An annual meeting of International literature
The International Forum on the Novel 2008
may 26th - June 1st 2008 - Lyon / France
http://www.villagillet.net/
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Why so much love?
Monday 26th May 2008
19:30 pm
Librairie “Le Bal des Ardents”
Participants:
Nicolas Fargues - France
Ludmila Oulitskaïa - Russia
Annie Proulx - USA
Alissa York - Canada
It is no coincidence that the love story developed at the same time as the novel. It is as if love, on account
of its complexity, its density, its contradictions and its impulses, allowed the novel to discover itself and to
open itself up to the enigma of the world and the individual. If the role of the novel is to translate elusive
and concrete reality, to cross-examine its mystery and its splendour, then the course of love and of feelings
in general opens perspectives where we can let literary imagination and the power of its language thrive.
Love is a mirror in which the intimacy of men and the characters of the world he inhabits can be reflected.
Through love stories, other stories may be told which link people to the societies in which they live, to the
spaces they cross and to the time which transports them.
Featured titles
Antileader, a novel by Vladimir Makanin (1980)
Rights sold: China - Nanhai Publishing, France - Gallimard, Germany - Neuer Malik, the Netherlands - De Arbeiderspers, Poland - Państ. Instytut Wydawniczy
In Antileader, Makanin is dealing seriously with the theme of violence. Its striking main character is othe pugnacious Kurenkov, a man driven by an inner demon of violence over which he appears to have little control. The novel is a psychological study of Kurenkov and of his wife who struggles to come to terms with her enigmatic husband.
Read moreExperiences, collected stories by Marina Vishneventskaya
Rights sold: Germany – DTV (anthology rights), France – ACTES SUD, FAYARD (anthology rights), Italy – DI RENZO, AVAGLIANO (anthology rights), Hungary – GABO (anthology rights), USA – COLORADO (anthology rights)
The problematics of female introspection reaches in Vishnevetskaya’s Experiences its climactic concentration. These unhappy allegorical stories, told in the first person, depict subsidiary and “background” characters, marginal individuals belonging to various social and age groups. The title of each novella in the book corresponds to the initials of the “narrator,” which usually remain undeciphered, and a hinting phrase about a unique experience, which she or he will be sharing with the reader. Structurally, each piece is reminiscent of a confessional monologue about a certain traumatic or healing encounter, which through the process of revelation — or overcoming of the self — construes the female identity in its completeness. Almost all of Vishnevetskaya’s descriptions of mundane experiences —grievance, hope...
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