You can find on this page every title of our frontlist and a short introduction
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(Calmann-Lévy, 450 pages, 2019)
*** SHORTLISTED FOR THE 2019 GRAND PRIX RTL-LIRE ***
What is a hero, if not a man who one day realizes the secret dreams of an entire people? —San Perdido
In San Perdido, a small town on Panama’s Caribbean coast, Yerbo Kwinton is a legend. The poorest residents of the Lágrima slum who live off the municipal dumpsite first notice him one morning in June 1946. From out of nowhere comes a small, ten-year-old black boy with strange blue eyes, mute and frail, but with powerful hands much too large for a child his age. Decades later, the people of San Perdido will still remember him as La Mano, “the hand that reaches out to help when no one else can.”
Felicia, a resilient Ghanian woman who made a home for herself on the edge of the landfill, is the only one able to approach this inscrutable and solitary child. They wordlessly help each other. Yet in spite of their complicity, Yerbo’s comings and goings remain a mystery. He grows up scouring heaps of garbage for scrap metal. Only a few know that he can turn into a merciless vigilante who kills thieves and child predators with his bare hands.
As he reaches adolescence, Yerbo abandons his scavenging life to work in the harbor overlooking the Bay of Port Sangre. One day, his boss challenges him to an arm-wrestling contest. All present witness the crushing power of Yerbo’s hands. From then on, Yerbo’s reputation as a man not to be meddled with spreads around town. In San Perdido, corruption and exploitation are commonplace. The dock men’s strike is violently repressed. When the building where many of them lodge is destroyed by arson, Yerbo intervenes with deadly efficiency; summary justice, yes, but how moral can one be when living in San Perdido, “a city forsaken by God”?
An exuberant set of characters accompanies Zukerman’s elusive main hero as he defends the innocent and the oppressed. There is the temperamental Yumna who, thanks to her voluptuous beauty, climbs the social ladder by becoming the mistress of the governor—a man whose insatiable sexual appetite earned him the nickname El Toro; the exquisite Hissa, an orphan rescued by the madam of the most upscale brothel in town; the good doctor Portillo-Lopez, who cares for bodies and souls; as well as ex-American soldiers, shady adventurers, greedy public officials, and descendants of runaways slaves who long ago found refuge in the nearby rain forest.
With great gusto, David Zukerman combines social realism with pure fiction, and an added frisson of supernatural horror. He is a master storyteller who effortlessly orchestrates his characters’ intersecting fates. There is no second role here. San Perdido is a seductive tale that transports the reader into the atmosphere of a tropical town with all its political intrigues, explosive passions, and raw sensuality—a reading pleasure hard to resist.
David Zukerman is an actor, musician, and playwright. San Perdido is his first novel.
A LONG MEXICAN NIGHT
(Gallimard, 272 pages, 2018)
*** RIGHTS SOLD IN GERMAN (ROWOHLT) AND ITALIAN (RIZZOLI) ***
When his beloved cousin died in a car-crash with her lover on a highway along the Pacific, a young Mexican man inherited a suitcase. In it he discovered thousands of negatives of photos taken, five decades prior, by Capa, Gerda Taro, and Chim, the three famous Central-European photographers who covered the Spanish Civil War. And he didn’t know what to do : say nothing out of loyalty, and simply become their new guardian? Or make their existence known?
To reach a decision, he started researching the chain of successive proprietors of the suitcase, to reconstitute the long night during which the heroism, discretion and audacity of a few men and women saved these precious negatives.
And now, twenty years later, it is up to him to decide their new destiny...
A Long Mexican Night is Isabelle Mayault’s debut novel. It is not the story of Capa, Taro, and Chim: rather the story of the famous suitcase -and its successive proprietors- which was thought lost and suddenly reappeared in Mexico in 2007. No one knows what actually happened… so Isabelle Mayault offers this amazing tale.
(Liana Levi, 160 pages, 2019)
Ironic, feminist, delightfully unpredictable. —Le Figaro
In a Grenoble hospital, Leone Acampora, a local mafioso, has slipped into an irreversible coma. His devoted wife, Michèle, has been notified that the end is near. She now sits by his side, reflecting lovingly on their forty-five-year marriage. All in all, it was a good one, during which she fully enjoyed the advantages, and to a lesser degree the incidental unpleasantness, of being married to the mob. Besides, she has been an exemplary and loyal wife—at least as far as her husband knows.
But Michèle is in for a rude awakening. The comatose Leone left her a letter graciously informing her that he has no intention of traveling solo in the afterworld, but she should not worry. He has taken care of everything. The hit man he hired assured him that her death would be painless.
Michèle is not the type of woman to die without a fight. She is determined to live, and after failing to solve the problem on her own, she calls her two daughters to her rescue. The three women are now engaged in a race against time. They must identify the hit man before he finds his prey.
Dina and Alissia are well aware of their father’s line of business, but each has responded to it differently. For Dina, it has been a struggle. It is not easy to wonder, every time a bank is robbed, whether your family is involved. To assuage her guilt, Dina chose a career in humanitarian aid, and now works for an NGO called Major Emergencies. At this time, though, she is in a state of heightened vulnerability, unhappy in love and disillusioned with her job.
Contrary to Dina, Alissia has fully embraced her father’s legacy. Initially she intended to become a paramedic, but she wisely shifted to another specialty. No more fishy pizza parlors for laundering money. Now she owns a respectable pharmacy, the perfect cover for behind-the-counter activities. She even developed her own approach to cope with the stress of the job. Cultivating a serene mind is crucial when one deals kilos of hashish and cocaine, and when one is facing a new wave of competitors treading on her turf.
Alissia thus takes the initiative to send her mother to a remote villa in the mountains while planning her transfer to a more secure and permanent location. But, self-confident by nature, she fails to take into account that Leone possesses one crucial advantage: He is a father well acquainted with his two daughters’ strengths and weaknesses. And he knows that Dina is the weakest link.
With Mafiosas, Pascale Dietrich offers a refreshing take on the mafia story. Her choice of setting departs from the genre’s convention; we discover a grittier Grenoble, with its drug-invested low-income high-rises set against the majestic backdrop of the Alps. The three protagonists, each in her own way, subvert the roles they are expected to play. Michèle will not be a passive victim. Alissia uses this crisis to redraw the rules. She will not let her future be dictated by aging godfathers playing cards in retirement homes, nor be passed over for leadership because she is a woman. As for Dina, who has always felt oppressed by the omerta, the rule of silence, transgressing the old ways will take another turn. Subtly feminist, Mafiosas is a delightful read, laced with sardonic humor and peppered with memorable scenes.
Pascale Dietrich is a writer and a sociologist. She has published short stories in magazines as well as short novels exploring the thriller genre, such as Le Homard (Éditions In8, 2013) and Une île bien tranquille (Liana Levi, 2016).
(Payot & Rivages, 112 pages, 2019)
*** SOLD IN POLAND ***
“We should always drink that way.”
“How?” asks The Bomb.
“I don’t know. Aware. Naked. Cleaned out.”
For the past fifty-nine hours, Chief Jackie Thran and her Police Tactical Unit have laid siege to ECWC, Hong Kong’s most prestigious wine cellar, where former English army bunkers have been converted into underground caves providing a perfectly climate-controlled environment. Yet, despite the highly sophisticated security system, someone still managed to break in. Three hundred fifty million dollars’ worth of rare grand crus is now held hostage, and time is running short: typhoon Shanshan is on its way. . .
The indication that something is amiss comes in the form of a cryptic tweet sent directly to the local media: “You cannot enter anymore. We have opened everything . . . ECWC.” At first, Ethan Coetzer, the cellar owner, hopes it is a hoax. He had planned to use the typhoon as a marketing ploy, and organized for the occasion an exclusive dinner for clients “with a certain taste for danger,” mitigated, of course, by “the certitude of optimum safety.” The first raid failed, and a negotiator is called in to assist in the standoff. Now they all have to urgently figure out the who, the how, and, not least, the why.
The first inkling of evidence—proving that the intruder might be female—is a black Jimmy Choo pump popping up through the half-open armored door of Bunker Alpha. A bottle containing an unknown substance rolls on the tarmac. Other bottles follow suit, mysteriously appearing in front of the Headquarters entryway. The least-valuable bottle is noticeably left untouched, while the more exceptional one is open and three-quarters empty. Whoever invaded the cellar clearly knows their wine, and thoroughly enjoys it! And judging by the alarming noises relayed by the sound system, they also seem to be having a lot of fun playing ninepins with vintage bottles.
In their own time, the intruders introduce themselves. There is Silly, the tall seductress, alias: The Brunette; Bizzie, hyperactive and unpredictable, alias: The Clown; and an unnamed, seasoned ex-commando, working in symbiosis with her highly trained rat, Illiad, alias: The Bomb. Taking advantage of their upper hand, the three women demand various designer make-up products from Chief Thran and her team. Coetzer, as worried as he is intrigued, decides to take matters into his own hands. He enters the bunker, bringing in person the frivolous items the ladies have requested. The terms of negotiation they offer him, however, are nothing like he would have expected.
Delivered with fast-paced and razor-sharp prose, Bacchantes is a subversive and burlesque tale that can be savored in one sitting. Minard displays her caustic sense of humor and cinematographic flair as she interweaves the technical minutiae typical of the heist genre with lyrical musings on the sensual pleasures of wine. Her audacious and sassy heroines are not driven by the folly of youth. Rather, they have lived long enough to know that, in today’s hypercommodified world, an appreciation of the Dionysian aspects of life can be a radical act in itself.
Céline Minard is the critically acclaimed author of eleven novels. So Long, Luise (Denoel, 2011) won the prestigious Franco-German Franz Hessel Prize. She also received numerous awards for Faillir être flingué (Rivages, 2013), including the Virilio Prize in 2013, and the Prix du Livre Inter in 2014. Her most recent novel before Bacchantes is Le Grand Jeu (Rivages, 2016). Critics assert that her work inaugurates “the return of hardline fiction in the French literary landscape.”
(Belin, 44 pages, 2019)
The Bite, illustrated with finely drawn pen-and-ink sketches, is as much a parable of transcending fear and hatred, as it is a memoir.
—New York Times
On November 13, 2015, the graphic artist Fred Dewilde was attending a rock concert at the popular Paris venue, the Bataclan, when a group of jihadists attacked. He survived the massacre, his body miraculously unscathed but his mind in tatters.
In this gripping black-and-white graphic novel, Dewilde turns to the cathartic power of drawing to express his struggle with post-traumatic stress disorder, and the ups and downs of his long journey to recovery. In the opening panels of The Bite, the author and his family leave the city behind for a three-week vacation in the countryside. This is the first summer after the Bataclan tragedy, and Dewilde hopes to find peace in nature and comfort in life’s simple pleasures—playing cards, picnicking, and taking a walk in the woods with his young daughter. For a while, it seems to work. Sleep comes more easily. But the respite is short-lived.
The news of yet another terrorist attack shakes his fragile mental equilibrium. The doctors had warned him: the bite is deep. The poison of fear and hatred, once injected, is easily reactivated by seemingly ordinary incidents. Planes flying over the bucolic landscape remind him of war, and he obsesses over the prospect of sending his son to fight on some distant battlefield. Fear, manifesting at first in a black stain festering on his right arm, threatens to engulf him once more in the crushing embrace of serpentine tentacles. Battling anxiety, he leaves his retreat and runs to the local village in search of Wi-Fi. The black stain on the village bartender’s arm—the same as his—reminds him that his fear and anger are not his alone.
At the book’s end, Dewilde’s character realizes that to heal, he must accept that his life is forever changed by the horror he witnessed that November night. His deep humanism and the love he feels for his children eventually bring him back from the well of anguish and anger into which he fell. Dewilde is well aware that, as a victim of contemporary terrorism, his trauma is both personal and collective. In The Bite, he turns to his preferred artistic medium to process the violent emotions triggered by the attack, as well as to take a firm stand against the politics of fear.
Fred Dewilde is the pseudonym of a French graphic artist. He is one of the survivors of the terrorist attack at the Bataclan theatre in Paris on November 13, 2015. His first graphic novel, Mon Bataclan: Vivre Encore (Lemieux, 2016) was published in France, Belgium, and Switzerland.
(Les Arènes, 464 pages, 2018)
Granny Luger definitely has some skeletons hidden in her closet. At 7:00 in the morning, in the Auvergne region of France, Berthe’s neighbor has been shot, the police have her cottage surrounded, someone has seemingly stolen her old Renault 4L, and her chamomile tea has gone cold. Brandishing her .22 rifle, the 102-year-old-woman launches verbal assaults at the cops until they break down her door, and take her in for questioning.
By 8:00, Berthe is in custody, her shotgun confiscated, and her car still missing. This morning proves the most mind-boggling experience of Inspector Ventura’s career. Never has he had to interrogate a smart-mouthed, squirrely, witty grandmother. Through a lot of miscommunication (mainly because of Berthe’s failing hearing aids) and jokes at his expense, Ventura finally gets Bertha to confess to hiding two fugitives, Roy and Guillemette, but what she tells him isn’t quite what he expects.
When the police find Berthe’s Luger, a forbidden Nazi artifact, she must explain why it’s in her possession. Bluntly she asserts that she killed a Nazi, and he’s buried in her basement. Sent to retrieve the body, the police find several other bodies buried throughout Berthe’s basement. And so, with nothing else to lose, Berthe explains the bodies, and, in turn, relates to Inspector Ventura her life story.
The Luger-strapped grandma’s account of her life is nothing short of explosive. If the law isn’t on her side, morality and circumstance would almost make her innocent, for her story intersects that of the twentieth century, and the struggles women endured to own their bodies and their rights. Benoît Philippon gives us, in Granny Luger, a formidable exchange exploring feminism, racism, and morality. Above all, he gives us a violently funny, charming, and strong old woman. She makes you laugh, but makes you cry as well, of emotion and admiration, for the incredibly free granny speaks volumes to our own contemporary history.
Born in 1976, Benoît Philippon grew up in the Antilles, then moved between France and Canada. He became a screenwriter and film director. After Cabossé, published as part of the Série Noire (Gallimard), Granny Luger is his second noir novel.
THEY ALL WOUND, THE LAST ONE KILLS
(Belfond, 744 pages, 2018)
To rebel is to live. But it is also to suffer. It is above all to suffer. So, that night, between two chattering teeth, between two moans, between two floods of tears, I promise. Never again will I revolt. In the middle of my horrifying delirium, I vow to bend my back, forever.
—They All Wound, The Last One Kills
They call her Tama, but that’s not her real name. She does not have the right to utter her real name. And yet every evening before she goes to sleep, she murmurs it to herself several times so that she never forgets.
At the age of nine, Tama lives near Paris in a large and attractive house, but it is not her own. She does the housework, cooking, and looks after the children. Not entitled to a bedroom, the little girl sleeps in a cupboard next to the washing machine. She washes herself in the sink before the family wakes up, given only one towel and one change of clothes. Tama is not like the average child; she is a slave. The slave of the Charandon family, whose members continually bully, beat, and degrade her. It makes no difference that Tama is docile, intelligent, and kind—she is theirs. She has no identity papers, no name, no future. She is nothing.
By the age of fifteen, Tama has lived a thousand lives. Denied the education every child deserves, she has taught herself how to read. Now she lives with Mrs. Charandon’s cousin, Mejda, as her teenage body becomes an embarrassing temptation to Mr. Charandon. Her new nemesis mentally and physically tortures her. Fortunately Izri, Mejda’s enigmatic son, is protective and kind toward Tama, and brings her to his place when he becomes aware of the extent of her injuries at the hands of his mother.
Because initially Izri is benevolent and comparably nicer than his relatives, Tama falls in love with him. However, Izri proves to be manipulative, abusive, and adulterous. His presence in Tama’s life becomes a toxic paradox; her heart is filled with love and joy, but Izri’s controlling and possessive nature imprisons Tama in an inescapable world of abuse.
Gabriel lives in the middle of the country. He has turned his back on civilization and retreated to the mountains. Tortured and vengeful, he only strays from his secluded home to kill those who participated in his daughter’s murder.
When a gravely injured and amnesiac young woman stumbles into his home, Gabriel resolves to kill her to protect his vigilante mission, but strangely finds that he doesn’t have the heart to finish the job. He becomes attached to her, and vows to help her recover her memories and, ultimately, save Tama.
In They All Wound, the Last One Kills, Karine Giebel renders a heart-wrenching and powerful story. Through her gripping prose, she tests in her protagonists a terrifying and unbreakable conviction. In denouncing the reality and horror of contemporary human trafficking, Giebel explores the dynamics of power, manipulation, and abuse.
Karine Giebel is a recognized psychological crime author, and has published novels as well as short fiction and poetry. Her characters constantly find themselves fighting an unfair, selfish, and often cruel society. Her work has been translated into nine languages, won several literary prizes, and her books have sold more than a million copies.
(Viviane Hamy, 150 pages, 2019)
Brimming with anger and teenage angst, eager to make his own decisions, Nathan leaves his familial home at the age of fifteen. He lives in Paris, alone, and rarely visits his family. His childhood friends have all grown up, and he knows that, to them, he is the absent, old friend they occasionally reminisce about. At twenty-eight years old, he looks back on his accomplishments and realizes that each choice he has made in his life has been based on small opportunities, and unexciting and tedious jobs.
As summer approaches, Nathan learns of his younger brother’s accidental death, and drives back to the South of France to bury him. Nathan is welcomed home by his parents’ tremendous pain from their loss, as well as their indifference toward him. Now Nathan must fill in the blanks of his brother Gabriel’s life, and learn about a man he never knew.
In his quest to meet the brother who grew up in his absence, he accepts an invitation to spend a few weeks traveling with Gabriel’s friends—a group of carnies of all talents, shapes, and sizes. He feels welcomed and comforted by the group’s unofficial “Big Brother,” the generous Bastien, and drawn to the group’s resident heartbreaker, the talented and emotionally unavailable Appoline. He alternately feels guilty for not knowing his brother, lost in grief, and confused about what the future holds. Bastien and Appoline introduce Nathan to the troupe’s occasional drug dealer, helping him understand that his brother had been under the influence at the time of the accident. As summer ends and life carries on in his new friends’ lives, Nathan knows that his quest to find Gabriel’s ghost lead him nowhere.
With nothing else left to do, Nathan travels to Brittany, in the northwest of France, a place he’s longed to visit since he left home. He meets Christian, a retired lighthouse electrician with Alzheimer’s disease, who invites Nathan to stay with him and his daughter, Marie, for the final days of his life. As Nathan helps Christian put his affairs in order, Christian recounts to him the tragedies of his life. Nathan draws parallels between his life and his old companion’s, and discovers again the pain in unrequited love, and the art of letting go. Nathan ultimately returns home to spend one final evening with Bastien. Together they remember his lost brother, and Nathan finally confronts and begins to accept his grief.
François Pieretti brings his audience into Nathan’s thoughts as he wanders around the west coast of the French countryside. Pieretti’s talent lies in arousing the reader’s wanderlust and relieving the pressure of decision-making one is accustomed to. Through his poetic and lyrical prose, he builds his characters with patience and forgiveness as they juggle love, loss, mourning, and grief, and try to land on their feet.
François Pieretti was born in 1991. He has worked for Radio Campus Paris (93.9 FM), and as a journalist for ARTE. Carnies is his first novel.
(French Pulp Éditions, 400 pages, 2018)
July 2006: Handsome and The Weasel are killed in a shooting as the result of a burglary gone wrong, leaving She, an unnamed protagonist, to be sentenced to fifteen years in prison for the death of an old man.
November 5, 2018: Virginie, a transgender woman, finds a new job at The Center, an unforgiving and cruel hospice home for “very, very old” patients, complete with an abusive staff and barricaded windows.
1988: The Woman tries desperately to reach her husband, who is busy in an “important business meeting” with his new mistress. Her water breaks and she faints, hearing her neighbor rush to help her as she loses consciousness.
Jacques Saussey follows these three distinct timelines throughout his latest novel, Trapped. In 2006, She must survive in a vicious and violent prison, attacked and raped by her fellow inmates. In 2018, as Virginie embarks on her new job, her co-workers greet her with disgust and contempt. In 1988, The Woman becomes Mother, a woman struggling to raise her beautiful baby boy. Father, an abusive womanizer, leaves the child one afternoon screaming in the nursery, until he all but chokes between the bars of his cradle. One day, when Mother and Father are out, the little boy sneaks into Mother’s closet, puts on one of Mother’s bras, looks in the mirror, and comes to a stunning revelation: “I am Virginie.”
In a surprising turn of events, the three timelines converge, and we finally meet our protagonist in a brave moment of self-declaration and affirmation. Reviled and rejected by her parents, her doctors, and the world around her, Virginie struggles with constant pain and self-hatred. Only when she meets her cellmate’s father, who helps release her from prison and enlists her in his mission to avenge his second daughter’s death, is she able to find redemption.
Virginie strives to survive in a society that refuses to accept or begin to understand what it means to be transgender, how it feels to be trapped in a body you feel is not your own. As Virginie puts it, “Nature made a mistake.” Saussey, encouraged and inspired by his niece, Aurore, who herself transitioned in 2015, creates in Virginie a strong and unrelenting young woman determined to painfully bend each cell bar that binds her, and forge her own place in the world on her own terms.
Jacques Saussey is an acclaimed crime novel writer. He specializes in creating detailed and profound characters, and setting them in riveting situations.
(Éditions Zulma, 160 pages, 2018)
*** WINNER OF LE PRIX ORANGE 2018 ***
I wonder where Sarah would be right now. Without a doubt tiptoeing around the room, trying to get ready without waking me. Her feet would brush against the floorboards, caressing the floor flawlessly. I wonder, but I know that Sarah is everywhere. Sarah. I love murmuring her name, wrapping it in my thoughts so I don’t forget its roundness. —Tonight
During Passover (Pesach), the Jewish people celebrate their liberation from slavery in ancient Egypt. Tonight, Salomon will lead his family in Passover Seder. Tonight, he will sit with his daughters, Michelle and Denise, their husbands, Patrick and Pinhas, and Michelle’s children, Samuel and Tania. This evening, he will recount the history of the Jewish people in an ordered fifteen-step feast with set rituals as written in the Haggadah. Tonight, he will once again assume his role as patriarch of the family. But for the first time in fifty years, Salomon must do so without his loving wife, Sarah, recently deceased, at his side.
"Heartbreaking. Oscillating between laughs and tears."
As he braces himself for the celebration, waiting for Michelle to come prepare the Seder meal, Salomon chronicles his memories of previous Passovers. Through his dreamlike consciousness, Salomon invites us into the intimate history of his home and family: his release from Auschwitz, his first Passover with Sarah, the birth of their daughters, and family feuds incited by Michelle’s temper, his son-in-law’s offhanded insults, or his apathetic grandchildren’s questions. But the memories of his internment in Auschwitz haunt Salomon, invoked by his black Holocaust humor, much to his family and Sarah’s dismay. Tonight, as he has always done, Salomon will try to keep the peace between his family without Sarah’s love and guidance.
In Tonight, Joachim Schnerf re-creates a beautiful and comedic story about family, tradition, loss, and unconditional love. Tender, moving, funny, and magnificently uplifting, Schnerf brings us on a sensitive journey to the intimate heart of family, through the memories of a man approaching the end of his life. “I wanted to write a comedy about Passover and also talk about love,” he says. “I ended up writing a novel about mourning. I wanted to laugh but there I was, ultimately confronting the Holocaust. I was overwhelmed by my characters and their humor. And it’s probably in this paradox that the essence of Jewish humor resides.”
Joachim Schnerf was born in Strasbourg, France, in 1987. After studying literature and publishing in Paris and New York, he launched his career at Éditions Gallimard, before joining Éditions Grasset in 2016 as an editor of foreign literature. He published his first novel, Mon sang à l’étude (Éditions de l’Olivier, 2014). He has also written Publier la littérature française et étrangère (Éditions du Cercle de la Librarie, 2016). Tonight is his second novel.
TALES OF THE ALARM CLOCK
Michel Bussi, illustrations by Éric Puybaret
(Delcourt, 320 pages, 2018)
Corentin is different from other people. While others can speak several languages, or maybe even speak to animals, Corentin cannot. He is an awkward little boy who does not always know how to communicate with the people around him, and he has a secret: He can speak to objects. With this skill, Corentin’s world expands to places others only dream of, and makes the ordinary extraordinary.
Throughout his adventures, Corentin encounters objects of all different shapes, sizes, personalities, and opinions. When his uncle asks him to paint a ladder, Corentin tries to appease six differently colored ladder rungs who do not appreciate the order in which he arranges them, concerned that their arrangement proves one colored rung superior to the other. When he writes letters to a girl he loves, he confides his feelings in his loquacious and gossipy mailbox. He encounters an atlas who has knowledge of every place in the world yet does not have the ability to travel to any of those places. He reigns over The Valley of Tears as king, meets a small family of flowers, and listens to their familial disputes, fears, and hopes. Corentin’s adventures are a source of inexhaustible imagination, and the objects he meets are more inventive than you might expect.
Famous for his wildly successful thrillers, Michel Bussi’s love for childhood’s dreamlike wonders and vivid imagery occupies a significant place in his novels, and Tales of the Alarm Clock is no exception. Through Corentin’s adventures, Bussi dives directly into the mind of a little boy whose imagination and fantasy have captivated him for years, displaying Bussi’s characteristic fantasy, humor, and irony: “Corentin is a childhood dream. He has been with me for a very long time. Corentin is melancholic and joyful in a cruel and fantastical world. He is a dream for children, even children who have since become parents.”
Michel Bussi is a celebrated French crime author whose work has been translated in thirty-five countries. He is a professor of geography at the University of Rouen, as well as a French political commentator. Tales of the Alarm Clock is his first book for children.
Éric Puybaret is the 1999 Bologna Ragazzi laureate, awarded to him at the Bologna Children’s Book Fair. He is known for Cache-Lune (Gautier-Languereau, 2002), written and illustrated by himself, and Graines de cabanes. His American audience knows him for his work on Puff, the Magic Dragon (Sterling Publishing, 2007).
(Belfond, 400 pages, 2018)
Lydia’s father, Mohsin, dies on December 9, 2011, in a retirement home in Saint-Ouen, France. To Lydia, Mohsin was a quiet and isolated old man who loved plants and quoting poetry, particularly the Persian love poem “Layla and Majnun.” But when Mohsin dies, he leaves a letter for Lydia in which he confesses to murdering an innocent young woman thirty years before—along with a mysterious box of photos of himself and a young girl that predate her birth, exposing a life Lydia didn’t know Mohsin had lived.
Having immigrated to Créteil, France, in the late 1970s from Algeria, Mohsin lived in Le Château, a decrepit mansion turned communal home, with three other families. Lydia seeks out the members of Mohsin’s former “family,” both living and dead, to discover the truth of her father’s past life. With the help of Mohammed, a florist; Ali, a financial analyst; Luna, a neurosurgeon from Seattle; Sakina, Mohsin’s old friend; and the old diary of a man named Marqus, Lydia meets Hind, Mohsin’s first “daughter.” As their stories unfold, each “family member” testifying to Mohsin’s past—and their own lives as immigrants conforming to French culture—Lydia uncovers more and more of Mohsin and Hind’s relationship, and the reasons for Hind’s notable absence.
Brilliant and shocking, Hind’s Fool is a force to be reckoned with. Through the voices of several characters, whose memories are shrouded by their emotions and prejudices, Bertille Dutheil elegantly paints the story of an absent and voiceless heroine, exploring the questions of immigration, diaspora, and assimilation into an adopted culture while preserving your own.
Bertille Dutheil lives in Paris. Currently a graduate student of history at Université Paris 1, she has also lived in Beirut to conduct her research. Hind’s Fool is her first novel.
(Viviane Hamy, 340 pages, 2018)
***SHORT LISTED FOR THE 2018 GONCOURT PRIZE***
Jeff Valdera starts receiving mysterious postcards from Zurich. They are inscribed with cryptic messages, and while he does not know who sent them, he immediately recognizes their provenance. They were offered for free in the reception area of Hotel Waldheim in Davos, the Alpine resort where he used to spend his summer vacations with his aunt Judith. Now forty years later, he is compelled to revisit this formative period of his life that may not be as an innocent and innocuous as he likes to remember.
“An original and riveting tale involving Stasi spies, GDR dissidents, habitues of an old world Swiss hotel and a man who is facing a competing version of his adolescent memories. A clever reflection on memory and the slipperiness of Truth.”
The first postcard triggers an instant flow of memories: the arousing sight of girls undressing in the night train to Davos, the ritualistic welcoming plate of sliced Grisons meat offered by Herr Meili, the hotel’s owner, and the stiff politeness of the hotel guests. There are those Jeff remembers well, and those who only left a vague impression. When Jeff finally meets the sender of the postcard, a woman obsessively searching for answers, he is caught into a spiral that will lead him to question the person he thought he was. Based on the evidence she retrieved from the recently digitalized Stasi archives, she claims that Jeff must know something about the disappearance of her father, a German Democratic Republic dissident who was last seen at the hotel. Will she succeed in convincing Jeff that he is hiding something from her, and from himself? And can youth alone absolve him from the consequences of his actions?
Set against the backdrop of Swiss neutrality, 1970s Cold War intrigues, and the shadow of Thomas Mann’s The Magic Mountain, Hotel Waldheim unfolds with the suspense of a spy thriller. François Vallejo unravels his hero’s confrontation with the past with lapidary precision, and, along the way, offers an astute reflection on the workings of memory, its forgetting mechanisms, and the many ways it can be instrumentalized.
François Vallejo is a French professor of literature, and a writer. He has published a dozen novels, including Madame Angeloso (long-listed for the Prix Goncourt and selected for the Femina and the Renaudot Prizes, 2001), Groom (Libraries’ Prize, 2003), Ouest (Livre Inter Prize, 2007), and Un dangereux plaisir (2016). All his books are published by Editions Viviane Hamy.
THE PERFUME OF MERMAIDS
(Mercure de France, 256 pages, 2018)
Siréna Pérole is a free spirit who lives by her own rules. In the close-knit Guadeloupean village of St. Robert, her eccentric behavior and captivating beauty fascinate men and arouse envy in women. On Bastille Day, Siréna’s cousin, Ida, discovers her lifeless body with Siréna’s two-year-old son, Gaby, playing in a pool of her blood. The vivid and gory details of Siréna’s death make it worthy of the murder scenes in the American detective series Ida avidly watches on TV. The community receives the news of her death with hidden sorrow and malevolent glee. Many wish to forget Siréna, but the passing of time will not erase the void—and the secrets—she leaves behind.
In the wake of Siréna’s death, her family must reconcile themselves with the permanent mark she left on their lives. Set against the backdrop of their land—a lush and bountiful paradise invaded by squatters and devastated by hurricanes—Gisèle Pineau paints a richly textured portrait of the Pérole family. She traces their history from the hardworking ancestors who secured the family’s fortune in the 1910s, to the siblings scattered in France and Canada, and to those who stayed at home, like Gaby, now a gentle and idle Rasta haunted by his mother’s memory.
“Like a lingering perfume, the Sirèna's death haunts her relatives. A poetic and intoxicating novel down to its cathartic conclusion.”
In The Perfume of Mermaids, Pineau returns to some of her favorite themes: the plight of women, the conditions of exile, and all the things we carry with us, consciously and unconsciously, when we leave home. In this novel, not even the younger generations born abroad can escape their ancestors’ legacy. Pineau’s poetic writing captures her love for the exuberant tropical nature of her ancestral island. Her appreciation for its diversity and beauty mirrors her ever-attentive respect for human diversity, which, like that of nature, is always under threat.
Gisèle Pineau is a French-Guadeloupean novelist and writer. She has published numerous critically acclaimed novels translated into several languages. Among those translated into English are A Taste of Eternity: A Novel (Texas Tech University Press, 2014), Devil’s Dance (Bison Books, 2003), and Exile According to Julia (University of Virginia Press, 2003).
ALL MEN BY NATURE DESIRE TO KNOW
(JC Lattès, 256 pages, 2018)
*** SHORT-LISTED FOR THE MEDICIS PRIZE ***
All Men by Nature Desire to Know is the story of the nights of my youth, of my wanderings, my alliances and my heartaches. It is the story of my desire, which became an identity and a struggle.
From Algeria, where she spent her childhood, to Brittany, the birthplace of her mother, and Paris, where she came of age as a mixed-race gay woman, Nina Bouraoui retraces the source of her desire, and love, for women. A source that she knows can never really be found. What matters is the journey toward self-discovery and self-acceptance that she now shares with us through the gift of her luminous language.
“The quest for the self never ends for Bouraoui. Luminous and poetic, intense yet subtle, writing is her true home…”
Bouraoui interweaves fragments of family history, recollections, and memories into brief chapters loosely labeled “Remembering,” “Knowing,” and “Becoming.” Most vibrant, sensual, and foundational are her memories of her Algerian childhood and adolescence. It is in Algeria that her appreciation of beauty was formed, where she first learned about violence—the violence of history, and the violence directed toward women. Bouraoui already knew that she was different. The expansiveness of those years in Algeria contrasts sharply with the constricted and prejudiced world of her maternal grandparents in Rennes. Violence is present there, too, but of a different kind.
Her family finally resettles in France in the early 1980s. A few years after their arrival, she discovers the Kat, a Parisian lesbian nightclub. Four times a week, and barely eighteen, she goes there alone, waiting, and searching for love. With poignancy but without sentimentality, Bouraoui evokes the women she encounters, so different from the ones she knew in her childhood, and her awkward first attempts at sexual intimacy. During this pivotal period of her life, still ridden with guilt, shame, and unfulfilled longings, she becomes a writer.
With All Men Naturally Want to Know, Nina Bouraoui continues to build on her critically acclaimed autofictional body of work. She sees herself as an architect who, book by book, gives form to a world of exquisite, painful, and deeply personal experiences that she knows are not just her own. Her self-quest remains open ended, beyond labeling, fluid like her prose.
Nina Bouraoui is the author of sixteen novels, including Forbidden Vision (Barrytown Press, 1995), which won the Prix du Livre Inter, Mes mauvaises pensées (Stock, 2005), winner of the Prix Renaudot, and Tomboy (Bison Books-University of Nebraska Press, 2008.) Her works have been translated into fifteen languages, and she has been named an Officier des Arts et des Lettres. After spending the first fourteen years of her life in Algiers (her father is from Algeria and her mother from Brittany), Bouraoui lived in Paris, Zurich, and Abu Dhabi before settling permanently in Paris. She is also known as a songwriter, composing for artists such as Céline Dion.
Mathilde-Marie de Malfilâtre
(Le Dilettante, 250 pages, 2018)
***SHORT LISTED FOR THE PRIX DE FLORE 2018***
Luna is well on her way to a brilliant future in the service to the nation. A dutiful daughter with an impeccable CV, she is a lieutenant and political analyst in the elite Counterterrorism Bureau at France’s National Gendarmerie. Her specialty: ultra-left and eco-terrorism. Luna is more than ready for a career change when she encounters Marco Von Z, veteran drug dealer and vegan animal rights activist. From Berlin to Milan and Paris to Marrakesh, the two partners in crime embark on a frenetic drug-fueled ride spiced up with mind-blowing sexual ecstasies.
The lovebirds’ master plan is to gather a bundle of cash to start a new life in Morocco—one that Luna wishes would be of true benefit to society. Her ideal includes juice bars and naturotherapy for all. Operation #1 (and there will be more): Flood the City of Lights with top-quality Moroccan hash. From underground caves, music festivals, seedy nightclubs, and temples of the electro-trash scene, the Bonnie and Clyde of the new millennium zigzag across Europe to liquidate their merchandise. Luna relies on Marco’s professionalism and on her good star.
“Brilliant, transgressive, and at times ferociously funny, de Malfilâtre’s explosive first novel is trippy in every sense of the word.”
Babylon Express is part transgressive initiation journey, part lyrical love story, and part sardonic portrait of the underground with, as a bonus, an impressive Michelin-like guide of psychoactive substances. Delivered with a breathless rhythm, and an astonishing prose bristling with a mixture of Italian, Rom, and Arabic slang, this dazzling first novel by Mathilde-Marie de Malfilâtre is already establishing her as a new voice to be reckoned with.
Mathilde-Marie de Malfilâtre was born in Normandy, and grew up in Japan. In 2008, she obtained a double degree in International Relations and Commerce. A graduate of the University of Bradford, England, she also holds a master’s degree in International Politics and Security. Like her heroine Luna, Mathilde-Marie then joined France’s National Gendarmerie in the Counterterrorism Bureau. Babylon Express is her first novel.
(Albin Michel, 272 pages, 2018)
*** LONG LISTED FOR THE 2018 GONCOURT PRIZE ***
“A baroque and suspenseful tale: Picouly is a masterful storyteller, and his portrait of a known tragedy unlike any other.”
Ninety seconds: the time it took for Mount Pelée to erase the port of Saint-Pierre of Martinique, in one of the most deadly volcanic eruptions of the twentieth century. On that fateful day of May 8, 1902, more than 30,000 residents of the city perished under rivers of lava and clouds of burning ash. In Daniel Picouly’s evocation of this dramatic event, it is the mountain itself that tells the story and contemplates from above the city, and the many lives, it is about to destroy. Who will be spared the fury about to be unleashed?
Saint-Pierre may be proud of its cathedral, its theater, its banks, its cobblestone streets, and elegant stone houses with red-tiled roofs. But viewed from above, it is nothing more than a crescent of land stuck between the sea and the mountains. Mount Pelée hates Saint-Pierre, and its pretension of being The Little Paris of the West Indies. The mountain surveys all that it is about to wipe away: the Guérin sugarcane factory, the enchanting botanical garden, the bridge under which all the dirty laundry of the town is being washed, the animals, and, of course, the humans. Do they all equally deserve to die, the innocents and the scoundrels, the masters and the laborers? What is certain is that all, for one reason or another—greed, vanity, cynical political machinations, or blissful indifference—ignore the warning signs so thoughtfully offered by the volcano.
The eruption of Mount Pelée, like the sinking of the Titanic, is a real-life drama that has stirred the collective imagination, and inspired novelists and filmmakers. Daniel Picouly has family roots in Martinique, and it is now his turn to reimagine the last days of Saint-Pierre. With his characteristic baroque verve, he offers us, with Ninety Seconds, a riveting tale that plays on our human desire for miracles, and a flamboyant portrait of a lost city.
Born in France as one of thirteen children of his French Caribbean parents, Daniel Picouly is a prolific author whose books include the autobiographical Le champ de personne (Flammarion, 1995), winner of the Prix des lectrices d’Elle, and Paulette et Roger (Grasset, 2001), winner of the Prix populiste. He was awarded the 1999 Prix Renaudot for The Leopard Boy (University of Virginia Press, 2016). He has been hosting various cultural programs on French television and is also the well-known author of numerous children’s books.
The Heart of the Matter
(Éditions de l’Olivier, 188 pages, 2015)
*** Sold in Italy to Clichy ***
Simon’s first reaction to finding the body of a dead man sprawled across his living room floor is annoyance. He next notices that the banister from the upstairs landing is broken, and so most likely the man was pushed. Finally, he wonders if his companion, Diane, is home. Christian Oster’s seamless and humorous prose makes The Heart of the Matter a page-turner of great literary quality.
How annoying to find a body in your living room! A man, Simon observes, most likely pushed from the upstairs landing. But where is Diane? Her car isn’t outside, so she probably isn’t home. Best to check upstairs anyway. And there she is in the tub. In response to his questions, she ducks her head underwater. Okay, he thinks, there must be a connection between Diane and the dead man. He hands her a towel, and she emerges from the tub, but only to silently dress and pack a bag. Then she speaks, saying she can’t deal with it, and leaves. Goes and leaves Simon with the body.
"A mesmerizing portrait of one man's descent into hell, with beautiful language and unexpected humor."
Standing in the living room, over the man— Diane’s lover?—Simon notes that the man is dressed. But still, her lover? Phone calls to Diane go to voicemail. What next? What should he do with the body? He googles how long it takes a body to begin to decompose and then leaves it until the next evening, after dark, to bury it in the vegetable garden beneath the tomato plants.
Becoming friendly with a retired police officer and his wife helps his loneliness, but increases his paranoia about the body beneath the tomatoes. Because he can’t stand being in the house alone, Simon agrees to a week away at the officer’s widowed sister’s house in the country, and then begins to think that the officer suspects him of something and the invitation is just a trap to get him to confess. But what could or should he confess to? Diane decides to come back and tell her story to the police . . . but is it too little too late to help Simon?
Christian Oster is the author of several novels, among which Mon grand apartement (My Big Apartment, University of Nebraska Press, 2003; Éditions de Minuit, 1999) won the Prix Médicis 1999. Two others of his novels have been translated into English: In the Train (Object Press, 2010) and The Unforeseen (Other Press, 2007). His novel Une femme de ménage (A Cleaning Woman, Other Press, 2003; Éditions de Minuit, 2001) was turned into a film directed by Claude Berri.
Beekeeping According to Samuel Beckett
(Éditions de l’Olivier, 96 pages, 2012)
*** Winner of a French Voices translation grant ***
Martin Page .restores to Beckett his author’s rebelliousness and his political revolt. —Le Monde
Beckett's work offers an outlook on human existence that is bleak and tragic, often coupled with dark humor. Absurd, minimalist work. We know Beckett and his writing. Or do we? In this ingenious short novel, Martin Page combines humor and fantasy to reflect on the relationship between life and art and on the ways the canonization of great artists can obscure the key thrust of their work.
One summer in Paris, an impoverished doctoral student of anthropology is offered an unusual job: to assist the Irish poet and playwright Samuel Beckett in sorting through his archives, and mailing them to eager beneficiaries around the world. Aware of his luck, knowing that this is a once-in-a-lifetime experience, the young man decides to keep a journal. The Beckett he discovers is a mischievous, hot-chocolate-loving beekeeper with a colorful wardrobe—very different from the austere and pessimistic man known to posterity.
"A witty and delightful novel that made one want to rediscover Beckett."
The first day on the job, the assistant is charged to find four large cardboard boxes, and, not least, to pick up an octopus sandwich at the Greek café. The job is completed well before the end of the initially agreed upon ten-day contract. A scrupulous Beckett, in search of a fair solution, comes up with a plan—why not fabricate some additional archival material since “archives is what they want.”
The two accomplices step out in the city in search of improbable objects and documents to confound and disorient future researchers. Beckett, facetiously but also mindfully, selects plastic handcuffs, language textbooks in Quechua, an X-rated movie adaptation of Romeo and Juliet, and train tickets for strange destinations. At the same time, Beckett finds himself advising from afar the idealistic director of a Swedish prison production of Waiting for Godot. The project is a resounding success but Beckett, ever realistic, has no intention of becoming a hero of good intentions. And, when a journalist compares his celebrity to a prison, he is particularly outraged on behalf those who find themselves behind actual rather than mental walls.
In Beekeeping According to Samuel Beckett, Martin Page slips deftly between fiction—the handcuffs—and reality—the Swedish prison production. He purposefully defies the views that have come to define the personality and work of Beckett. With this delightful and clever novel, he stirs the reader to rediscover Beckett’s writings beyond the iconic Waiting for Godot and Beckett’s personality beyond the clichés.
Martin Page grew up in the Paris suburbs. His first novel, How I Became Stupid (Penguin Books, 2004) was a commercial success and won the Euroregional schools’ Literature Prize, an award given by Belgian, Dutch, and German students. He has written half a dozen other novels, eight books for children and young adults, as well as essays and short stories. In 2010, Penguin Books published The Discreet Pleasures of Rejection: A Novel. Martin Page’s books have been translated into over twenty languages.
Marie Talvat and Alex Laloue
(Plon, 320 pages, 2018)
A pregnant woman has been killed, her fetus thrown in the toilet. Arsène Galien, the latest recruit of the prestigious Judicial Police in charge of the investigation, is eager to show his skills, and thus win his superiors’ trust.
Conducting interviews in the building where the murder occurred, he meets Pauline Raumann, a neighbor of the victim. The attraction between them is immediate. Pauline is a journalist working for a media outlet that is not liked by either the government or the police. Taking in the fact that the victim is the daughter of a star of the bar, and the next elections are approaching, the press is under fire.
"A new take on the thriller genre."
Arsène and Pauline are full of ideals and doubts. But they behave like who they really are: rookies. Arsène is manipulated by someone he can’t suspect, and Pauline ends up being a suspect in the case. This fast-paced and original thriller leads the reader to several clues before the surprising end.
Marie Talvat and Alex Laloue are both twenty-eight years old. They live and write together. Rookies is their first novel. Alex, after a stint as an actor, spent several years as a cop inside the Judicial Police of Paris responsible for investigating and fighting serious crime. He now dedicates his time to writing. Marie Talvat has a degree in cultural management and journalism. She is a writer, a tattoo artist, and a videographer, and is known for her Youtube channel L’instant inutile (The Unnecessary Moment).
The Sound of the World
(Les Éditions Noir sur Blanc, 165 pages, 2018)
There are traces of Duras or Annie Ernaux in the style of Stéphanie Chaillou. —Le Figaro Littéraire
Marie-Hélène Coulanges, also known by her nickname Marilène, grew up in Brigneau, a small hamlet in rural France. As a young child, her future seemed as wide open as the fields surrounding the family farm. But the fields are heavily mortgaged. Marilène is born poor and she does not know it yet. That awareness, latent at first, will slowly find its way into her consciousness —a convergence of images, sensations, and feelings that she experiences but cannot name. When she leaves her family behind to step into a new world full of promise, she cannot find her place in it. Not until she realizes that her story, all of it, Brigneau included, is worth telling.
"A novel which aptly captures the internal journey and struggles of a woman's coming to writing."
After having lost their farm, Marilène’s parents move to town and find solace in the relative security provided by steady, if meager, salaries. They are proud when Marilène, a good student, is offered the chance to study in a prestigious prep school. She is excited even if she stumbles on that word, chance. “To those who already have it—she can’t help think—it is not necessary to give it.” Her confidence is soon shattered in an environment in which she feels invisible and lacking. Nothing will ever compensate for her cultural backwardness, the books she did not read, the museums she did not visit, and the travels she did not experience. Locked into silent suffering, Marilène retreats back home, and resumes the motions of a life more attuned to her family’s expectations. But it is too late. Marilène cannot deny the part of herself that led her in the first place to move beyond the social milieu in which she was born.
Written in a pared-down and poetic style, The Sound of the World tells of the secret wounds, self-doubt, and shame—and the shame at being ashamed—of a young woman venturing on a path of upward mobility. It is a novel about the courage to be oneself, and the redemptive virtues of literature. Through writing, Marilène can at last make sense of her life, but she also realizes that her story is not hers alone.
Stéphanie Chaillou is a novelist and the author of three books of poetry. Her first novel, L’Homme incertain (Alma Editeur, 2015), was selected for the RTBF Première Prize and the Fnac literary season, and adapted for the stage. Le bruit du monde is her third novel after Alice ou le choix des armes (Alma Editeur, 2016.)
(Payot & Rivages, 144 pages, 2018)
When Per leaves Norrland in Sweden to live in France, his mother’s friend Ivar helps him settle in. By saying that Per was his nephew, Ivar got him a job as a janitor at the municipal pool where he worked, then helped Per pass the exam to become a lifeguard, like Ivar himself.
"A pure touch of tenderness."
When Ivar unexpectedly dies, Per finds a piece of jewelry that used to belong to his own mother among Ivar’s personal effects. That raises questions in Per’s mind: Who exactly was Ivar? Did he know Sven, Per’s father, who disappeared in the Baltic Sea years before when Per was still a little boy? That’s when the young man makes a disconcerting decision: From now on, he will go by his mentor’s name.
As Per-Ivar’s French gradually improves, he starts to feel more at home at the pool, where both his supervisors and the customers appreciate him. He maintains a faux relationship with an older woman, and makes friends with one of his customers’ granddaughters, who lost her parents. As he becomes more confident in both his personal and professional lives, he gets into the habit of collecting items lost by swimmers. This strange hobby will lead him through the icy Scandinavian landscape onto the trail of both Ivar’s past and his own memories.
With power and insight, Élodie Llorca turns Deep End’s quest for an absent father into an exploration of the meanders of filial love.
A playwright, actress, and screenwriter, Élodie Llorca won the 2016 Stanislas Prize for her first novel, La Correction. Deep End is her second novel.
(JC Lattès, 288 pages, 2018)
Black Butterflies is the story of middle-aged Caroline, who has been recently diagnosed with cancer. The diagnosis comes as a frightening surprise, in the figurative form of hundreds of black butterflies that flutter around her as she sleeps, and that scare her as she wakes up to them in the morning.
"A subtle novel about illness like no others."
Divorced and with two near-adult sons, Caroline has an on-again, off-again lover, but she is scared to tell her loved ones about her diagnosis. She doesn’t know how they will react, and she does not want to inconvenience them with her illness. Although her cancer is surprising, Caroline wonders if it is the result of treatment she received for Hodgkin’s lymphoma as a nineteen-year-old—if her past illness has come back to haunt her, albeit in a different form.
Despite the seriousness of her condition, Caroline remains calm and relatively good-humored. She distracts herself by reading her late father’s notebooks, from which she gleans important information about her family history. She discovers things about her father’s family and friends that she never knew, which contribute not only to her relationships with her late parents and ancestors, but also to her own understanding of self. These discoveries—in addition to the people she meets during her hospitalization—contribute to her ability to fight her illness and its brutal monotony.
Based on the author’s experience with her own cancer, Black Butterflies gives a quirky and original testimony on sickness, explores how sick people fit in our society and how they affect the lives of those around them, and ultimately shows what one can learn from oneself and others through illness.
Caroline Gutmann works in the publishing industry and has written several books, including Le syndrome Nerval, Le testament du Dr Lamaze (published in English by St. Martin’s Press), and Secret de Robert le diable.