how Gaudé transforms the historical novel into a tragedy of voices. Particular attention is paid to the figure of Dryptéis, who, as the antithesis to the power-hungry generals, embodies the transition from possession of the body to the preservation of the spirit. Furthermore, by comparing it to Gaudé's "La mort du roi Tsongor" (2002) and "Le Tigre bleu de l'Euphrate" (2002), it is highlighted that Gaudé continues a central theme of his work: the question of how the dead continue to live. The interpretation ultimately sees "Pour seul cortège" as a novel about the power of storytelling, which rescues humanity from transience and transports it into the realm of legend.

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Dismantling German-French historical myths in Eric Vuillard's récits

30.05.2614.05.26

Éric Vuillard's "La bataille d'Occident" (2012) and "L'ordre du jour" (2017) are two narratives about war that tell the First and Second World Wars not as national histories, but as products of mutually intertwined Franco-German mythologies: The Franco-Prussian War of 1870/71 forms the structural horizon of both texts, from which the complementary self-images of both nations – the German mythology of rationality and the unstoppable military apparatus, and the French "élan" myth of the glorious offensive – emerge as traumatic reflections of each other. The essay argues that Vuillard's literary method essentially consists of a twofold deconstruction: firstly, he demonstrates that the supposed German efficiency is a bluff—the Wehrmacht's tanks are stuck in traffic on the road to Linz, Schlieffen moves paper figures across a yellowed map—and secondly, that French revanchism collapses in Joffre's culinary Alsatian fantasies, while soldiers in red uniform trousers march into machine-gun fire. The unifying explanatory model is neither national character nor political irrationalism, but rather capitalist interest and class logic: the twenty-four industrialists who financed Hitler in 1933 appear in Vuillard's work as the civilian continuation of the same accounting rationality that led Schlieffen to devise his plan of annihilation as a profit gamble. As a genre of Récit – a hybrid form between essay, historiography and novel – Vuillard practices an autopoetologically reflected poetics of the counter-archive, which sets the repressed names of the victims, the collapsed myths of the perpetrators and the continuing amnesia of corporations against the domestication of history into the folkloristic “déesse raisonnable” of a stagnant historical politics.

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Tel Quel's trip to China: Ideology, vanity, and projection in the work of Jean Berthier
Jean Berthier's novel "Voyage tranquille au pays des horreurs" (Cherche Midi, 2026) reconstructs the historic trip to China undertaken by the Tel Quel group, including Roland Barthes, Philippe Sollers, Julia Kristeva, Marcelin Pleynet, and François Wahl, in the spring of 1974. Against the backdrop of the late Cultural Revolution, the author shows how these prominent French intellectuals follow a meticulously planned itinerary, perceiving their own theoretical, political, and aesthetic obsessions more than Maoist China itself. The comical opening episode, featuring Jacques Lacan, who believes he understands China through the categories of his psychoanalysis without ever actually traveling there, introduces the central motif of projection. At the same time, the novel's narrative of the affair surrounding Michelangelo Antonioni's documentary film, which was banned in China, serves as a foil: while the director attempted to see behind the official staging, the travelers readily conformed to it. The essay argues that Berthier develops from this a satire on the blindness of the intelligentsia that is as comical as it is sobering: semiotics, psychoanalysis, avant-garde aesthetics, and revolutionary hope appear not as means of knowledge, but as filters that obscure the view of violence, persecution, and political reality. At its core is the thesis that the travelers turn the foreign land into a projection screen for their own desires and, precisely for this reason, miss reality. Berthier's novel is thus read as a case study in the history of ideas, which, beyond historical Maoism, raises the question of how intellectual certainties can distort perception and transform the foreign into a mirror of the familiar.
Boualem Sansal's "Le Village de l'Allemand" between memory culture and postcolonial text
This essay is explicitly not a review of Sansal's prison journal "La Légende: libres méditations d'un prisonnier encombrant" (Grasset, 2026), and it will briefly explain why such a review is being omitted for the time being. The book is an autobiographical account of imprisonment that sees itself as a "livre de combat" and is still so densely entangled in current polemics, publishing conflicts, and friend-or-foe balances that its literary character is almost inseparable from the noise surrounding it. Instead of prematurely dissecting the book, this essay uses it as an opportunity to refer to the earlier novel "Le Village de l'Allemand" (Gallimard, 2008)—thus postponing, for the time being, an interpretive engagement with "La Légende." The novel "Le Village de l'Allemand" is a "roman croisé" that not only thematizes the in-between but elevates it to a writing method. Using the intertwined diaries of the Schiller brothers, the isotopy of the "village" across four spaces of death, the chronological symmetry of massacre and suicide, and the shifting metaphor of camps, he shows how the novel folds three spaces of memory—the Shoah, the Algerian Civil War, and the French banlieue—into one another, conceiving of guilt never as a fixed front, but as staggered, translatable, and never entirely resolvable. Two key passages from Rachel's diary frame the reading and simultaneously serve as a thoughtful foil for "La Légende": The novelist, who once explored the difference between bearing witness and settling scores in literary form, reminds us how fragile the position of the just remains.
François Mitterrand between myth and criticism: Annie Ernaux
This essay examines the portrayal of François Mitterrand in Annie Ernaux's "Les années" (2008) in comparison to Mitterrand's political polemic against de Gaulle, "Le Coup d'État permanent" (1964). The central question is how both texts—despite their different genres as an autobiographical memoir and a political pamphlet—reveal the same structural feature of the Fifth Republic: the concentration of political hopes, fears, and notions of legitimacy on a single charismatic figure. While Mitterrand, in his critique of Charles de Gaulle, denounces the dangers of a personalized presidential system, Ernaux, from the perspective of a collective "on," describes the enthusiasm, expectations, and subsequent disillusionment that accompanied his own presidency. Using key passages from "Les années," the text demonstrates how Mitterrand evolved from the symbolic figure of the political awakening of 1981, through the disillusionment of the "rigueur" years, to the embodiment of age, transience, and historical memory. The comparison makes it clear that Ernaux not only recounts the emotional history of the French left but also exposes the paradoxical workings of a political system that transforms even its critics into monarchical messianic figures.
Montaigne in the dock: Philippe Desan
The novel by renowned Montaigne scholar Philippe Desan, "Montaigne – La Boétie: une ténébreuse affaire" (2024), recounts the most famous friendship of the French Renaissance as a literary crime story. Starting with the encounter between Montaigne and Étienne de La Boétie in 16th-century Bordeaux, the novel develops the provocative hypothesis that Montaigne himself may have been responsible for his friend's early death. Following the trail of a lost sonnet, hidden documents, and a modern academic investigation, Desan traces the paths of tradition to the present day, making the reconstruction of the past the central focus of his narrative. This essay demonstrates that this historical crime novel is far more than a scholarly game: it represents a fictional reflection on the possibilities and limitations of Montaigne research and, in doing so, implicitly engages with Hugo Friedrich's humanist interpretation of Montaigne. While Friedrich, in his classic 1949 monograph, emphasizes the unity of a “highly organized mind” and the consubstantiality of life and work, Desan portrays a Montaigne whose identity, texts, and memories are shaped by historical interests, editorial interventions, and social strategies. The essay argues that Desan’s novel deliberately blurs the line between scholarship and fiction in order to reveal the fundamental narrative nature of all interpretation: reading here appears as working with clues, probabilities, and hypotheses, so that the story of a possible crime simultaneously becomes a reflection on the conditions of literary scholarship.
Reactionary masculinity as empty provocation: Côme Martin-Karl
Côme Martin-Karl's novel "La réaction" (2019) leads its readers into the bizarre world of French reactionaries, online trolls, Catholic integralists, and monarchist splinter groups, whose political radicalism increasingly veers into the comical. At its center is Matthieu Richard, a young man adrift, who is drawn into this milieu less out of conviction than out of a lust for provocation and being an outsider. This essay demonstrates how the novel, with satirical sharpness, exposes the rituals, linguistic forms, and self-images of a scene that constantly speaks of greatness, tradition, and decline, yet is characterized by internal contradictions and political emptiness. The central argument is that Martin-Karl is not primarily caricaturing right-wing ideologies, but rather a form of male self-presentation in which political positions become mere props for a pose. Based on the narrative style, the relationships between the characters, and the tense interplay between political radicalism and homosexual desire, the interpretation reveals how the novel exposes the supposed harshness of its protagonists as an expression of a deep need for recognition and distinctiveness. Thus, "La réaction" ultimately appears less as a political novel than as a brilliant satire on masculinity, the lust for distinction, and the transformation of politics into a game of self-presentation.
Standing upright in the face of ruin: New Orleans in Laurent Gaudé
Laurent Gaudé's novel "Ouragan" (Actes Sud, 2010) depicts the devastation of New Orleans by Hurricane Katrina, following several characters whose lives intersect in the exceptional circumstances of the catastrophe. At its heart are Josephine, nearly a hundred years old, who refuses to leave her neighborhood; Keanu, traumatized by his work on an oil rig; his former lover, Rose; and a clergyman whose faith crumbles under the weight of events. As the storm bursts the levees and the city is submerged, social inequalities, personal traumas, and repressed conflicts are mercilessly exposed. The novel presents the natural disaster not as a realistic chronicle, but as a polyphonic drama about loss, guilt, love, and survival. This essay examines how Gaudé transforms the historical hurricane into a mythically charged experiential space. The starting point is the thesis that the storm functions as an "instance of revelation": it not only destroys houses and social orders but also lays bare the innermost core of the characters. The analysis examines the polyphonic narrative structure, the clear affinity with the form of ancient tragedy, and the lyrical-epic style, which elevates the events beyond the documentary. Particular attention is paid to the interplay of voice and silence, the symbolic significance of space, water, and physicality, and the recurring motifs of shame, resistance, and resilience. The essay argues that "Ouragan" combines social indictment and poetic condensation, staging the catastrophe as a moment of truth in which destruction and new beginnings, loss and dignity, are intertwined.
From history to legend: Alexander the Great in Laurent Gaudé's work
Laurent Gaudé's "Pour seul cortège" (2012) radically shifts the historical Alexander narrative from the level of event-driven history to the threshold between death and afterlife. Instead of recounting the conqueror's well-known milestones, Gaudé focuses on Alexander's prolonged death in Babylon and the struggle over his body, which becomes the symbolic center of the novel. This essay argues that it is not Alexander as a historical figure, but rather his mortal body that is the true protagonist of the work: it is the embodiment of power struggles, the work of remembrance, and the question of the dead man's belonging. Based on an analysis of the polyphonic narrative structure, the dramatic form, and the mythically charged imagery of body, hunger, saffron, and wind, the text demonstrates how Gaudé transforms the historical novel into a tragedy of voices. Particular attention is paid to the figure of Dryptéis, who, as the antithesis to the power-hungry generals, embodies the transition from possession of the body to the preservation of the spirit. Furthermore, by comparing Gaudé's "La mort du roi Tsongor" (2002) and "Le Tigre bleu de l'Euphrate" (2002), it is highlighted that Gaudé continues a central theme of his work: the question of how the dead continue to live. The interpretation ultimately sees "Pour seul cortège" as a novel about the power of storytelling, which rescues humanity from transience and transports it into the realm of legend.
The missing work: Xavier Garnier and Mohamed Mbougar Sarr in dialogue
Xavier Garnier's "Quels lieux pour les littératures en langues africaines?" and Mohamed Mbougar Sarr's novel "La plus secrète mémoire des hommes" both revolve around the question of under what conditions African literature becomes visible—and what happens to writers who defy the expectations of the French literary establishment. In his study, Garnier reconstructs the suppressed history of African-language literatures and shows how strongly Francophone texts are influenced by languages such as Wolof, Gikũyũ, and Kiswahili, even though these languages mostly remain invisible in the international literary scene. Sarr explores the same issue as a literary quest: The young Senegalese author Diégane Latyr Faye follows the trail of the enigmatic T.C. Elimane, whose celebrated 1938 novel disappears after fierce racist and exoticizing reactions. The essay reads both books as complementary counterparts: Garnier's theoretical concepts—such as literature as an "ecosystem" of languages, places, and institutions—make it clear why Elimane is simultaneously admired and excluded in the novel, while Sarr translates Garnier's abstract considerations into concrete scenes, such as the fictional Parisian newspaper reviews or the multilingual passages in Wolof and Serer. The analysis is particularly strong where it shows that African authors in the Francophone world still find themselves caught between two contradictory expectations: the need to be both "authentically African" and literarily universal. It is precisely from this tension that the essay develops a precise and vivid interpretation of Sarr's novel as a reflection on literary recognition, linguistic belonging, and the possibility of writing under postcolonial conditions.
Trilogy of Masculinity: Franck Mignot
This essay reads Franck Mignot's three novels, "Mollesse" (2023), "Les Viandards" (2025), and "Faire avec" (2026), as a cohesive narrative project that traces a genealogy of exhausted masculinity. Starting with the programmatic titles, which signify lethargy, predatory behavior, and resigned accommodation, the analysis demonstrates how Mignot portrays the crisis of male role models not as a spectacular collapse, but as a slow process of enervation. The central thesis is that the three novels trace a movement from an eruptive act of violence to an exhausted, sustained existence: from the murderous Samuel in "Mollesse" to the childlike observer in "Les Viandards" to the weary, lingering Bertrand in "Faire avec." This essay does not trace this development chronologically, but rather along recurring structural themes—speechlessness, desire, fatherhood, gender asymmetry, spatial poetics, and writing practice—and demonstrates how the books mutually comment on and illuminate one another, ultimately leading to a narrative study of manhood. Particular emphasis is placed on the analysis of Mignot's laconic style: the sober, paratactic prose appears not merely as a stylistic device, but as the ethical stance of a world in which the characters have lost any stable value system. The essay argues that Mignot's novels systematically reject the classical Bildungsroman and instead create a "chronicle of the unchanging," in which development is replaced by repetition. This is precisely where the trilogy's radicalism lies: not catharsis or healing, but the exhausted "continuation of life with what remains" forms the horizon of these texts. By reading Mignot's work simultaneously as a chronicle of milieu, a poetics of silence, and a reflection on modern masculinity, the study reveals how closely form, language, and theme are intertwined in this trilogy.
Learning to exhale: Meditation and literature as counterforces in the work of Emmanuel Carrère
Emmanuel Carrère's "Yoga" (POL 2020) begins as a seemingly manageable project: a "small, cheerful, and subtle book about yoga," written from the perspective of an author who has practiced meditation and tai chi for decades. But the abrupt end of a Vipassana retreat following the attacks on "Charlie Hebdo" shifts the text in a different direction. The planned essay on mindfulness becomes a novel about psychological disintegration, hospital stays, depressive and manic states, memory gaps, and the precarious search for presence. Carrère writes about meditation without ever turning it into a spiritual account: the very inability to achieve inner stillness becomes the book's central focus. Meditative practice and literary technique repeatedly clash—the ideal of letting go with the writer's compulsion to capture, comment on, and transform thoughts into language. The novel combines autobiographical self-analysis with reflections on writing, perception, and attention, developing its own form from its ruptures. Spaces of retreat—the silent retreat, the psychiatric clinic, the refugee camp on Leros—appear as variations on the same experience of isolation and self-observation. At the same time, Emmanuel Carrère's text is characterized by a striking sobriety: he tells neither a story of healing nor one of enlightenment, but rather describes perseverance under unstable conditions. The focus of this essay on the autopoetological dimension makes the novel's numerous motifs—breath, silence, repetition, self-observation, and failure—readable not only thematically, but also as reflections on the conditions of writing itself. This is precisely where the literary tension of the book lies, as it derives its form from the difference between the planned yoga book and the text that actually emerged.
Huysmans as a seismograph of modernity: Agnès Michaux
Agnès Michaux's novel trilogy "La fabrication des chiens" (The Making of Dogs) and her later biography of Joris-Karl Huysmans together form an extraordinary double project: a literary reconstruction of the fin de siècle and, at the same time, a fresh look at Huysmans as a seismograph of modernity. The first volume of the trilogy (1889) follows the young provincial journalist Louis Daumale through Paris during the Exposition Universelle, the opening of the Eiffel Tower, and the enthusiasm for progress, while beneath the glittering surface, nationalism, eugenics, social anxiety, and cultural exhaustion are already becoming visible. At the heart of the story is Daumale's encounter with Huysmans, who appears not as a museum-like icon of decadence, but as a radically honest diagnostician of his time: "unjust, sometimes only, but with complete sincerity." Michaux's argument is that decadence should be read not as a pose, but as a precise diagnosis of civilization. Des Esseintes from "À rebours" is not understood as an aesthetic ideal, but rather as a symptom of a society whose sensory overload and artificiality deform humanity. This idea is reflected in the titular motif of the "fabrication" of dogs: optimization, breeding, and social conditioning become a metaphor for a modernity that standardizes all living things. In her biography, Michaux further radicalizes this approach by reading Huysmans not intrinsically, but physically and socially—as a shivering, nervous civil servant whose art arises from physical hypersensitivity, urban weariness, and uncompromising truthfulness. Thus, the result is not a nostalgic image of the Belle Époque, but an analysis of modernity itself: for Michaux, 1889 appears as that historical tipping point where progress and decay, rationalization and spiritual yearning, surface and inner turmoil become inextricably intertwined.
Image distortion: German-French interference in the performances of Alain Robbe-Grillet and Claude Ollier
This essay proposes a perhaps surprising genealogy of the Nouveau Roman by situating its origins not in the Parisian literary scene, but in the extreme situation of forced labor in Nazi Germany. Starting with the encounter between Alain Robbe-Grillet and Claude Olliers in a Nuremberg factory, the reading of four of their books reconstructs how, under conditions of alienation, control, and desubjectification, a new form of perception emerges: a radical turn toward surfaces, objects, and spatial structures that consistently rejects psychological models of depth. Through individual analyses, the text demonstrates how this experience is translated into specific narrative techniques—into fragmented temporal orders, unstable perspectives, and a language that registers rather than interprets. This results in the creation of a poetics born from historical upheaval without ever exhausting itself in explicit literature of remembrance. The novels under discussion do not make the relationship between the two cultures their subject matter, but rather inscribe it into their formal structures. German appears as a space of experience encompassing power and otherness, French as a literary agent of transformation – yet both are inextricably intertwined. These texts are therefore Franco-German novels not because of their content, but because they create an interstitial space in which national attributions become unstable and meaning emerges only from their superimposition.

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