Feverish after Ferrante?

ferrante1I was impressed by Elena Ferrante’s fierce honesty and gritty style in ‘The Days of Abandonment’, but I avoided the Neapolitan novels for a long time. The hype, the marketing of it as a family saga, the sheer wordiness of 4 thick volumes seemed to me run counter to everything I admire and aspire to be as a writer: elegant and pared down style, hidden and allusive observations, modest and restrained topic matters.

But then I found the whole set in English at the local library, so I thought I’d give them a whirl.

The flashes of insight and genius which I’d glimpsed in the standalone novel were what sustained me for the first few chapters. 60-70 pages in, I scoffed: ‘Soap opera’.  After the next few chapters, I paused:  ‘Hmm, soap opera with gender politics.’ Halfway through the first volume, I readjusted this to: ‘soap opera with gender and class politics’. I never watch soap operas on TV, but I started to understand why my mother would: this made for compulsive reading. I finished the first volume and almost immediately made a trip to the library for more. And now I’ve finished all four in record time and am tempted to say: ‘political and feminist discourse disguised as a soap opera’.

Many reviewers have spoken of its ferocious howl of anger – but there is also resignation, resilience and ‘getting on with things’ in the most unheroic of ways. I have mentioned before how it reminds me of my female relatives: the trials and tribulations, small joys and greater pains of their own lives, the way they come together to support but also sabotage each other.  Events unfold at high speed, often with melodrama, blood, guts and tears, much shouting and throwing of objects, families and friends breaking off relationships for years, then perhaps reconciling for practical reasons. One of Ferrante’s brilliant abilities as a storyteller is to accelerate and slow down time at will, move from the overarching universal to the very particular detail and then zoom out again, in a way which feels very natural and effortless.

Picturesque Naples, from Raileurope site.
Picturesque Naples, from Raileurope site.

She has also been described as the Dickens of Naples. Yes, she conveys the noises, smells, charm and grubbiness of the city, she is unafraid to show its darker sides rather than the picturesque touristy bits, and she populates her pages with numerous vividly drawn secondary characters, but there is also a running commentary and analysis of events (through Elena/Lenu), as they occur, which is seldom the case with Dickens. Ferrante’s narrator shows a lucid self-awareness and hunger to understand, and the reader embarks upon the journey of self-exploration with her and gains her wisdom at the end of the tale. I am not quite sure that we get this level of self-dissection and clear-eyed, unsentimental analysis of those close to one’s self, even in David Copperfield.

One touching and very revealing moment occurs when the two friends, Lila and Lenu, both pregnant, are caught up in a major earthquake. Lila becomes surprisingly fearful and breaks down, trying to explain herself and her world view to her friend like never before (or after). She speaks of her need to control and manipulate things, and explains it as arising from her terror of dissolving boundaries, of being caught up in a messy flood, of something seeping through the cracks of reality (very reminiscent of Virginia Woolf’s famous diary entry), of overthinking and overcomplicating things until you lose all joy in life:

…the fabric that I weave by day is unraveled by night, the heads finds a way. But it’s not much use, the terror remains, it’s always in the crack between one normal thing and the other. It’s there waiting. I’ve always suspected it… nothing lasts… Good feelings are fragile, with me love doesn’t last. Love for a man doesn’t last, not even love for a child, it soon gets a hole in it. You look in the hole and you see the nebula of good intentions mixed up with the nebula of bad.

Elena finally understands that perhaps brilliance comes in flashes rather than a steady lifelong light, and that she had been the stronger one after all in their friendship:

Everything that struck me… woud pass and I – whatever I among those I was accumulating – I would remain firm, I was the needle of the compass that stays fixed while the lead traces circles around it. Lila on the other hand… struggled to feel stable… However much she had always dominated all of us and had imposed and was still imposing a way of being… she perceived herself as a liquid and all her efforts were, in the end, directed only at containing herself. When, in spite of her defensive manipulation of persons and things, the liquid prevailed, Lila lost Lila, chaos seemed the only truth and she – so active, so courageous – erased herself and, terrified, became nothing.

elenaferranteI’ll be honest: Ferrante inspires me with mixed emotions. She writes in a voice which, despite my best efforts to be polished and Anglo-Saxon in attitude, comes through far too loudly and clearly in my own life. As with Javier Marias, I recognise in her a kindred spirit: she writes the way I think when I don’t censor myself, when I allow my Romanian side to come out. A voice which I have suppressed and perhaps slightly disparaged all my life. A voice which is easy to mock as too convoluted, messy and therefore inferior. A voice which has been misunderstood, laughed at, satirized or met with aggression and prejudice. So it will take a while for me to appreciate this voice – and I find it surprising that English speakers are so attracted to it.

At the same time, I feel exhilaration and liberation when I read her work. It is OK to be like this. And she also fills me with envy and the sadness of a missed opportunity. If in future I were to write the saga of my own extended family, farmers and shepherds in the sub-Carpathians, against the backdrop of war, Communism and then wild capitalism, with all the mixed messages about gender and family which have been the bane of my life… it wouldn’t be my story, because it’s all been done now by Ferrante in a different location.

Authors to Explore

Don’t worry, I won’t go on and on about the Salon du Livre in Geneva, but browsing the stand of one of the publishers there gave me some ideas…

Actes Sud is one of my favourite French publishers, founded in Arles in 1978 – a revolutionary step at the time, as most publishers are firmly ensconced in Paris. They not only publish more experimental and unusual French language authors, but also translate high quality literary fiction (plus they also have a crime fiction imprint, graphic novels, children’s literature and much more). Just to give you an example of some of their authors: Svetlana Alexeyevich, Matthias Enard, Kamel Daoud, Imre Kertesz, Jerome Ferrari, even a lesser-known work by one of Romania’s classical novelists of the early 20th century, Liviu Rebreanu.

Actes1

So, partly inspired by authors on their list, and partly as a result of researching other sources, I’ve set up a tentative plan of writers whom I would like to explore further.

East European

Irina Teodorescu – young Romanian writer, moved to Paris at the age of 19 and started writing in French, but is still inspired by the folk tales of her childhood – also a graphic artist, as demonstrated in her debut La Malédiction du bandit moustachu (The Curse of the Bandit with a Moustache)

Dan Lungu – Romanian literary theorist and professor of literature, as well as a multi-talented writer (short stories, novels, plays, poetry).

Andrzej Stasiuk – one of the best known contemporary Polish writers

Imre Kertesz – Hungarian Nobel Prize winner, author of a celebrated Holocaust trilogy, controversial in his home country for his outspoken views and critique

Noémi Szécsi – younger Hungarian writer, whose irreverent debut novel The Finno-Ugrian Vampire sounds very funny (she has written several others since)

Georgi Gospodinov – Bulgarian writer – finding a way to live with sadness, loss of meaning

Matei Visniec – Romanian author, fled to France in 1987, when all but his poetic work was banned in Romania. Playwright (apparently one of the most performed in Romania) and journalist for Radio France Internationale.

Actes2

Other European

Javier Cercas – Spanish writer, focusing particularly on recent history (Civil War and the Franco dictatorship)

Christos Chrissopoulos – contemporary Greek writer, involved in multiple multimedia and multicultural projects, as well as depicting Athenian life during the austerity years

Jerome Ferrari – French writer, who has lived in Corsica, Algiers, Abu Dhabi

Maria Ernestam – Swedish writer, dramatic psychological relationship novels

Janice Galloway – Scottish novelist, short story writers, poetry and librettos(i)

Anna Enquist – pen name of Dutch poet and novelist, music and secrets play a large part in her work

Nina Berberova – the life of Russian exiles in Paris in the 1920-30s

Isaac Babel – I’ve read a few short stories by this author, but it’s been such a long time ag;, I want to read the full Odessa Tales

 

Actes3

Other Parts of the World

Chi Li – young Chinese novelist and TV writer, chronicles young people’s everyday lives in modern China

Nancy Huston – Canadian-born writer, writes predominantly in French and translates her own work into English

Mieko Kawakami – Japanese singer/songwriter before she turned to poetry and fiction about the confused younger generation

Yu Miri – Japanese-Korean writer of fiction, memoir and plays, as well as acting and founding a theatre troupe

Milton Hatoum – Brazilian writer and translator – Ashes of the Amazon and The Brothers – a critique of the military regime, political and family destruction

Michel Tremblay – Quebecois novelist and playwright, Plateau Mont-Royal chronicler – a working-class neighbourhood

In Koli Jean Bofane – Mathématiques congolaises – from the Democratic Republic of Congo, lives in Belgium, children’s fiction initially

Aki Shimazaki – Japanese but moved to Canada and writes in French

Yu Hua- Chinese author known for his rather detailed descriptions of the brutalities of the Chinese Revolution and often direct critical comment of a society undergoing major social upheavals

Actes4

Have you read any of the above and whom would you recommend? Obviously, I won’t get to all of them immediately (especially after my recent book splurges), but are there any I should prioritise?

 

 

 

 

Highlights of QDP 2016: Part 4

This is the second part of the summary of panel debates which I attended, and also the final part of the Quais du Polar 2016 posts. You will be relieved to hear that, no doubt, but I really have saved the best till last. You can also listen to all of the panel discussions (in French and English) via this link. You can also read some more scoops about all of these authors on the Crime Fiction Lover website.

Writing SeriesOlivier Norek (winner of this year’s QdP prize with Victor Coste), Arnaldur Indridason (Inspector Erlendur), Jo Nesbo (Harry Hole), Sara Gran (Claire DeWitt), Deon Meyer (Benny Griessel), Craig Johnson.

SeriesPanel

This was in many ways billed as the ‘Dream Panel’, with all the star names of internatonal crime fiction, but in actual fact it was disappointing, because there were too many panellists, there was not enough time to go into any depth and it was a bit of a PR exercise for some of them. The panel was split between those who had always intended to write a series (Sara Gran, Olivier Norek) and those who had started out with just one book (Indridadur, Nesbo, Craig Johnson) or even with a different character (Deon Meyer). Here are the more amusing or memorable quotes:

JN: I chose the name Harry Hole because that was the person that my mother used to scare us with if we weren’t home by 8. Many years later, I did meet the Hole she was referring to, and he was scary even though he was very old by then. As I shook hands with him, I kept saying: ‘But it’s not 8 o’clock yet.’

Craig Johnson & Indridason chatting before the event.
Craig Johnson & Indridason chatting before the event.

CJ: I created this overweight, overage, overdepressed character – just like all of us here – well, except for those skinny ones at the other end. He’s not an alcoholic – yes, he drinks a lot of beer, but it’s such bad beer that you can’t get drunk on it, you just get fat. And the way I keep him from aging too quickly is that each book is set in a different season of the same year, so he ages four times as slowly as me…

AI: Erlendur is a bit of a strange name in Iceland, and that was deliberate, because I wanted him to feel foreign, alien, out of time and place. There is an advantage to having Iceland as a background – we have long, dark winters and short, cold summers, and a murder every two years, so I had to get Erlendur to reopen a lot of cold cases. Of course he is depressed and haunted – happy people have no history, it would be the end of the story for writers.

Sara Gran and Deon Meyer
Sara Gran and Deon Meyer

DM: I was adamant I did not want a series with the same guy being put through hell in every book, but Benny just insinuated himself back into the story. So sure was I he was only going to appear in one chapter, that I made him drunk in the first book and then had to work with that cliche. But I don’t want to take him too much out of Cape Town – he shares all my passion for that most beautiful city in the world.

SG: I wish I could claim great foresight and cleverness in choosing Claire DeWitt’s name, but it only occurred to me much later that Clarity and Wit or Wisdom are the paths she seeks in life and detection.

Olivier Norek
Olivier Norek

ON: Victor is the name of my younger brother, and my character is morose because he is like a sponge absorbing all the dark atmosphere of his experience with criminals. I was exactly like that when I was a police officer, working in Dept. 93, which is the most notorious in France, with twenty times the crime rates of other places. Yet at the same time it’s a lab of creativity – the birthplace of French rap, streetdance and graffiti art.

An Hour with David Peace

This was the best session I attended: perhaps because it gave us the opportunity to explore things in more depth, but no doubt also because he is such a thoughtful and modest author, focusing far more on the work itself than on his own person. Here are just a few of the interesting things he said:

About reading aloud as part of the writing process:
Yes, I always do that eventually. In the case of ‘Red or Dead’, I was also fortunate enough to have tapes of Bill Shankly speaking, which his ghostwriter lent to me, so that enabled me to get a feel for his rhythm of speaking and thinking. But I also wanted to use repetition and ritual to show how he made the team effective, through constant daily effort and training every day. Besides, I want readers to read with their whole bodies, not just their head, so I try to make it a living experience for them, to make them feel they are part of the text.

QP20168About always writing about losers and underdogs:
I suppose I do, retrospectively one might say I’ve written nine books about failure.  But that’s because I believe that a team learns more in a defeat than in a victory, and I try to understand who we are as human beings in my books, and for most of us it’s a history of defeat, loss and failure.

About writing social commentary:
I see more of what I do as painting portraits of a certain time and place. I don’t differentiate that much between fiction and non-fiction – you can never get away from the subjective, history is dishonest if it presents itself as objective and true. There are always multiple narratives, and I try to reclaim those stories that often get lost. I find John Dos Passos a great inspiration for recreating living history, and White Jazz by James Ellroy also succeeds in doing that – it’s one of my favourite novels and I dream someday of writing something that is half as good as it. Crime is interesting because of what is says about the society and time in which it took place. I have no interest in serial killers – he is the least interesting aspect of a story, I am more interested in how the victims became victims, how the deaths and fear affects people and the investigators.

About his political beliefs:
I don’t think anybody is interested in that. [Upon being told they are] I feel like a taxi driver sounding off about things… Yes, I am a socialist as part of my DNA. I just believe that everybody is equal, a very simplistic view of socialism, and we should all behave as such. We just choose not to do it. The working class community I come from, built around certain industries, no longer exists. I don’t intend to show a nostalgic picture of it – there was plenty wrong with it too – but I think people nowadays are yearning for a return to basic decency.

Old World, New WorldParker Bilal (Egypt/Sudan), Colin Niel (French Guyana), Caryl Ferey (Argentina/Chile), Nairi Nahapetian (Iran), Olivier Truc (Lapland)

From left to right: Colin Niel, Nairi Nahapetian, Caryl Ferey.
From left to right: Colin Niel, Nairi Nahapetian, Caryl Ferey.

The panel moderator was late for this session, so Caryl jumped in and pretended to replace him. This was a very good-humoured and fun panel, perhaps because most of them knew each other and everybody spoke French (including the very cosmopolitan Parker Bilal).

Caryl Ferey taking over as moderator.
Caryl Ferey taking over as moderator.

PB: Makana is a Sudanese exiled in Cairo and that POV of an outsider is very useful. I try to paint a picture of the region and look at the roots of the Islamic crisis we see nowadays.

CF: I am largely self-taught, never listened to much in school, so I have to really read up on things once I decide upon a country to set my novels in [he has set books in NZ, South Africa, Argentina and now Chile.] I love to read those things that no one else bothers about: Ph. D. theses, geographical and historical texts, and then go and visit those countries and be able to ask better question.

NN: I came to France as a child, but after 15 years I was allowed back into Iran and started doing factual reports on it (as a journalist). But I found myself veering more and more into fiction – especially once I was no longer allowed back into the country. I try to combine the Persian style of storytelling with about 1% of facts – the opposite of journalism, which is about the maximum of facts. Of course, in Iran there is the ‘moral police’ in addition to the normal police, and I try to describe daily life, far removed from the image you get of the country from the Western media.

Olivier Truc and Colin Niel (left to right).
Olivier Truc and Colin Niel (left to right).

OT: I’ve always been attracted to meeting people and having in-depth conversations, but my editor would never agree to my immersing myself in the field for 6 months. Luckily, I had the opportunity to do some documentaries about the Sami people and about the reindeer police. Fiction appeals far more to emotions than reason. It’s not truth itself which is important, but the texture of reality. You have to use the facts in service to your story.

CN: I worked for many years in French Guyana, a fascinating region with many ethnicities, 50% unemployment, booming population growth, cocaine trade constantly recruiting people and refugees from the civil war in Suriname being rejected by most of the country. The French administration refused to call them refugees: they were called people temporarily displaced from Suriname, as if that label made things better. I rely on facts and use a lot of sources other than personal experience, but ultimately it all has to be credible rather than true. We have to feel close to the characters described, even if they are living in very different conditions from us. I really want to present a mosaic of the cultures and characters inhabiting that territory and how much more complex things are than the easy stereotypes we like to use about a country. You might call my technique ‘pointillism’, presenting a gradual portrait of a country, without taking sides or judging or trying to prove something – that’s not the scope of fiction.

 

 

 

 

 

 

 

 

Highlights from Quais du Polar 2016: Part 3

As promised, the final instalment of this year’s edition of the Quais du Polar crime festival in Lyon will include some quotes and discussions from the panels I attended. This year, there is also a fabulous innovation: you can find podcasts of practically ALL the debates on this link. Most of them are in French or English or a mix of the two, but there will be occasional Spanish or Icelandic. So you too can listen to all these great events now! [Have I told you how much I love the organisers of this festival?]

  1. Cityscapes in Crime Fiction: Richard Price (NY), Michèle Rowe (Cape Town), Donato Carrisi (Rome), Carlos Zanón (Barcelona), Walter Lucius (Amsterdam)

 

Michele Rowe, author of What Hidden Lies, winner of the Debut Dagger Award in 2011.
Michele Rowe, author of What Hidden Lies, winner of the Debut Dagger Award in 2011.

MR: Cape Town is still a very wild place, dominated by nature and geography. It has seven microclimates from one end of the city to another, it is heavily dependent on weather, and I love describing how the politics of inclusion/exclusion has been partly created by its geography. For example, townships in beautiful areas were eradicated, handed over to the wealthy, and its inhabitants were dumped elsewhere. My husband calls the city ‘crime with a view’. But in fact, the whole country of South Africa is built on crime, looting, pillaging throughout history. Crime is perhaps the only possible narrative. And yet I meet fantastic people, living in very difficult circumstances with great courage and hope, despite the corrupt government, and that makes me dream that things will still work out in the end despite the odds.

Richard Price.
Richard Price.

RP: New York City is all about the violence of real estate. Like water, real estate rises to the top and people get washed away, and places like Harlem have succumbed to greed and are catering only to people who have money. The biggest crime fighter in the city is the crane, but gentrification is like sweeping with a broom but no dustpan. The town centre may be safer, but it just spreads crime and violence further afield. The crooks are not the pickpockets, but the developers in their $4000 suits.

CZ: My latest book ‘I Was Johnny Thunder’ is about a failed musician, who goes back home to live with his father, although he is middle-aged. But what I wanted to show is that the people around him, who played by the rules and believed in economic boom, haven’t really succeeded either. Your neighbourhood can become a prison, because it really marks your identity, but you also have the choice to leave. Sometimes.

From left to right: Donato Carrisi, interpreter, Carlos Zanon, Walter Lucius.
From left to right: Donato Carrisi, interpreter, Carlos Zanon, Walter Lucius.

WL: Amsterdam was a mess 30 years ago. It had a huge crime rate, red light district, junkies, but it also had a genuine sense of community and felt authentic. Now all that has disappeared, it has been sanitized and has become like an open-air museum for tourists. The real old Amsterdam doesn’t exist anymore. I write about immigrants in my books, because I feel that the Dutch don’t really accept that we have become a multicultural society.

DC: Although Rome houses the Vatican City, it is not a sacred city like Jerusalem or Mecca. Rome has multiple souls, including a wicked one. In fact, it is a world headquarters for Satanists – although they may be very different, much more subtle, than the clichés you may have about them. The world’s biggest criminal archives are in the Vatican, because it contains all the sins which people have confessed to their priests. The priests could not absolve them directly, so they sent them to Rome, where they were carefully catalogued. Today, there are profilers helping the police, based on their intimate knowledge of sins and what drives people to commit crimes.

2. Femmes fatalesPhilippe Jaenada (France), Jax Miller, Sara Gran (US), LS Hilton (UK), Dolores Redondo (Spain)

With the exception of L.S. Hilton, who tries to present the POV of a real femme fatale in her book ‘Maestra’, the other panelists were somewhat offended that they were asked to talk about this topic and that the panel was almost entirely female. However, they did their best to say something insightful about this.

From left to right: Gran, Hilton, Redondo struggling with the earphones and the subject.
From left to right: Gran, Hilton, Redondo struggling with the earphones and the subject.

SG: I just write about a female subject, rather than a female object. I write about a human being, so I don’t think at all about stereotypes. The femme fatale is the eternal object of desire, so she has to be distant, she can never be fully rounded.

LSH: I try to describe the POV of the object of desire. She plays around with the codes and deliberately turns herself into an object, but doesn’t end up getting punished. I get a little tired about being asked if I wanted to write a feminist heroine.

Jax Miller at the book signing.
Jax Miller at the book signing.

JM: My protagonist simply refuses to be a victim. She may be flawed, a killer, a drug addict, but she is above all a mother and doesn’t care about her appearance.

DR: I hate that women in noir seem to be reduced to one of three roles: victim, prostitute or traitor. I wanted to write about this very strong community of women I have known in the Baztan valley, who have taken over the household when their men went abroad to work, a real matriarchy.

PJ: I wrote about a real-life criminal, Pauline Dubuisson, who was accused in the 1953 of killing her unfaithful lover in cold blood. She was presented as a femme fatale, but in actual fact she was ‘fatalised’ by society, the last victim of patriarchy perhaps. She was always described as beautiful, but also a slut, but in fact she was just a normal-looking person, who wanted to finish her studies before getting married. She was judged by a jury composed almost entirely of men, and it was probably the one woman on the jury who saved her from the guillotine.

3. Recurring Heroes: British Classics : Sophie Hannah (Poirot), Anthony Horowitz (Bond and Sherlock Holmes), Michel Moatti (Jack the Ripper), Cecil & Brunschwig (Holmes in BD), John Lawton (Cold War spies, à la John Le Carré)

SH: I’ve loved Agatha Christie since I was 12 and always thought she was a genius, but was fully aware I wasn’t like her and couldn’t write like her. So I created the character Catchpool to explain why there would be a slightly different style of presenting Poirot. But I most certainly wanted to respect the rules of the universe I was writing in. The next Poirot novel is called ‘Closed Casket’ and will be out later this year.

HannahHorow
Sophie Hannah and Anthony Horowitz discussing Christie, Bond and Holmes.

AH: I was initially suspicious about accepting to continue the Sherlock Holmes cannon – was it all about the money? But of course it was also a childhood dream come true, because I received the complete Holmes as a birthday present when I was 17 and that’s what made me write crime fiction thereafter. I’d also dreamt of writing a Bond film, but kept getting turned down, which is why I had to invent Alex Rider. Of course, the attitudes of Bond – who hates women, gays and foreigners and kills all of the above – is not acceptable to us today, so I had to give it an ironic nudge.

JL: I came late to Christie, and still haven’t read any Sherlock Holmes, I have to admit. I did rather like Fleming, but also Sayers and Allingham, so I wanted to create the amateur cop but update him within the Cold War context, hence my creation of Frederick Troy.

Cecil: Our inspiration was Arsene Lupin, who has one volume dedicated to his arch-enemy, Herlock Sholmes. We like to stay within the Sherlock Holmes cannon, but exploit the gaps and push the envelope a bit, for instance, we suggest that Moriarty didn’t really exist, that he was just a figment of Holmes’ imagination (his tortured self, perhaps).

At this point I realise that this post is getting terribly long and I still have three debates to summarise, so I will leave the rest for tomorrow. Expect a Part 4 therefore!

 

Highlights of Quais du Polar 2016: Part 1

I will risk boring you this week with no less than three posts about Quais du Polar in Lyon. I’m afraid that if I were to condense all the news and pictures into just one blog post, it would become an EXTREMELY long one. So, Part 1 will focus on the people I met and pictures I took; Part 2 will be about the embarrassingly high book pile I acquired; Part 3 will be about the panel discussions. If you aren’t interested in any of this, I apologise and invite you back to my blog next week, when normal service will resume. You can also find some snippets of information about authors’ secrets and more pictures on the Crime Fiction Lover website.

This year I fell in love with…

  • Craig Johnson with his Stetson.
    Craig Johnson with his Stetson.

    Genial, good-humoured and incredibly productive Craig Johnson, creator of Walt Longmire, who explained what a challenge it was to have enough murders to investigate in the least populated county of the least populated state of the US (Wyoming). Prior to Lyon, he had been in Nantes for a reading and was surprised to find helicopters flying overhead and police in riot gear all around – a far cry from Wyoming, indeed!

 

  • Deon Meyer and his charming spouse.
    Deon Meyer and his charming spouse.

    Big teddy-bear of a man, Deon Meyer, who is cheery and not at all alcoholic and lonely like Benny Griessel. He got a whole auditorium to practise pronouncing Benny’s surname correctly and explained that he had used the name of his favourite high school teacher (now deceased). Because Benny was only intended to be a small side character initially, he didn’t think it would be a big deal. However, his teacher’s son (who also shares the name) told him recently that he is thankful for that, as it’s a great conversation opener when he picks up bikini-clad beauties on the beaches of Cape Town, who are reading Deon Meyer novels.

  • Sara Gran, whose Claire DeWitt novels I had only recently discovered, but who came highly recommended by the likes of Stav Sherez and other crime writers whose opinion I trust. Unruly, unusual, feisty and atmospheric, Claire is a restless soul (much like Gran herself) and moves from New Orleans to San Francisco to Las Vegas in her adventures. Sara herself is from Brooklyn, as is…
  • Jax Miller, whose debut novel I have yet to read but have heard fantastic things about. She was so open, friendly and funny, completely unvarnished in her opinions, but knowing how to make an appearance. I want her as my best friend, Robert de Niro accent and all!
The Brooklyn girls: Jax Miller (on the left) and Sara Gran.
The Brooklyn girls: Jax Miller (on the left) and Sara Gran.
  • John Connolly (not JJ, not Michael)

    Irish charmer John Connolly, who had been seated somewhat unfortunately right next to JJ Connolly, to confuse the festival-goers even more. Luckily, Michael Connelly wasn’t here this year (he was last year), or it would have been like a quick-fire intelligence test for readers. He kindly forgave me for not having any books (in French) for him to sign, but I hope to see him again at crime festivals in the UK, when I can get a book in English.

 

 

David Peace reading.
David Peace reading.
  • David Peace looked like a kindly uncle, slightly bewildered by all the fuss people made of him, and certainly far too gentle-looking to be writing the bleak, trenchant prose of the Red Riding Quartet. But then he got up on stage and read from ‘Red or Dead’, his latest book, about Bill Shankly, the manager who brought F.C. Liverpool out of obscurity to Premier League and European glory. And his rendering of the repetitions and cadences were sheer poetry, with a lovely Yorkshire accent, which he hasn’t lost even after so many years of living in Japan. The backdrop of the Trinity chapel of the Lycée  Ampère was perfect for the reading: both red and for the dead.

 

  • Sophie Hannah in the unfortunate contre-jour of the palatial Town Hall.
    Sophie Hannah in the unfortunate contre-jour of the palatial Town Hall.

    Sophie Hannah was great fun, never one to mince her words, and very serious about her Agatha Christie endeavours and efforts not to step out of the cannon. I was also startled (and flattered) that she actually knew me by name. Of course, we have interacted on Twitter, but I imagine she has had many such interactions with readers and reviewers, so I was expecting nothing more than a polite nod rather than a cheery hug.

 

  • Leye Adenle from Nigeria and Janis Otsiemi from Gabon, perhaps the two best-looking and best-dressed crime authors of the whole Quais du Polar. I must have been so dazzled that I was stupid enough to forget to ask to take a picture of either of them!
Horowitzmin
Second or third attempt at a picture of the ever-patient Anthony Horowitz.
  • Anthony Horowitz, my older son’s favourite writer, wrote him a lovely message in the book he had given me to sign, and was very kind about my rather disastrous initial attempts at taking a picture of him. Recognising my son’s Greek name, he then told me that he spends half the year in Greece, about an hour away from where my son’s godparents live.

 

 

 

Other moments to treasure: thoughtful and friendly encounters with French writers such as Franck Bouysse, Colin Niel, Nairi Nahapetian, the effervescent Caryl Ferey.  Trying to find a mix of Italian and Spanish in the recess of my memory to communicate with Dolores Redondo (another wonderful hug which I shall remember). The new South African revelation Michele Rowe (what a gracious and funny lady). Talking about Japanese cults and yakuza with Jake Adelstein (former Yomiuri Shinbun reporter in Tokyo). Asking for (and receiving) a flattering portrait of myself from BD artist Titwane.

TitwanePortrait

It’s unfair to select just these authors, as practically everyone else we met were delightful and fun. And then, of course, there was the wonderful city of Lyon itself, meeting two of my favourite bloggers, Emma and Catherine, and chatting about our favourite topic (you can guess what that is, right?) and even some cars fit for James Bond. Here’s a little selection of pictures.

venue Lyon Venue2 Venue3 venue4 car

Plans for Quais du Polar Lyon 2016

This will be the fourth (and probably last) time I attend the Quais du Polar in Lyon and, believe me, I know just how fortunate I am! The timetable this year (between April 1-3) is, as always, terribly tempting, with many conflicting interests tearing me apart. So, for the sake of some clarity, I’ve decided to focus on women and BAME writers, as well as writers from lesser-known crime fiction countries (many of them entirely new to me). Sadly, not that many women writers are invited to the festival this year.

Copyright: Laurent Bouchard, Quais du Polar.
Copyright: Laurent Bouchard, Quais du Polar.

Here is the plan:

From the UK: Jessica Cornwell, L.S. Hilton and Sophie Hannah. I’ve read and even reviewied many of Hannah’s books, can’t get hold of Jessica Cornwell in the time left, and will read LS Hilton’s allegedly ‘explosive’ Maestra by then.

From the US: Jax Miller and Sara Gran. The latter is on my e-reader – crime set in New Orleans, doesn’t get much better than that! As for Jax Miller, everyone has been raving about her debut novel Freedom’s Child, but I haven’t read it yet.

Germany: Nele Neuhaus. I reviewed her for CFL a couple of years ago – a breezy style and an interesting start via self-publishing.

South Africa: Deon Meyer (well, who can resist him?) and Michele Rowe (new to me)

Switzerland: Sebastien Meier. I’ve heard about him: despite his Germanic-sounding name, he writes in French.

Austria: Marc Elsberg. He writes technical thrillers, about cyberspying, so I’m not sure that’s my cup of tea or glass of Grüner Veltliner.

Iran: Nairi Nahapetian – journalist of Armenian descent born in Iran, who is exiled from her home country and writes in French.

Turkey: Alper Canigüz. Has been translated into French but not English. The Assassination of Hicabi-bey apparently features a five-year-old who refuses to go to nursery and becomes a detective instead!

Africa: Janis Otsiemi from Gabon; Leye Adenle from Nigeria and Kangni Alem from Togo.

Of course, I also hope to sneak in a little conversation with other guests, such as Irvine Welsh, Anthony Horowitz, Arnaldur Indridason, Jo Nesbo, Craig Johnson, David Lagercrantz, David Peace, Donato Carrisi, Franck Thilliez, J. J. Connolly, John Connolly, Richard Price, Olivier Truc, Antonin Varenne. Many of whom I have reviewed either on CFL or here.

So here is my request for you: any burning questions you would like me to ask any of these authors?

Three Little-Known Local Celebrities

From wikipedia.fr
From wikipedia.fr

Olympe de Gouges was a playwright, political activist, salon intellectual and advocate of human rights. An early abolitionist and feminist, she was initially a keen supporter of the French Revolution, but became disenchanted with the lack of equality extended to women and the more extremist elements such as the Jacobins. As the Revolution progressed, she became more and more vehement in her writings. The Jacobins arrested her allies, the Girondins, imprisoned them, and sent them to the guillotine in October, while her poster Les trois urnes led to her arrest. That piece demanded a plebiscite for a choice among three potential forms of government: unitary republic, federalist government, or constitutional monarchy. She was executed in 1793 for seditious behaviour.

Condorcetlarousse
From larousse.fr

Nicolas Condorcet was a French philosopher, mathematician, and early political scientist whose Condorcet method in voting tally selects the candidate who would beat each of the other candidates in a run-off election. Unlike many of his contemporaries, he advocated a liberal economy, free and equal public instruction, constitutionalism, and equal rights for women and people of all races. His ideas and writings were said to embody the ideals of the Age of Enlightenment and rationalism, and remain influential to this day. He died a mysterious death in prison in 1794 after a period of flight from French Revolutionary authorities.  Some historians believe that he may have been murdered (perhaps because he was too loved and respected to be executed) or else committed suicide.

From redcross.int
From redcross.int

Gustave Moynier was a Swiss lawyer and co-founder and longest-serving President of the International Committee of the Red Cross, very active in charitable work during his long life (1826-1910). Differences between pragmatical Moynier and idealistic Dunant developed early over the reach of the organization’s authority and its legal and organizational formation. The key point of dispute was Dunant’s idea to grant neutrality to wounded soldiers and medical staff in order to protect them. Moynier was a determined opponent of this plan, which he did not consider realistic and thought its insistence risked the collapse of the project. He managed to oust Dunant from the organisation and possibly used his influence to make sure that Dunant would not receive any financial assistance from elsewhere when the latter went bankrupt. Moynier was nominated for the Nobel Peace Prize several times, but, unlike Dunant, who was its first recipient in 1901, he never received it. Nor were the two of them ever reconciled.

While the first two are not strictly speaking ‘local’, the buildings at my older son’s schools are named after them, which sparked my curiosity to do a little research on them. They seem to have been strongly influenced by Voltaire, who was a local for over 20 years. Moynier did live in Geneva and even has a manor-house just over the border in France. One of those houses that I regularly drool over…

From dunant-moynier.org
From dunant-moynier.org