#EDITION J'ai Lu

[small-knight]

This old editions of J’ai lu are all like this! They all have this kinf of paintings/art that really capture your imagination but often have nothing to do with the novel inside.

There was also a postcard version of the cover inside the book that you could take out.

Hi Neil! This is one of the old french covers for good omens. I was just wondering if you had, say, ANY idea of what happened in the illustrator's brain?

I am pretty certain the illustrator has painted a cover to a completely different book, and that that cover has been bought cheaply to reuse by J'ai Lu.

[ravel-ing]

hey, je suis curieuse, comment vous avez commencé le rpg, vos tout débuts ?

parce que perso, j'ai pris des grooos détours avant d'atterrir dans la sphère rpg de forumactif (sous hide parce que c'est long).

Est-ce que quelqu'un a déjà entendu parler d'Edenya ? Je crois que ça existe toujours, c'était du high fantasy rpg illustré mais la plateforme était complètement unique, et la façon de rp était incroyablement différente. Mon perso a chopé la PESTE ... deux fois ... J'avais 13 ans et j'y suis resté trois, quatre ans, et pourtant je me souviens même pas du nom de mon perso.

J'ai appris là-bas ce qu'était le ttrpg, mais étrangement très peu d'entre eux faisait du forum rpg, à part une, et c'est elle qui m'a emmenée sur ma deuxième aventure cheloue.

Techniquement, c'était sur forumactif. Techniquement, c'était ma première réelle expérience de forum rpg comme on le connaît. En réalité ? Rien à voir.

Pour commencer, j'étais la seule joueuse pour les trois premier mois avec elle en seule admin. Cette fois je me souviens un poil plus de mon perso, Alix, mécanicienne des vaisseaux spatiaux, tester la syfy oui oui. "C'est dans l'espace" c'est aussi tout le contexte que j'ai eu avant la question "Qui est ton perso ?" donc on testait mon improv du haut de mes 16 ans clairement.

Malgré la confusion constante dans laquelle j'étais, c'était une expérience cool parce que en gros, le principe était que mon admin postait un contexte (ex: Alix reçoit une lettre de convocation à tel poste), je postais en tant qu'Alix, et l'admin continuait en tant que GM de l'univers avec ce plot créé autour de mon perso qui s'adapte constamment à mes choix. En soi, c'était bien plus proche de jeux de rôle type DND. Finalement, d'autres joueurs nous ont rejoint et je suis partie discrètement après quelques mois.

A partir de là, j'ai découvert les vrais forums rpg, mais les illustrés en premier. ET G PRIS PEUR OK.

Tout le monde parle des vieux forums où on écrivait que deux ou trois lignes, j'ai jamais connu ça ! Jusqu'à maintenant, les rps que j'avais fait étaient de la même taille qu'on fait aujourd'hui. Mais quand j'ai exploré de loin, j'ai toujours trouvé que des forums où les gens écrivaient des ROMANS, et j'exagère pas, les rps étaient 3 pages word minimum à chaque fois. C'est la raison pourquoi j'ai mis tant de temps à rejoindre les forums, je croyais que tout le monde écrivait comme ça et que je n'avais pas le niveau.

Finalement, j'ai trouvé Bazzart, et après some lurking j'ai rejoint un des fo les plus populaires à l'époque en test, croyant sincèrement que j'allais paniquer et partir et que c'était mieux de se noyer dans la foule si ça arrivait. Heureusement, le forum a crashé avant moi, peut-être deux semaines après ma validation. Mon perso était si mauvais mais j'avais good taste parce que c'était avec le fc d'Alexis Bledel ok, et elle avait des yeux de deux différentes couleurs parce qu'elle était possédée par un esprit et omg le cringe.

Le prochain forum que j'ai choisi était aussi très populaire, mais celui-là était debout depuis quelques mois, et cette fois j'ai pris un scénario pour être sûre de m'intégrer et boom je suis restée trois ans et des poussières sur ce fo, même finie par être admin dessus. (ps edit: aussi le seul perso que j'ai tué en partant, et je regrette rien fyi, mais c'est une histoire pour plus tard)

Après ça, c'était smooth sailing from there.

Merci aux pauvres âmes qui ont lu jusqu'au bout.

Sincèrement, j'adore lire les histoires des gens et ça aurait pas été juste si j'avais pas donné ma version avant mais pls parlez moi vos débuts !

[decrescxndo]

Je vois de plus en plus de gens faire ça, et je suis assez d'accord avec la démarche alors : je refuse que mes créations soient utilisées sur des forums hp et/ou acotar.

Pour celleux pas au courant, l'autrice d'acotar (a court of thorns and roses - une cour de roses et d'épines) est zioniste (et aurait utilisé des tropes genants au mieux, dangereux au pire dans ses bouquins, mais ne les ayant pas lu, i don't know).

EDIT : on me relève aussi que Stephen King n'est pas tout rose non plus. J'ai fait quelques recherches rapides et effectivement il y aurait des choses racistes et validistes dans ses bouquins, donc je préfère aussi éviter de voir mes avatars sur ces forums.

[mask131]

The cosmogony of French fantasy

The title is not by me - this is actually the title of an article I want to kind-of-translate kind-of-recap here. "Cosmogonie de la fantasy française - Genèse et émancipation", "Cosmogony of French fantasy - Genesis and emancipation", by Marie-Louise Bougon. It was an article part of the "Worldbuilding" issue of the French National Library review (La revue de la BNF), back in 2019, and it brings a lot of interesting element for those who are curious about what fantasy literature looks like currently in France (since all the fantasy we talk about is mostly American or British).

Here is the rough translation/summary:

Fantasy only appeared quite late in France - and if the first translations of English-speaking fantasy only come from the 1970s, we will have to wait for the new editorial dynamic of the 1990s for a true "French fantasy" to appear and specialize itself - many talk of a "French touch" that makes these books clearly different from their English companions.

I) The first translations: a fragmented territory

The first translations in French of fantasy books started in the 70s. The decisions of publishing houses at the time made it quite hard for a reader to identify "fantasy" as its own genre. Indeed, most fantasy authors (especially British ones) were published by houses specializing in "general literature" - The Hobbit was translated as "Bilbo le Hobbit" in 1969 by Stock, before it took care of the Cycle de Gormenghast by Mervyn Peake, while in 1972 Christian Bourgeois releases the first French translation of the Lord of the Rings. Another part of fantasy books - more American, these ones, the inheritors of the pulp aesthetic, the sword and sorcery books - was rather translated in collections dedicated to either science-fiction, or fantastique. [N.o.T.: The French term "fantastique" designates a specific literary genre in which supernatural elements suddenly happen in an otherwise normal, regular and mundane setting identical to our own - as opposed to "merveilleux" which is about describing worlds where the magical and fabulous is mundane. Dracula would be "fantastique" while fairytales are "merveilleux".] There was the collection "Aventures fantastiques" by the editions Opta, or the science-fiction collection of Lattès.

Fantasy was perceived originally as merely a sub-genre of science-fiction - an idea that was kept alive by collections such as "Pocket science-fiction" or "J'ai lu - SF" that published a mix of science-fiction and fantasy works throughout the 80s. Outside of the short-lived collection "Heroic Fantasy" by Stan Barets at the Temps futurs publishing house (it only lasted from 1981 to 1983), we would have to wait for quite some time before publishers started to understand that fantasy was its own genre. In 1988, the Atalante creates the "Bibliothèque de l'évasion" (Library of evasion) collection. Fleuve noir creates in 1998 a fantasy collection called "Dentelle du cygne" (Swan's lace), that in 2002 was replaced by "Rendez-vous ailleurs", "Meetings at other places". These were for large formats - pocket formats also started their own specific collections. J'ai lu Fantasy in 1998, for example, and in 1988 the Pocket SF collection started to add sub-titles such as "Fantasy", "Dark Fantasy" or "Science-fantasy" to differentiate the works. However, despite all these efforts, the original decades-old confusion between fantasy, SF and general literature hindered the growth of the genre in France, since it never got a true visibility...

II) Cartography of the "great old ones"

If people only start to realize and understand the genre itself at the end of the 80s, it doesn't mean that there never was any French fantasy works until this date. In fact, the Callidor editions, specializing in "fantasy archeology", have made an effort to dig up and bring back to light the works that shaped the French fantasy - and for them, the oldest French work of fantasy would be the epic Les Centaures, in 1904, written by André Lichtenberger. In 2005, the author Laurent Kloetzer went even further than this - he claimed that Flaubert's Salammbô (an 1862 sensual, violent and Orientalist historical novel) was one of the earliest examples of French fantasy. Kloetzer notably pointed out the similarity between Salammbô's baroque style, and the one of Michael Moorcock's Gloriana, and how the way Robert Howard described bloody battles was quite close to Flaubert's own war descriptions. By retrospectively considering these works as fantasy, this would make the French fantasy a continuation of the merveilleux genre (see my mentions above).

So, French precursors did exist - but they remained lonely and rare experimentations, that never got any true success upon their release. Nathalie Henneberg, an author of science-fiction (who often published under the name of her husband, Charles Henneberg) did made a few fantasy pauses in her SF career during the 1960s - Le Sang des astres (The blood of celestial bodies) and Les Dieux verts (The Green gods), republished by Callidor in 2018. However the most notorious example of this "primitive French fantasy" would be Jacques Abeille's Cycle des contrées, published in 1982 at Flammarion, then re-edited in 2012 by the Attila editions, and finally released in pocket format by Folio SF in 2018. This cycle, that describes the exploration of another world full of wonders and magics, took more than thirty years to be recognized as a fantasy works - and that despite Abeille having sent his manuscript to Julien Gracq, one of the greatest French fans of Tolkien at the time. If people did notice a similarty between fantasy books and Abeille's works, editors made nothing of it - one would have to wait for the more modern reedition for the "fantasy" aspect to be advertised. In 2011, in an interview, Jacques Abeille recalled a sentence one of his readers said to him: "As a kid, I watched Star Wars. As a teen, I read Tolkien. As an adult, I read you."

Abeille's new success in modern fantasy is however an exception, since other "precursors" of fantasy never regained such a late recognition: for example, Isabelle Hausser's Célubée, published in 1986 by Julliard, is still not sold as a fantasy work, and that despite being re-edited by Fallois in 2000 (with a Marc Fumaroli preface). Among other French early attempts, we can find Sous l'araignée du Sud (Under the South spider), a 1978 novel by Dominique Roche and Charles Nightingale, published by Robert Laffont. Unlike the previous works, this novel actually had a consciousness that it belonged to a new and "infant" genre. The back of the book doesn't use the "fantasy" word yet, but it does describe it as "a marvelous and terrifying fairy tale, in the line of Tolkien's work, in the heroico-fantastical tradition of the Anglo-Saxons, but this time written in French, in a rich and visual language, sparkling with humor."

In the 1980s, we see an hesitaton, an ambiguity between publishing/editing decisions that made the birth of this first fantasy completely invisible to the public, and a slow, creeping recognition by authors and publishers of a new genre. In 1983, Francis Berthelot's Khanaor duology was published in the Heroic Fantasy collection of Temps futurs - and in the preface the author clearly states its "fantasy" status. "No need to lie to ourselves, the same way general literature disdains SF, the SF disdains heroic fantasy. It makes it a sub-sub-genre, a doubly-poor parent of the Letters with a big L." This preface highlights the bad reputation of the genre at the time - for French people of the 80s, fantasy was just a sub-science-fiction, less thoughtful, less prone to reflexion, more turned towards adventure and entertainment. Despite all this criticism, fantasy will still manage to grow away from science-fiction, and find its place in the "genre literatures".

III) An expanding universe

It was around 1995 that a true turn of event happened, around the same time the first French publishing house entirely dedicated to fantasy were created (Mnémos and Nestiveqnen). Mnémos, originally conceived by Stéphane Marsan and Frédéric Weil to publish role-playing game novelizations, still edited during its first years French authors such as Mathieu Gaborit, Fabrice Colin, Laurent Kloetzer, Pierre Grimbert and Sabrina Calvo. Nicknamed "the Mnémos generation", these authors created a true boom and multiplication of the French fantasy works in the 2000s. Les Chroniques des Crépusculaires (The Chronicles of the Dusk-people), of Mathieu Gaborit (1995-96) and Le Secret de Ji, by Pierre Grimbert (prix Julia Verlanger in 1997) form the two first commercial successes of French fantasy.

This new fashion was certified by the creation in 2000 of the Bragelonne editions: this very prolific publishing house released translations of English works, but also promoted the writers of the "Mnémos generation", while discovering new authors. For example, Henri Loevenbruck with his Celtic saga La Moïra (2001-2002), or the Ange duo (already famous for their work on comic books and roleplaying games) with their cycle Trois Lunes de Tanjor (Three Moons of Tanjor, 2001-2003, re-edited in 2005 under the title Ayesha). Les Editions de l'Oxymore (The Oxymoron Editions), created in 1999, also allowed numerous French authors to start in the genre, via periodical anthologies - these anthologies contained short stories from authors now quite well-known, such as Justine Niogret, Mélanie Fazi or Charlotte Bousquet. The editorial expansion follows all the way throughout the 2000s, with new publishing houses opening regularly. Le Bélial', which created the Bifrost journal, published fantasy novels since 1998 (their collection "Fantasy", renamed "Kvasar" in 2011). The webzine ActuSF becomes an editing house in 2003, and dedicates its collection "Trois souhaits" (Three wishes) to French authors. Les Moutons électriques (The electrical sheeps) were born in 2004, and made famous Jean-Philippe Jaworski, while La Volte, around the same time, started the very noticeable Horde du Contrevent (Horde of the Counterwind) by Alain Damasio. The years 2010s also saw a few house apparitions - such as the Critic, Callidor and Scrineo editions - and there was also a very dynamic microedition market.

Of course, French youth publications also stayed very rich and prolific - finding a true audience after the Harry Potter phenomenon. Two famous French series played on the idea of "the adventures of a young wizard" - the Tara Duncan series by Sophia Audouin-Mamikonian, started in 2003 and a mass commercial success, and also started in 2003 the saga of the "world of Gwendalavir" by Pierre Bottero. While these works all evoke the Potter-phenomenon (teenage characters promised to a great destiny and magical powers in a fantastical parallel world), they do keep an original voice, find their own themes and specificities, and thus gain a faithful audience. In the Fantasy forum of the university of Artois, Pierre Bottero was the most frequently mentionned French author when participants were asked "Who is your favorite author?", making him a good rival of English-speaking fantasy authors.

If French fantasy managed to build itself, and to singularize itself - and if the genre became even more visible thanks to the recent mediatic success of the Game of Thrones TV series, Jérôme Vincent (director of ActuSF) made a quite disappointing observation in a 2017 interview. He noted that the "wave" expected did not happen. "The big cinema blockbusters all belong to either science-fiction or fantasy, the great TV series are all tied one way or another to fantasy, that's the same thing in comic books and video games, and that's without talking of role-playing games... [...] But it seems that is no effect, no repercusion of this onto fantasy literature." In order to ameliorate the visibility and the sales of fantasy books, since 2017 publishers created the "Mois de l'imagination" (Month of the imagination), a way to rival the "literary new year". While it is too early to establish if this worked or not, it is quite a hopeful sign to see that in "fantasy reading recommandations", French names start to pop up alongside the great English ones. As Estelle Faye wrote, "French fantasy seems to still suffer from an inferiority complex" - but we can only hope authors and readers will manage to fight it off.

IV) A world of its own ?

Is there a "French touch", a specificity to French fantasy? This question, frequently debated by fan forums, became the subject of a podcast produced by the website Elbakin.net, in which was noted the lack in France of huge cycles carried over several volumes (a very prominent feature of English-written fantasy). French fantasy authors prefers one-shots, short series (rarely more than a trilogy), or series of distnct novels merely sharing a same world (for example, the works of Lionel Davoust that take place in the Evanégyre world). This formal difference would however be due to the "fear" of editors, who do not dare putting in the world too-ambitous projects. Due to this format specificity, it seems that there is a lesser importance of the worldbuilding in French fantasy - which might be why its authors had a hard time building an audience in the beginnings. As David Peyron wrote it in Culture geek, fantasy fans tend to prefer the quality of the worldbuilding over the quality of the style. "If the quality of the world becomes essential, in return some traits such as the literary style, which gives its value to a cultural object in a classical system, are pushed aside." French fantasy, which is less of a worldbuilder and much more literary than its English counterpart, is as a result swimming against the stream. However, nowadays this particularly is accepted by the fans. Indeed, in recent reviews and articles, several French authors such as Jean-Philippe Jaworski or Alain Damasio are praise for their mastery of style - the first one because of how he writes like Alexandre Dumas, the second because of how versatile he can be with tones and genres. These literary qualities are obviously tied to the inspirations of the French authors, who do not have the "pulp inheritage" and rather take from French classics or swashbuckling novels. Of course, we also cannot ignore the theory that French readers are more sensible to the style when it comes to writing in their own language.

If we go towards themes, we can see several recurring motifs and traditions shared by both English-speaking and French-speaking fantasy. For example, Arthurian fantasy has sparked a certain interest in France - La Trilogie des Elfes (The Elf trilogy) of Jean-Louis Fetjaine (1998-2000), or Justine Niogret's Mordred (2013). However, French authors truly seem to express a taste for historical but non-medieval fantasy. Jean-Philippe Jaworski's Gagner la guerre (Win the war, 2009) takes place during a reinvented Renaissance, Johan Heliot's takes an interest in the rule of Louis XIV in his Grand Siècle (Great century) saga (2017-2018), Pierre Pevel choses the 17th century for the setting of his Les Lames du cardinal (The Cardinal's blades, 2007-2010), and finally Fabrice Anfosso takes inspiration from World War I in his Le Chemin des fées (The road of fairies, 2005). Urban fantasy also has a big success in France - especially one focusing on a reinvented Paris. There are numerous works reimagining the French capital as either filled with surpernatural beasts, either invaded by a scientific-marvelous touching to both the steampunk and gaslamp fantasies. For examples you have the Paris des merveilles cycle, by Pierre Pevel (Paris of marvels, 2003-2015), Un éclat de givre by Estelle Faye (A fragment of frost, 2014), Les Extraordinaires et Fantastiques Enquêtes de Sylvo Sylvain by Raphaël Albert (The Extraordinary and Fantastical Investigations of Sylvo Sylvain, 2010-2017), or Les Confessions d'un automate mangeur d'opium by Mathieu Gaborit and Fabrice Colin (Confessions of an opium-eating automaton, 1999).

Jacques Baudou described with enthusiasm the originality of French fantasy, whose main specificity is - according to him - a tendency to go to the margins. "The best works of French fantasy [...] operates a subversion of the codes, they practice the art of mixing, and as thus come off as greatly original literary objects". It seems indeed that, due to its late apparition, French fantasy benefited from a certain look-back on its own genre, making it easier for French authors to play with or subvert its codes. Anne Besson, however, nuances this opinion: she points out that the small number of French fantasy authors (compared to the mass of English-speaking authors) makes the differences in tones, themes and motifs much more obvious - which creates what is merely a feeling of a greater diversity.

Another element of French fantasy that seems to be born of its "lateness" is its reflexive dimension: French authors have a strong tendency towards the commentary and the erudition. For example, the fantasy anthologies of the Editions de l'Oxymore include between its short stories things such as critical files or textstaken out of classics of French culture. These practices seem to be an attempt at legitimizing a genre that still has a hard time being recognized as "true literature" - even though modern days receive fantasy works with much more benevolence than before.

V) To the conquest of the world ?

If French fantasy grew enormously since the first experiments of the 70s, and if it now benefits from a much better visibility, its market stays quite weak. A proof of that: the numerous funding campaigns launched these last years by different actors of the genre. French fantasy also has a hard time crossing the frontier. Le Livre et l'épée by Antoine Rouaud (The Book and the sword, first volume released in 2013) was translated in English, German, Dutch and Spanish. Le Secret de Ji of Pierre Grimbert (Ji's Secret) was also published in English via Amazon Crossing in 2013. But these are exceptions to the rule. But there is hope for future French publications - for example the Bragelonne publishing house established a partnership with the British Gollancz, a science-fiction specialist.

[dooareyastudy]

Oui sur comment le communisme s’est développé en France ? Ses tentatives ou ses ratés ? Et les figures communistes importantes qui ont pu émerger à un moment ? Mais si vous avez d’autres lectures à conseiller sur le communisme et la France bien sûr je suis prenant.e 😌

Sur La Commune de Paris, qui est sûrement l'expérience la plus emblématique de jeter les bases d'une nouvelle forme de société, je peux te conseiller ces quelques références (sans que ce soit exhaustif bien sûr) :

Sur la Commune de Paris, Marx et Engels (qui est un recueil de texte édités par les Editions sociales)

Souvenirs d'un révolutionnaire, de juin 1848 à la Commune de Gustave Lefrançais

Les mémoires de Louise Michel

La Proclamation de la Commune par Henri Lefèbvre

Certains ouvrages sur la Révolution française d'auteurs marxistes ou plus ou moins inspirés par le marxisme peuvent aussi peut-être t'intéresser (comme les travaux d'Albert Soboul sur la Révolution française, ou peut-être plus accessible Une histoire de la Révolution française de Eric Hazan par exemple).

J'avoue que je n'ai pas beaucoup d'autres références qui me viennent en tête là comme ça mais n'hésite pas à cibler tes recherches en fonction des maisons d'édition : je suis certaine qu'en jetant un oeil au catalogue des Éditions sociales ou de La Fabrique (pour ne citer que ces deux-là), tu pourras trouver énormément de références intéressantes sur l'histoire du communiste comme mouvement politique en France (ce sur quoi j'ai personnellement peu lu).

Et je ne sais pas si ça peut t'intéresser, mais il y a la chaîne youtube Minutes rouges qui font des vidéos très sympas sur l'histoire des idées politiques (principalement d'extrême-gauche) en France.

[maddiesbookshelves]

Hachette qui annonce la version collector du tome 2 de La Passeuse de Mots alors que j'ai toujours pas lu le 1, hihihi

Il sort début novembre alors je vais essayer de lire le 1 en rentrant de mes vacances (je prends que ma liseuse avec moi)

Hachette announced the collector edition of book 2 of La Passeuse de Mots when I haven't even read the first one yet, hihihi

It comes out in early November so I'll try to read book 1 when I come back from vacation (I'm only taking my e-reader with me)

[icariebzh]

 "Quand tu liras cette lettre, tu auras dépassé la quarantaine. A mi-chemin de la vie, tu te retourneras pour regarder le parcours effectué. Mais te souviendras-tu de ce que la Loire m'a déjà appris? de tout ce que tu lui devras alors? Te souviendras-tu qu'il est vain de vouloir remonter à la source et qu'il faut rêver l'estuaire lointain où la vie se jette comme un fleuve à la mer..../...

" .../...Assis sur les pavés disjoints de la cale, je regarde le fleuve, les grèves et le pont...et je m'interroge: dis-moi, auras-tu toujours cette impression de passer une frontière à chaque fois que tu franchis le pont? Dis-moi, me croiras-tu si je te dis que mes parents, pour leur première rencontre, se sont retrouvés sur ce pont? Depuis des années, je suis tiraillé entre la rive droite et la rive gauche et je n'ai jamais su choisir... Certes, j'habite la rive nord .  Cette rive paternelle de la Bretagne à l'Anjou, où deux générations ont aligné leurs ardoises de mur en mur, de toit en toit, de maison en maison, jusqu'à couvrir le ciel d'écailles bleutées. Mon enfance n'y a vu que des jardins clôturés de hauts murs . Mon enfance n'y a lu que la loi gravée au coeur de la pierre. Mon enfance n'y a roulé que sur des routes droites fuyant à l'horizon.Mais, j'ai toujours rêvé de revenir sur la rive sud. Cette rive maternelle où je suis né...où le tuffeau des maisons marie sa blancheur à l'ardoise et à la tuile. Là, les portes et les fenêtres ouvrent sur les jardins, les jardins ouvrent sur les chemins et les champs. Mon enfance y peint toujours des soleils rouges dans les arbres. Mon enfance s'y cache encore dans les chemins creux où des oiseaux sont prêts à s'envoler. Dis-moi, auras-tu oublié tout cela? Auras-tu  choisi?.../..."

Joël Gaillou extrait de: "Lettre à qui je fus" Désirs d'estuaire- Editions Siloë 

[mnetn]

yann 🌬

SEIGNEUR JÉSUS le cri de joie quand j'ai vu que le film était posté en version restaurée sur ok.ru (et sur arte aussi !!!) ça faisait AU MOINS 1 ANS que j'attendais ça !!!!!

parce que c'est bon j'ai lu loti, vu la version de 1959 mais j'attendais cette version avec IMPATIENCE.

c'est exactement comme ça que je voyais yann !!!!

voir vanel dans le muet c'est trop toooop (ça fait parti de mon roman empire car j'ai énormément pensé à ce film sans pouvoir le voir ooowwww) et avec sandra milovanoff en plus c'est béni 🙏

men i trust = musiques GÉNIALES, pour l'associer à des edits 🤲

[earl-goupil]

T et Z c:

T: Any fandom tropes you can’t stand?

Pas vraiment, j’en ai aucun qui me vient en tête. Pendant longtemps, j’aimais pas les AU scolaires mais j’ai lu une fic TMA qui jouait le jeu tellement bien que maintenant, j’aime bien x)

Je suis sûr qu’il y a des tropes que je supporte pas mais j’y pense pas assez pour pouvoir les dire comme ça

Edit: LES SONGFICS, c'est ça que je déteste dans les tropes de fandom. Oui, j'ai écrit un petit passage comme ça dans Comme Les Autres mais c'est pas toute la fic et c'est une chanson assez connue pour que tu puisses lire la fic sans devoir chercher un morceau random à écouter en même temps

Z: Major character death–do you ever write/read it? Is there a character whose death you can’t tolerate?

J’en écris pas et j’aime vraiment pas en lire. La plupart du temps, je trouve ça pas très satisfaisant ? Et puis je trouve pas ça très fun à lire. Quand je veux écrire des trucs sur le deuil/la disparition, je préfère trouver des moyens alternatifs à la mort, parce que je trouve ça plus intéressant. Genre devoir faire le deuil d’une personne qui est encore à portée de main ?? Terriblement douloureux, j’adore. (La seule exception est un AU que je n’écrirai jamais)

Fun fact : Déluge est la seule fic avec ce tag que j’apprécie vraiment

[leblogdemarinaetjm]

SAMEDI 14 DÉCEMBRE 2024 (Billet 1 / 4)

« LEURS ENFANTS APRÈS EUX » (2h 21min)

Un film des frères Ludovic et Zoran Boukherma, avec Paul Kircher, Angelina Woreth, Sayyid El Alami…

Sur le Site AlloCiné : Critiques Pro : 3,5 / Critiques Spectateurs : 3,6

Synopsis : Août 92. Une vallée perdue dans l’Est, des hauts fourneaux qui ne brûlent plus. Anthony, quatorze ans, s’ennuie ferme. Un après-midi de canicule au bord du lac, il rencontre Stéphanie. Le coup de foudre est tel que le soir même, il emprunte secrètement la moto de son père pour se rendre à une soirée où il espère la retrouver. Lorsque le lendemain matin, il s’aperçoit que la moto a disparu, sa vie bascule.

D’après le roman éponyme de Nicolas Mathieu, publié aux Editions Actes Sud, Prix Goncourt 2018.

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Pierre Murat (Télérama) : « Je n'ai pas lu le roman de Nicolas Mathieu, c'est un tort, bien sûr. Je m'en excuse. Il paraît que c'est génial, je veux bien le croire. J'ai lu des papiers absolument dithyrambiques de certains de mes confrères sur le film, mais moi, je déteste tout. La photo, je la trouve volontairement moche. Je déteste le montage. Je déteste la mise en scène, ces mouvements à la fois artificiels, soi-disant brillants, avec des panoramiques qui s'élèvent, c'est totalement inutile. Je déteste surtout le regard porté à la fois sur les adultes et les adolescents, qu'on filme comme des espèces d'endives. Peut-être que je n'ai rien compris, je me suis sans doute trompé, mais je n'aime pas du tout. »

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JM avait vu l’année dernière, à peu près à la même époque, « Le Règne animal », un film de Thomas Cailley, avec Romain Duris et Paul Kircher, le même jeune-homme qui tient cette fois le premier rôle dans « Leurs enfants après eux ». Il l’avait trouvé excellent dans « Le Règne animal » et vraiment pas très bon, voire pas bon du tout dans « Leurs enfants après eux », malgré le Prix du Meilleur Espoir qu’il a obtenu au Festival de Venise. C’est également l’avis de Marina.

Le film est trop long, 2h 21min, on s’y ennuie très vite, trop glauque… Comme le journaliste de Télérama, nous ne comprenons pas les louanges qu’on lui a faites. C’est simple, nous n’avons même pas envie de vous en parler davantage !

La seule chose qu’on a aimé, c’est toutes les musiques de la bande-son et la police de caractère choisie pour les génériques du début et de fin.

Marina lui donne ❤️,5 et JM ❤️❤️ sur 5.

[pixelnoctis]

Ce soir c'est détente

Lecture de mangas

J'ai repris depuis peu

Une éternité que je n'en avais pas lu avec

Un classique de chez classique

Dragonball tome. 19

Dans sa version la plus aboutie

La "Perfect Edition"

[chansonsinternationales]

Les exportés de Sonia Devillers - Editions J'ai Lu

[lecturesaflo-ts]

Un Noel Royal d'Alix Nichols aux Editions J'ai Lu

5 octobre 2022  301 pages Romance – Chick lit – Amour – Noël – Duc – Famille royale 6,99 € – Ebook / 14,90 € – Broché Moi, c’est Camille, l’unique pauvre de Mont-Évor. Il y a six ans, un incendie criminel a ravagé une aile entière du palais royal, et ma sœur aînée, Jeannette, a été désignée coupable. Cet événement a profondément marqué les esprits… et chamboulé ma vie. Depuis, je vivote en…

[booksnunicorns]

BILAN Septembre 2021

[mask131]

The arduous path to French fantasy

If you recall, not too long ago I posted a rough translation of an article by the BNF (National French Library) called "A cosmogony of French fantasy", taking a look at the fantasy genre in French literature. Well I just discovered something that blew my mind.

The journal this article was part of, was actually one of a series of journal-reviews published by the BNF entirely centered around fantasy. The article "Cosmogony" was from the issue centered around "Worldbuilding", but I found another article talking about the history of the fantasy genre in French literature, this time coming from an issue of "BNF - Fantasy" with for theme "Modern success".

So here is the rough translation of: Fantasy in France, a long road... Originally written by Anne Besson

Fantasy has been present in France for numerous decades, but it had to wait until the turn of the 21st century to actually be recognized as its own genre, thanks to the work of fans and of independant publishing houses.

The main reason fantasy arrived quite "late" in French literature was due to a lack of identification. Numerous fantasy works were already published in France for a long time - but there was no specific collections dedicated to fantasy, and the very name "fantasy" wasn't used. For example, J.R.R. Tolkien's The Lord of the Rings was translated in France in 1972-1973, by the publishing house Christian Bourgois - which is VERY late compared to other European countries, that had done a translating work long before. Other main works of fantasy only came in France under the shadow or as satellites of other literary genres. First, under the fantastique genre, with the collection "Aventures fantastiques" (Fantastical adventures) by Opta, then under the science-fiction genre. [Note: I said it before, but "fantastique" is a genre of French literature centered around a supernatural element arriving into a mundane and realistic setting very similar to our own. Dracula is "fantastique", for example] The works of Jack Vance were translated by the "Club du Livre d'Anticipation" (The Anticipation Book Club), Roger Zelzany's Chronicles of Amber was found originally in "Présence du futur" (Presence of the future), then in "Folio SF". In fact, for a very long time the term "science-fiction" will dominate the French edition, used as a general category for many non-realistic work - even what was identified by the 80s as "heroic fantasy" was named by French editors "science-fiction".

It is only at the end of the 1990s, and at the beginning of the 2000s that the word "fantasy" appeared - it was when specific collections and specialized publishing houses also formed themselves, such as Nestiveqnen or Mnémos, all derived from the editing industry of role-playing games. In 2000, the publishing house Bragelonne will decide to translate the works of David Gemmell and Terry Goodkind, great fantasy authors that hadn't been translated in French yet, and which were massive successes that helped the expansion of the fantasy industry in France.

Fans are definitively those that make fantasy live the most in France. Alongside the fantasy boom of the 90s-2000s, numerous actors appeared in what was called the "micro-edition", a very dynamic but very fragile world. Numerous festivals started popping out everywhere, and fandoms appearing thanks to the Internet became the main sources of information about the genre.

The growing importance of this sector, and the apparition of "experts" of fantasy, is translated by a new care for fantasy as a genre. Numerous classical authors ignored until this point get translated (such as William Morris, by "Aux forges de Vulcain", "In Vulcan's forge"). Numerous "integral" editions are offered by Bragelonne, Pocket or J'ai Lu. You also have several re-translations, offering a new French text closer and more respectful towards the originals (Patrice Louinet reworked on Robert E. Howard, while David Camus offered new H.P. Lovecraft translations, and Daniel Lauzon completely redid the French Tolkien works).

But truly French fantasy works - as in, French-written fantasy works created by francophone authors - were for a long time considered as "secondary" works. Late to the party, they had a hard time imposing themselves among the many translations of English-works. But today, we can consider that the French creation reached a level of "full maturity". In fact, we re-discover today an old French fantasy that had been forgotten by previous generations - Les centaures by André Lichtenberg in 1904, re-edited by the Callidor editions in 2017 ; or the duology Khanaor by Francis Berthelot in 1983. But, again, it was at the end of the 90s that the "New French School" of fantasy appeared, embodied by the trio of Mathieu Gaborit (Les Chroniques des Crépusculaires, 1995-1996, The Chronicles of the Dusk-people), Fabrice Colin (Arcadia, 1998 or Winterheim, 1999-2003) and Henri Loevenbruck (La Moïra, or Gallica, both starting in 2001).

Editors started accepting in their ranks authors with very unique, peculiar or demanding imaginations. Among these specific works we can find the Horde du contrevent (Horde of the counter-wind) by Alain Damasio, in 2004, by the house La Volte, or Jean-Philippe Jaworski's works (Récits du vieux royaume, Tales of the old kingdom, 2007, or Rois du monde, Kings of the world, 2013) in the house Les moutons électriques.

Other independant editors (note: In English I don't know if you can say "indie publishing houses" or if the "indie" term is only applied to video games and animation) also started imposing themselves. Scrinéo published Gabriel Katz, ActuSF published Karim Berrouka, Critic's published Estelle Faye and Lionel Davoust. Finally the "historical" actors of the domain, the "ancients" of the fantasy genre, also started encouraging the growth of French talents: L'Atalante published Régis Goddyn, Mnémos published Adrien Tomas and Charlotte Bousquet. As for Bragelonne they have Pierre Pevel, who is the great example of a fantasy inspired by the old French feuilletons - his Les Enchantements d'Ambremer (The Enchantments of Ambersea, 2003) are inspired by Arsène Lupin, while his Les Lames du Cardinal (The Blades of the Cardinal, 2007), reference and pay homage to Alexandre Dumas. About this last series: it was actually the very first French fantasy series to ever be translated in the United-States!

[yoannlossel]

[ENG] I can finally announce it officially! I have the pleasure and the great honor to illustrate a fine press edition of American Gods for Suntup Editions, of which all copies will be signed by Neil Gaiman and myself!

If you are interested in these editions, as they will be limited editions, I invite you to join the waiting list on the dedicated page of Suntup Editions website. The wait list closes on October 21st, 2022. // An official announcement will be made at some point in late 2023 when the book is further into production, and pre-orders will be taken at that time //

It was a dream for me to illustrate this book that left its mark on my imagination from the first time I read it, a long time ago. I am very happy to finally paint the images I had in mind. And after many re-readings, I still have as much pleasure to make this road trip with Shadow and Mr. Wednesday.

[FR] Je peux enfin l'annoncer officiellement ! J'ai le plaisir et l'immense honneur d'illustrer une édition "fine press" d'American Gods pour Suntup Editions, dont tous les exemplaires seront signés par Neil Gaiman et moi-même!

Si vous êtes intéressés par ces éditions (en anglais), puisqu'il s'agira d'éditions limitées, je vous invite à rejoindre la liste d'attente sur la page dédiée du site de Suntup Editions. La liste d'attente se termine le 21 octobre 2022. // Une annonce officielle sera faite à un moment donné fin 2023 lorsque le livre sera plus avancé dans la production, et les précommandes seront prises à ce moment-là //

C'était un rêve pour moi d'illustrer ce livre qui a marqué mon imagination dès la première fois que je l'ai lu, il y a bien longtemps. Je suis très heureux de pouvoir enfin peindre les images que j'avais en tête. Et après de nombreuses relectures, j'ai toujours autant de plaisir à faire ce road trip avec Ombre et Voyageur.