The original title in French Il faut beaucoup aimer les hommes is from a famous quote by Marguerite Duras:
Il faut beaucoup aimer les hommes. Beaucoup les aimer pour les aimer. Sans cela, ce n’est pas possible on ne peut pas les supporter.
[You have to love men a lot, love them so much in order to love them. Otherwise, it’s almost impossible to put up with them.]
So that gives you a clue that this is not necessarily going to be a feminist treatise. Yet, although readers seem to find the first person narrator, French film star Solange, irritating, she strikes me as quite an independent, strong woman, who just happens to become smitten with a younger man. It’s a bit more complex than that, though, because her paramour, Kouhouesso, is a black man who has ambitions to direct a revamped version of The Heart of Darkness on the river Congo. All the clichés about l’amour fou (crazy love), gender and race are examined, although Solange herself seems unaware of the facile assumptions she makes.
I’m not sure why this book has received so much critical dissent. Yes, the first part of the book is all Hollywood froth, very easy to read on the surface, a bit like the gossip magazines. This serves to make the contrast or gap between Lalaland and the African jungle all the wider. Solange has all the reactions one might expect to the ‘natives’, the insects, the primitive accommodation, although she so badly wants to make this work. Underneath the apparently banal interracial love story, there is a lot lurking: objectification, the attraction of ‘otherness’, construction of identity through gender, race and passion. Fascination with the other yet ultimately a lack of genuine curiosity and desire to embark upon the interior journey (on both sides). It is indeed a modern answer to The Heart of Darkness, written from a woman’s perspective.
There is an excellent review of the book by Compulsive Reader, but I can understand why many people found the story not very original or the characters at all likable. I flip-flopped a lot in my opinion as well: it is a hair’s breadth away from being silly, but I think it just stayed within the realm of the painfully dissecting scalpel.
The reason I chose it for my #EU27Project to represent France (although I will probably read and review other French authors as well) is because I think it says something about the way the EU countries view ‘the others’, the refugees spilling over the borders. Lip service to liberalism and humanity, rhetoric about helping and supporting, but beneath all of that: a lot of fear, stereotypes and excuses. (Incidentally, the English language cover could be said to be objectifying black men somewhat…)