An extrovert week is followed by a more introvert one, perhaps also coloured by the tumultuous events at work. Students occupied part of our building and impeded access to workspace, training rooms and even fire exits, and we had all the excitement of megaphones, human chains, trying to reason with them and then being evacuated and finding refuge in the library. While I have every sympathy with their fear that universities are becoming too similar to businesses, I am not fully clear what their aims are or how we could help them achieve those. But it does bring back memories of idealistic younger days when we protested against Communism and (sort of) won that battle, and of course there are parallels with the March for Our Lives movement in the US. I hope that this younger generation will achieve something before they get too disillusioned by the inertia and selfish interests of the older generations.
March 20th was the International Day of the Francophonie, so I spent the evening reading some French poetry, which was perhaps my first poetic love (Verlaine, Rimbaud, Baudelaire). I have a slim volume which is a good introduction to more modern poetry published by Gallimard: Mon beau navire, ô ma mémoire: Un siècle de poésie française (1911-2011). Gallimard has equivalent anthologies for each century, and this one features both well-known poets (such as Apollinaire, Paul Eluard, Aragon) as well as many poets that I am less familiar with.
This week I discovered the Norwegian crime series in 6 episodes Eyewitness on Walter Presents/All 4. Two teenage boys witness a crime at a sand quarry just outside their town and vow to keep it a secret, with all sorts of repercussions on their community and on themselves. It’s got great build-up of suspense and pacing throughout and manages to also be a love story, a tender mother and son/foster parents and child story, and to show how fallible and flawed even police detectives can be. Recommend, if you can access it. I very seldom binge watch, but I watched all 6 episodes over the course of just 2 nights.
I also succumbed to some bookish temptations. Upon hearing the sad news of the death of Philip Kerr, I borrowed one of the post-WW2 Bernie Gunther books from the library Prussian Blue, to see how Gunther copes with a post-Nazi world. I stuck to Germany when I ordered another novel by Jenny Erpenbeck, whose Go Went Gone I so enjoyed. This time it’s Heimsuchung (translated by Susan Bernofsky as Visitation), about a century of German history seen through the ‘eyes’ of a piece of land outside Berlin and the people who lived on it. Last but not least, the Japan Society left a comment on my review of Japanese novellas, and drew my attention to a dual language anthology of contemporary Japanese writing that they have just published. Heaven’s Wind is translated and edited by Angus Turvill and might help me get back into reading Japanese in the original once more. There will be a Book Club meeting dedicated to this volume on the 9th of April at the Japan Society headquarters in London.
There will be a break in my cultural events for the next two weeks, as holidays and the mountains beckon. However, if you are in France and not skiing, then you really should go to the wonderful Quais du Polar crime festival in Lyon, which this year takes place between 6 and 8 April. It will be my first time since 2012 that I won’t be able to make it, but I am sure Emma from Book Around will tell us all about it.
France, Norway, Germany and Japan (plus I’ve just finished reading a crime novel set in South Afrida): where have you been ‘transported’ this week?
Jelena Volić (Serbia), Bogdan Teodorescu (Romania), Eugen Chirovici (Romania), Indrek Hargla (Estonia).
A bit of a clanger at the start of the session! Although the moderator said it was an attempt to escape the dominance of Anglo-Saxon and Western crime fiction, he then proceeded by saying that Volić had been born in Budapest, at which she retorted: ‘No, another capital city starting with B – Belgrade.’ I suppose that just goes to show the ignorance about ‘Eastern Europe’ which is still quite common in the West – but then again, the room was packed, standing room only at the back while I sprawled out on the floor, so perhaps there was genuine curiosity and willingness to find out more.
The reason I put ‘Eastern Europe’ in quotation marks is because all of the authors remarked that this is very much a malleable concept rather than a geographical reality. Nowadays it has become more popular to say Central Europe, but without necessarily meaning it. Meanwhile, it could be argued that Estonia is more Nordic in feel and has very little to do with the Balkanic fellow panellists. So you couldn’t help feeling that the panel had been cobbled together purely because ‘well, you are all from that part of the world somehow’, without much thought or care going into the process or any attempt to find common themes.
The books themselves didn’t necessarily have anything to do with the East, either. Chirovici said his book takes place in the US and is all about the power of memory to falsify our recollections, nothing to do with the history or politics of Romania, past or present. Meanwhile, Hargla said his whole intention was to offer escapism, which is why he had gone for mysteries set in medieval times (the 15th century being also one of the most protracted periods of peace in Estonia’s troubled history).
So it was down to just Volić and Teodorescu to state that their books are making a political statement. Volić has written a crime novel set around the time of Srebrenica, because she wanted to show how ordinary humans cope with individual tragedies at a time of mass tragedy. She co-writes with German author Christian Schünemann and her books are primarily intended for a Western audience, as she thinks the Serbs are all too aware of the subjects she is addressing. There are no easy answers in a book which unflinchingly examines a country’s guilt, and attempts to forget or deny the evil acts of the past.
Teodorescu refers not to Romania’s past but its present-day issues in his novel Spada, which is the story of serial killer who targets criminal gypsies. Through the ambivalent public, political and media reactions to this killer, the author demonstrates just how easy it is to normalise the language of hatred, to raise the spectre of the ‘Demon Other’ and to lose any vestige of kindness and civilised behaviour in a democratic, open society in which 95% of people would describe themselves as ‘tolerant’. The book was published in Romanian a few years ago, but seems very timely with Trump’s America, Brexit Britain and now France and Germany possibly veering down the same path.
Victor Del Arbol (Spain), Marc Fernandez (France/Spain), Zygmunt Miłoszewski (Poland), Qiu Xiaolong (China).
The panellists started off by joking: ‘Welcome to the most depressing topic of the whole conference’, but in fact it was also one of the most fascinating topics, enabling us to see how totalitarian regimes have commonalities regardless of political leanings or culture. The moderator claimed that perhaps there was a Zorro instinct in each one of them, to uncover oppression and injustice through their fiction. While the authors themselves made no such pretentious statements, it was clear that giving voice to forgotten stories, to the vanquished, to truths which had been buried by the wayside was important to them.
Del Arbol said that espousing or allowing just one single truth is dangerous, that is what kills. He also considers himself Catalan, Spanish and European all at once and does not see why this should be a contradiction. Miłoszewski said that all countries have something in their past that they are less proud of, and that they want to remember only the glory days, but the role of the artist is to offer an alternative to the ‘official’ interpretation of the past, to remember the shameful incidents as well. That’s what true patriotism means. Otherwise, nostalgia for the golden past without any shades is merely nationalism. Fernandez also pointed out the conundrum of the perpetual outsider: in France is considered the Spaniard, in Spain he is considered too French. Qiu described his father’s humiliation as a member of the bourgeoise for daring to own a small perfume factory during the Cultural Revolution – and openly admitted he resented his father at the time for blocking any future career he might have had. He also told us how he was forced into exile in the US and had to start writing in English. This is the sad truth of all-pervasive state interference: ‘People don’t make the choices themselves – they have them made for them.’ He brought all this reluctant collaboration and ambiguity into Inspector Chen’s character.
Books and People
And here is my book haul – reasonably modest this year, as I was travelling with hand luggage only. One in German: the Thomas Willmann I mentioned in the previous post, two French authors (Marcus Malte and the only one I was missing by Jean-Claude Izzo, Chourmo, which also happens to be my favourite), three translations into French (Victor Del Arbol, Bogdan Teodorescu and an absurdist Russian novel by Olga Slavnikova), Ron Rash and David Vann in English (although they are much more expensive in France, of course, but I was keen to have them signed) and finally another Romanian author, Bogdan Hrib, with his first book translated into English (he is also Teodorescu’s Romanian publisher and there may be some exciting collaborations forthcoming, fingers crossed).
I got to meet many delightful authors, but got a little bit starstruck and forgot to take pictures. Apologies to the charming Ragnar Jonasson and Lilja Sigurdardottir for not pestering them for pictures. I was more than a little awestruck by Victor Del Arbol and David Vann, and I never got to speak to Cay Rademacher and David Young, but I did manage to take some pictures of the truly international Johana Gustawsson, the always bright and funny Dominique Sylvain (I believe it’s the 4th time I see here either in Lyon or Geneva) and newcomer – all the way from Australia – Jane Harper.
I was also lucky enough to receive an invitation to the preview of the first episode of the new (6th) series of Engrenages (better known as Spiral in the UK). I had already heard the main writer Anne Landois discuss her work in Lyon a couple of years ago, but this time she was joined by the producer at Canal+ and the actors playing the police officers Tintin and Gilou, as well as Judge Roban (the two women actors had other commitments). The series has been going strong for 12 years now, and the actors (plus or minus a few high-profile losses) have been together for pretty much the whole time and have become a tight-knit family. Anne said that she was constantly inspired by the actors to develop characters even farther, while the actors said they really felt they were part of something special, an emphasis on the personal lives of their characters as well as the investigation which is quite new to French TV.
Of course I cannot give anything away about the new series, otherwise they would have to kill me. Suffice it to say that the investigation will extend to the troubled Department 93 on the outskirts of Paris. Sadly, it is also Anne’s last season on the show, as it’s been a pretty full-time job for the past 10 years and she understandably wants to try something else. However, a new team of writers are already working on Season 7. Meanwhile, Season 6 will be out in September on French TV and hopefully soon afterwards on BBC4.
Back from Quais du Polar crime festival in Lyon and it was once again a wonderful experience, one that I would encourage all my crime fiction friends in the UK to consider. The total cost can work out cheaper than attending British crime festivals, even with a weaker pound: flights to Lyon are often cheaper than train tickets, hotels can be cheaper too, all the events are free, and you need to eat and drink in both places (plus the food in Lyon is usually of excellent quality).
So that’s my contribution to the Lyon Tourist Board. I was very lucky to attend the festival with a book-blogging friend in Lyon, Emma from Book Around the Corner, and her far more timely and excellent descriptions of each day at the Quais du Polar are here, here and here, so I am not sure I can add much more to that. But I did attend some different panels than Emma. Incidentally all the conferences available for replay on live.quaisdupolar.com (mostly in French, but also in English and Spanish, depending on what language the authors were using). I will try to include a link to each specific conference I am discussing.
Clare Mackintosh (UK) and Jenny Rogneby (Sweden) both worked with the police before turning their hand to crime fiction, so they had interesting things to say about the capacity of women to be perpetrators of crime. The other writers on the panel (Andrée Michaud from Canada, Dominique Sylvain and Harold Cobert from France) agreed that they were all tired of seeing women in fiction exclusively as disempowered victims, being raped or murdered or tortured for entertainment purposes. Andrée said that kind of writing smacked of voyeurism and she isn’t sure it serves the purpose of the story. Clare wants to give a voice to the victims, and what happens off the page, what is implied, what we all fear is often scarier than a very graphic scene of actual violence. Jenny pointed out that there is still very often a double standard: that when women commit a crime, they are judged far more harshly, as if it’s more understandable or forgivable or to be expected when men commit a crime. Harold thought (based on the example of his own young son) that all of us are born with a capacity for violence – we all feel like killing certain annoying people, for instance – but we don’t act on it because we learn to put on a thin veneer of civilisation as we grow up. Dominique didn’t quite agree with that; she argued that it’s the survival instinct, when we feel attacked or cornered, which can make even the most placid of us react violently at times. She was fascinated with Clare’s account of drunken Friday nights in city centres in the UK, when women are often more aggressive and resort to physical violence even more readily than the men, and commented: ‘It’s interesting that you don’t see that kind of female behaviour in fiction: you see the manipulative/psychological type of feminine violence.’ Indeed!
A journey from East to West and North to South of Europe: Arnaldur Indriđason (Iceland), Victor del Arbol (Spain), Andriy Kokotukha (Ukraine), Zygmunt Miłoszewski (Poland), Olivier Truc (France, but writing about the Reindeer Police in the Arctic Circle).
This was one of those panels where it was very difficult to find a common subject, other than stating that crime fiction is a wonderful way to discover new countries and cultures and that we should enjoy our European diversity without ever taking it for granted. Each author shared a little bit about their specific countries and their experience of ‘occupation’ or ‘oppression’. The most poignant account was of course from the Ukraine, where the ‘Maidan’ (street) movement was not just revolutionary but also a cultural initiative, and the protesters found refuge (and spiritual nourishment) in the Cultural Centre and Library. Yes, even Iceland has known occupation: it only became independent in 1944 and until 2006 had a US military base which practically doubled the population of Reykjavik overnight. They also expressed concern about the recent resurgence of nationalist rhetoric. As Del Arbol said: ‘I thought I was writing about the past – dictatorship, not being able to listen to other points of view, the blaming of others, hatred – but I can see we are in danger of it happening all over again.’
Three male writers – David Young (UK), Ron Rash (US), Caryl Ferey (France) – who have powerful female protagonists in many of their books. Why do they choose to write about women – in either first or third person (and they all agreed that it was much more intimate and difficult to do the first person)? What was fascinating here was the difference in approach: Rash and Ferey talked very much about inspiration, almost divine dictation straight from the source of the story. David Young had a much more down-to-earth, craftsman-like approach.
RR: It’s not that I choose to write women: the story and the characters choose me. When I tried to write one particular story from a man’s perspective, it was as if I was switched onto the wrong frequency, so I had to switch to a woman’s voice and then it all became clear. Besides, women in American fiction often only have power within the family, so I wanted to go beyond the stereotypical. Plus I am such a boring person, I want to write about much more interesting people than myself. Perhaps some other writers – naming no names – should consider doing that too. And I love the challenge of writing about something or someone that I know less – we are all essentially trying to describe what it means to be alive in the world, to be human. After a while, you start to hear the voice so clearly, it’s like being possessed in some ways.
CF: Two women together in a scene are always far more interesting than two men: with two men in a scene in a crime novel, they usually end up fighting or shooting each other, with women it’s a lot more complex. I do admit falling in love with my female character, pathetic though it may sound. And my ideal of manhood is David Bowie, who is that perfect combination of male and female characteristics.
DY: I had a much more cynical reason for using a female heroine: I wanted to write a thriller set in GDR in the 1970s, but that kind of thing usually only appeals to male readers, so I wanted to draw in female readers by creating Karen Müller as the recurring main detective in the series. Plus, it is reflective of East German society at the time: over 90% of women were working, in all sorts of jobs, it was a far more egalitarian society in that respect. I was also lucky that my tutors at City University were women and gave me good feedback if they felt that I was straying too far from a woman’s perspective on things.
This was the first of two panels on Germany: viewed from the inside, by German authors Thomas Willmann, Sebastian Fitzek and Oliver Bottini. Unfortunately, I couldn’t attend the second session on Germany and Berlin seen from the outside by Maxime Gillio and Romain Slocombe (France), Philip Kerr and David Young (UK), but I will be listening to that recording.
Aside from the huge pleasure of hearing German once more, I also appreciated the opportunity to discover some new authors. I had only read Fitzek before, and his fast-paced psycho-thrillers are not necessarily my cup of tea, but I discovered that Bottini has a series featuring an alcoholic woman detective Louise Boni (makes a change from male alcoholics, I suppose). However, the one that captured my imagination was Willmann’s combination of Heimatroman (translated as: sentimental novel set in a traditional regional background) and Western, with a stranger coming to a snowbound village in the Alps, sounded very much like Dürrenmatt’s play about revenge ‘The Visit’ liberally sprinkled with Scandinoir moodiness. It has been filmed in Austria, directed by Andreas Prochaska. The German language trailer is at the end of this blog post.
What all three writers complained about was that German literature tends to be very earnest, full of educational zeal and purpose, so genre literature, whose sole purpose is entertainment, is regarded with suspicion and quite a bit of derision. Fitzek claimed that he doesn’t care what the critics say about him, or what drawer he gets stuck in, as long as he can tell the kind of story he enjoys reading himself. Bottini, however, was more enraged by the lack of consideration given to crime fiction, and said there are no big crime festivals in Germany which could compare to Quais du Polar or English festivals. In spite of all that, German ‘Krimi’ is remarkably healthy and diverse, and it engages with current affairs, examines social problems, provides a kind of X-ray of society.
Although I want to avoid this becoming a roman fleuve, I also want to avoid a massively long post, so I will write separately about the two political panels which I attended, plus the advance screening of the first episode of the new series of Spiral (Engrenages), as well as my book haul and personal encounters.
Lyon has an impressive number of independent and chain bookshops, antiquarian and plain second-hand bookshops, as well as a thriving books on the quay (bouquinistes) lifestyle in summer.
Although I did stop to peruse outdoors, I was heading to a specific location: the second-hand bookshop Le Pere Penard on the Quai Fulchiron. I had met the owners at the Quais du Polar, and discovered they had a fantastic selection of noir and crime fiction, as well as BD. So I ordered some Jean-Claude Izzo through them. However, the shop is huge, stuffed to the gills with books in all genres, including cookery, history and coffee-table books.
It was set up by a group of friends in 1994: members of the group have changed over the years, but the passion for books has stayed the same. It’s a real treasure trove of a place, to explore at leisure, over many hours.
a title by Pascal Garnier that I was unfamiliar with, a short novella called Nul n’est a l’abri du succes (Nobody’s safe from success). Then, to my utter surprise and delight, look what I discovered when I looked inside!
Yes, it’s a signed copy and it’s as if the author (whom I only discovered about 4 years ago but who’s since become a firm favourite) is talking to me from beyond the grave.
For more Lyon bookshops, see this earlier post. And no, the Lyon Tourist Office is not paying me to promote their city!
Lyon is one of my favourite cities, not just because it hosts the annual Quais du Polar crime festival. Yet, no matter how often I come here, I never seem to have enough time to visit everything. So I was determined to do two completely new things this ‘weekend of adieus’: see a show in the Roman amphitheatre for Les Nuits de Fourvière festival; and get to see the Brothers Lumière Museum about early cinema. Well, one out of two is not bad…
The Blues Night featured American blues music legend Taj Mahal; a ‘Mali meets New York’ session with guitarists Habib Koité and Eric Bibb; and local boy (relatively speaking), saxophonist Raphaël Imbert and his band. The atmosphere was very special (at least until the cushions went flying onstage), and it was delightful to see people of all ages and backgrounds enjoying this kind of music. Thank you to Emma from Book Around the Corner, who suggested I join her for this event!
But the rest of the weekend involved doing a few of my favourite things.
Of course, it’s the last thing I needed right now, but a few books just seemed to sneak their way into my bag. I will write more about the bookshop I got them from in a follow-up post.
So what prevented it from being the perfect weekend? Not the fact that I didn’t make it to the Lumière Museum, but that when I sat down for breakfast at a local café, there was a disturbance outside. A group of diverse young men, some black, some white, some drunk, some sober, started making a great deal of noise and one of them grabbed another by the neck in what looked like a rather violent incident. The police were called and managed to walk one or two of the worst troublemakers away. Then, as I passed in front of the remaining group, I heard them speaking Romanian.
I wanted the pavement to open up and swallow me right then and there.
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 Series: Olivier 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.
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.’
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.
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.
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.
About 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 World: Parker Bilal (Egypt/Sudan), Colin Niel (French Guyana), Caryl Ferey (Argentina/Chile), Nairi Nahapetian (Iran), Olivier Truc (Lapland)
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).
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.
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.
I think this picture speaks for itself: a whole coffee table full of new books. I’ve been on a terrible crime spree and my only excuse is that I will be moving soon from France, so it was my last chance to get French books and have things signed in Lyon. Actually, speaking of moving reminds me of one good reason why I should have been more moderate in my purchases…
Anyway, no time for regrets (not that I have any). In fact, I was planning to buy more, but the lack of availability of certain titles in English or certain authors who could sign the books meant that I had to scale down.
And, as I said on Twitter, at least it proves that as long as there are people like me in the world, crime writers will not starve!
From left to right, top to bottom, here we go:
Jo Nesbø: Blood on Snow – I haven’t read the last few Nesbøs; he’s a bit hit and miss for me – I love some of his books, while others leave me cold. He was constantly mobbed by admirers, so I barely exchanged two words with him.
Pascal Garnier: Comment va la douleur? – my favourite Garnier to date, I had the English translation at home but not the original in French
Ayerdahl: Tendances – recommended by the hugely knowledgeable booksellers at the Quais when I asked about a novel set in Lyon, the author (French, despite his name) died in Sept. 2015.
Manuel Vázquez Montalban: La Solitude du manager – Spanish classic crime; sadly, many of his books are not available in English (this was a 2nd hand purchase)
Jake Adelstein: Tokyo Vice – had never heard of the author or the book, but we started chatting and of course someone who has lived 20 years as a journalist in Japan has got my full attention. The book was only available in French on the first day, but on the second day the attentive booksellers had got hold of a few English copies, so I couldn’t resist getting it. Doomo arigatoo!
Rachid Santaki: La Légende du 9-3 – if you liked Jérémie Guez or Karim Miské’s portrayal of multicultural Paris, Rachid is in the same vein, 93 being one of the most troubled departements of France (outskirts of Paris).
Sébastien Meier: Le Nom du père – rising star of Swiss crime fiction and practically a neighbour (he lives in Lausanne)
Antonin Varenne: Battues – you never know what to expect with a Varenne book – he never writes twice about the same subject and his range is amazing. After the urban milieu of ‘Bed of Nails’ and historical fiction (19th century and war in Algeria), this is a rural Romeo and Juliet story.
Hervé Le Corre: Après la Guerre – atmospheric story set in 1950s Bordeaux, this won the prize of Quais du Polar in 2014 and will soon be available in English from Maclehose Press.
Colin Niel: Ce qui reste en forêt – the second in a series set in French Guyana, recommended to me by none other than my ‘partner in crime’, Emma from Book Around the Corner, who has reviewed the first in the series.
Joseph Incardona: Permis C – I thought I was safe from buying anything by him, because I had his latest book, but I’ve met him at several festivals and he knows my by name. So when he produced a small pile of his very latest book, which has not yet come out in France, only in Switzerland, how could I resist?
Janis Otsiemi: La Vie est un sale boulot – he was on my list of more diverse writers that I wanted to attempt – life in Libreville, Gabon sounds like it could be challenging and interesting! Besides, I loved his extensive collection of hats!
Christophe Molmy: Les loups blessés – this was an unintentional purchase. I saw the author looking a bit lonely, sitting next to Deon Meyer, who had a huge queue of people to sign for. So I started chatting to him and discovered he still works as a policeman, in fact heads up the Anti-gang squad in Paris, so I asked him several questions pertaining to cross-border crime. After helping me with my novel, it would have been churlish not to buy his own, wouldn’t it?
Naïri Nahapétian: Qui a tué l’ayatollah Kanumi? – another writer on my diversity list, this is an Iranian of Armenian origin who came to France as a child and worked as a journalist reporting on Iran for many years. I have many Iranian friends and want to find out more what lies beneath the easy clichés about that country.
Jax Miller: Freedom’s Child – I’d heard rave reviews about this remarkable debut novel last year, but never got around to reading it. After meeting the larger-than-life Jax Miller at the conference, I was determined to follow her progress with every book (and I’m sure there will be plenty more).
Craig Johnson: Dry Bones – I haven’t read a Walt Longmire book in a while, but I always enjoyed them, and the author of course is an utterly lovely person. I also plan to make some effort to catch the Longmire series on Netflix or somewhere – any ideas?
Frédéric Lenormand: Le Diable s’habille en Voltaire – I saw Lenormand a year or two ago at the Quais, he wasn’t here this year; but a book with Voltaire as a detective, when I live a short walk from his chateau? You bet! (2nd hand purchase)
James Oswald: The Damage Done – I never thought I liked supernatural mixed up with my crime, but James has convinced me it works. Besides, we had a lovely chat about farming and cows and sheep (I come from good old farming stock, it’s in my blood)
Patrick Delperdange: Si tous les dieux nous abandonnent – Belgian writer who was recommended to me by a bookseller who heard me asking about Pascal Garnier books. ‘If you like Garnier, you will be struck by this book.’Besides, he had the loveliest idea for signing books: ‘Give me a word and I’ll create a sentence for you.’
Richard Price: The Whites – another outstanding noir author,with a searing (and bleak) vision of New York City, who was mortified when he spelt Sofia wrong in the dedication. As if I would be offended…
Parker Bilal: The Ghost Runner – another cross-cultural adventure, Makana being a Sudanese ex-cop turned PI in Egypt, and giving us a picture of the Middle East in the aftermath of 9/11. Parker Bilal is the crime writing pseudonym of Jamal Mahjoub, who writes literary fiction under his real name.
Jean-Claude Izzo: Total Khéops – I adored the Marseille Trilogy by this author, but I borrowed it from the library and wanted to acquire my own copies. My favourite of the three books is Chourmo, but the bookseller couldn’t find it for me so he brought me the first one (2nd hand purchase).
Deon Meyer: Cobra – I’ve only found 2-3 of Meyer’s books at the library here, so I bought one of the books I haven’t got around to reading. I like this ‘not at all breathless’ thriller style and deep characterisation.
Raynal Pellicer/Titwane: Enquêtes générales – fascinating graphic book about real-life cases following a period of immersion with the anti-crime squad in Paris. Useful for my own research about French policing, as well as a work of art.
The pistol-shaped black notebook was a freebie from publishers Folio, containing best quotes from crime fiction. The other black notebook in the bottom right is a Moleskine-type notebook, which I used to scribble my impressions of each panel.
Right, now time to find some good hiding places for all these books, so that I don’t have to endure sharp criticism about money wasted, lack of space and removal terrors…
Other Quais du Polar 2016 numbers: 80 000 visitors (up 10% from last year), 130 authors of 22 nationalities, 200 events throughout town over this period and 35,000 books sold. (So not every visitor bought 24 books then!). Pretty good going though; I’d love to see the figures for Harrogate or Bloody Scotland.