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Before Françoise Sagan the literary icon there was Françoise Quoirez, an eighteen-year-old Parisian girl, who wrote a novel and needed a publisher for it. This intimate narrative charts the months in 1954 leading up to the publication of the legendary Bonjour Tristesse. We encounter Françoise, her family and friends close-up, in a post-war world that is changing radically; and Mlle Quoirez, in her new guise of Françoise Sagan, will be at the heart of that social change. Sagan was always focused on her writing, though at times the fame of her books was to be eclipsed by her wild-child reputation. Yet, as Anne Berest herself testifies, Sagan’s fearless approach to life lived on her own terms remains an inspiration even now.
Set against the translucent beauty of France in summer, "Bonjour Tristesse" is a bittersweet tale narrated by Cé cile, a seventeen-year-old girl on the brink of womanhood, whose meddling in her father's love life leads to tragic consequences.Freed from boarding school, Cé cile lives in unchecked enjoyment with her youngish, widowed father -- an affectionate rogue, dissolute and promiscuous. Having accepted the constantly changing women in his life, Cé cile pursues a sexual conquest of her own with a "tall and almost beautiful" law student. Then, a new woman appears in her father's life. Feeling threatened but empowered, Cé cile sets in motion a devastating plan that claims a surprising victim.Deceptively simple in structure, "Bonjour Tristesse" is a complex and beautifully composed portrait of casual amorality and a young woman's desperate attempt to understand and control the world around her.
Set against the translucent beauty of France in summer, "Bonjour Tristesse" is a bittersweet tale narrated by Cé cile, a seventeen-year-old girl on the brink of womanhood, whose meddling in her father's love life leads to tragic consequences.Freed from boarding school, Cé cile lives in unchecked enjoyment with her youngish, widowed father -- an affectionate rogue, dissolute and promiscuous. Having accepted the constantly changing women in his life, Cé cile pursues a sexual conquest of her own with a "tall and almost beautiful" law student. Then, a new woman appears in her father's life. Feeling threatened but empowered, Cé cile sets in motion a devastating plan that claims a surprising victim.Deceptively simple in structure, "Bonjour Tristesse" is a complex and beautifully composed portrait of casual amorality and a young woman's desperate attempt to understand and control the world around her.
From four stunning and accomplished French women—a charming bestseller about how to slip into your inner cool and be a Parisienne. In short, frisky sections, these Parisian women give you their very original views on style, beauty, culture, attitude and men. The authors—Anne Berest, Audrey Diwan, Caroline de Maigret, and Sophie Mas—unmarried but attached, with children—have been friends for years. Talented bohemian iconoclasts with careers in the worlds of music, film, fashion and publishing, they are untypically frank and outspoken as they debunk the myths about what it means to be a French woman today. Letting you in on their secrets and flaws, they also make fun of their complicated, often contradictory feelings and behavior. They admit to being snobs, a bit self-centered, unpredictable but not unreliable. Bossy and opinionated, they are also tender and romantic. You will be taken on a first date, to a party, to some favorite haunts in Paris, to the countryside, and to one of their dinners at home with recipes even you could do -- but to be out with them is to be in for some mischief and surprises. They will tell you how to be mysterious and sensual, look natural, make your boyfriend jealous, and how they feel about children, weddings and going to the gym. And they will share their address book in Paris for where to go: At the End of the Night, for A Birthday, for a Smart Date, A Hangover, for Vintage Finds and much more.
“Groskop skillfully juggles memoir, biography, philosophy, and literary criticism to create a delightful tour through some of French literature’s greats.” —Madeline Miller, New York Times–bestselling author Like many people the world over, Viv Groskop wishes she was a little more French. A writer, comedian, and journalist, Groskop studied the language obsessively starting at age 11, and spent every vacation in France, desperate to escape her Englishness and to have some French chic rub off on her. In Au Revoir, Tristesse, Groskop mixes literary history and memoir to explore how the classics of French literature can infuse our lives with joie de vivre and teach us how to say goodbye to sadness. From the frothy hedonism of Colette and the wit of Cyrano de Bergerac to the intoxicating universe of Marguerite Duras and the heady passions of Les Liaisons dangereuses, this is a love letter to great French writers. With chapters on Marcel Proust, Victor Hugo, Gustave Flaubert, Stendhal, Honoré de Balzac, Albert Camus, and of course Françoise Sagan, this is a delectable read for book lovers everywhere. “Ms. Groskop is a skilled raconteuse who brings people—and the page—to life. She writes with a self-deprecating appreciation of the Frenchman or -woman manqué(e) that lurks in us all. You don’t have to be a savant to enjoy this book . . . Au Revoir, Tristesse will make a witty, seductive companion.” —The Wall Street Journal “Groskop’s combination of her own memories, what the novels meant to her at different stages in her life, her description of the authors, along with her description of the novels, will have readers eagerly turning the book’s pages.” —Forbes
Studies a small circle of young Parisians and the changing pattern of their love affairs.
From the author of The Red Notebook, described as 'Parisian perfection' by HRH The Duchess of Cornwall, Red is My Heart is a stunning collection of words and images in collaboration with Parisian street artist, Le Sonneur, about how to mend a broken heart. 'Enchanting' Washington Post How can you mend a broken heart? Do you write a letter to the woman who left you – and post it to an imaginary address? Buy a new watch, to reset your life? Or get rid of the jacket you wore every time you argued, because it was in some way … responsible? Combining the wry musings of a rejected lover with playful drawings in just three colours – red, black and white – bestselling author of The Red Notebook, Antoine Laurain, and renowned street artist Le Sonneur have created a striking addition to the literature of unrequited love. Sharp, yet warm, whimsical and deeply Parisian, this is a must for all Antoine Laurain fans.
Set in Paris in the mid-1960s, Lucile, a young, rootless woman, finds herself torn between a fifty-year-old businessman and a thirty-year-old hot-blooded, impulsive editor; and, in a companion to the novel, the translator describes the process of rewritin
Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.