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Jeune fille
Broché.
224 pages, Paperback
First published January 11, 2007
6 people are currently reading
219 people want to read
About the author
Anne Wiazemsky
39 books49 followersAnne Wiazemsky (1947 - 2017) was a French actress and writer.
As an actress, she appeared most notably in Robert Bresson's Au hasard Balthazar (1966) and in the films of Jean-Luc Godard La Chinoise (1967) and Week End (1967). She was married to Godard between 1967 and 1979.
After abandoning her movie career in the late 80s, Wiazemsky began writing critically acclaimed fiction and memoirs. Her 1993 novel Canines was awarded with the Prix Goncourt des Lycéens, while Une poignée des gens, a novel she published in 1996, won the Grand prix du roman of the Academie française.
Some of her books have been adopted into film. All the Fine Promises of Jean-Paul Civeyrac was based on Hymnes à l'Amour, while Michel Hazanavicius adopted her memoir Une anée apres, an account of her relationship with Godard during the protest movement that paralysed France in 1968.
Her 2007 autobiographical novel, Jeune Fille, is based on her experience starring in Au hasard Balthazar at the age of 18.
On her father's side, Wiazemsky was a descendant of a Russian aristocracy that fled Russia after the October Revolution of 1918--the Rurikid family of Princes Vyazemsky-Counts Levashov. Her mother, Claire Mauriac, was the daughter of writer François Mauriac.
As an actress, she appeared most notably in Robert Bresson's Au hasard Balthazar (1966) and in the films of Jean-Luc Godard La Chinoise (1967) and Week End (1967). She was married to Godard between 1967 and 1979.
After abandoning her movie career in the late 80s, Wiazemsky began writing critically acclaimed fiction and memoirs. Her 1993 novel Canines was awarded with the Prix Goncourt des Lycéens, while Une poignée des gens, a novel she published in 1996, won the Grand prix du roman of the Academie française.
Some of her books have been adopted into film. All the Fine Promises of Jean-Paul Civeyrac was based on Hymnes à l'Amour, while Michel Hazanavicius adopted her memoir Une anée apres, an account of her relationship with Godard during the protest movement that paralysed France in 1968.
Her 2007 autobiographical novel, Jeune Fille, is based on her experience starring in Au hasard Balthazar at the age of 18.
On her father's side, Wiazemsky was a descendant of a Russian aristocracy that fled Russia after the October Revolution of 1918--the Rurikid family of Princes Vyazemsky-Counts Levashov. Her mother, Claire Mauriac, was the daughter of writer François Mauriac.
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Displaying 1 - 20 of 20 reviews
August 16, 2025
Le Redoutable, based on autobiography by Anne Wiazemsky, written and directed by Michel Hazanavicius
Le Redoutable has been nominated for the Palme D’Or and this means it is one of the best films of 2017
Furthermore, the writer of the screenplay and director of the motion picture is Michel Hazanavicius, the winner of the Oscar for The Artist, a phenomenon that not only won the Academy Award for Best Picture, but also caused a thunderstorm with the other Academy and multiple prizes it won.
The hero and at the same time antihero of this provocative, thoughtful, worthwhile, difficult film is Jean-Luc Godard.
Recognized as a Deity of the New Cinema, a genius with quintessential art works like Contempt, based on the consummate novel by Alberto Moravia, Breathless, Pierrot Le Fou, Godard refutes all this at one stage.
This is the archetypal case of the genius who descends into a big depression, if an authoritative artist, he is also an obnoxious, rude, impossible, loathsome and despicable human being.
If one only considers his political views, his “revolutionary stand” and that would be enough to reject the personage completely, even if he would find so much to argue in favor of tyrants, mass murderers like Stalin and Mao, the latter is so present in the conversation, quotes and on the walls of the apartment of Godard.
On the set of La Chinoise, the director becomes infatuated with the actress Anne Wiazemsky, who would later write the autobiography on which this excellent motion picture is based.
La Chinoise was not well received by a good number of critics and the communist Chinese that the filmmaker so cherished, who refuses his request to visit China, even going as far as to state that, were it up to them, they would make Godard change the title of his bourgeois, putrid feature that they hate.
The media is excited by the marriage and they insist on finding the details and keep asking about the ceremony, when the subject of the press conference is actually La Chinoise and one representative of the film festival is so upset that he starts referring to the film as “La Tonkinoise” and this results in further jokes, the spiritual Jean-Luc Godard rectifies the mistake, then corrects the official, even when he has the correct title and then changes the name of the man…
However, if the director can be affable, he is very often rude, insults people in a restaurant, talks dismissively about Truffaut and his romantic movies, he even rejects…Godard, saying I am not this Godard, he is dead.
This “new”, unlikeable Godard is not interested in making “middle class features”, not anymore, for he wants to depict, film fares about the revolution and keeps quoting the heinous –in this cinephile’s view- Mao and Che Guevara.
Che said that we have to create an “interior Vietnam” and that stupid quote is repeated at least twice and Jean-Luc Godard is repellent when, during one of the few marches he attends, one couple approaches him and the woman talks about the need to see felicitous films, since life is so “moche”.
The hero almost kicks these people, as he does with some others, including one working for Publicis, who has attacked the idol, deity of the stupid-in this matter- Godard.
Paradoxically or not, this ultimate revolutionary, adept of Che and every other damn killer in the name of communism, is rejected by some fired up student as in the same category of consumerism symbols as- anathema- Coca Cola…
He even understands them and he has a clash with his young wife, who is flabbergasted by his lack of response when so viciously insulted, and the director says that he hates “vieux cons „and as he becomes one, he despises himself.
Jean-Luc Godard, as described by his wife is unbearable, with his obsessive fight against the bourgeoisie and anything destined for its consumption, insistence on revolutionary attitudes- he even rejects Anne’s suntan and he gets a funny response: Lenin did not have a suntan, but Che Guevara surely did.
In terms of films, the man turned antihero rejects all his works and everything the others did, with some strange exceptions like…Jerry Lewis, The Marx Brothers…he attacks viciously Renoir and his “bourgeois films”, provoking an intense fight in the car, as they travel 800 kilometers to reach Paris.
When Anne is invited to act in a modern film, the husband is appalled by the script which has the protagonist naked throughout and rejects the project, only to accept it when the screenplay is changed, but he still insults and abuses his spouse when he arrives at the filming location, where he is jealous of the partner…by the way, he once calls all actors stupid, they only know to do what you tell them…
Jean-Luc Godard has another fight, he is a dedicated, serious combatant in this later part of his life, with Bernardo, whose work he destroys, as he does with everything except some aforementioned productions.
“Pezzo di merda, vaffanculo…c’est tout de la merde” these words are shouted with incredible frequency and they indeed might point out to mental failure and a serious depression which could explain some of the behavior and the extreme acts committed by this troubled artist, who just wants to be a “Maoist, communist and revolutionary” in his sad, loathsome part of his life.
The question posed in the later works is if Godard should make films or revolution, for films with the revolutionary message are hard to make, as he tries to have collective decisions on the making of features, with people voting on what should be and could not be in, the atrocities committed against Native Americans…but do we have the money to include that? You pay for it Godard, if you want them…the crew appearing to vote the director out of his ideas …if it a revolutionary film, it still needs to be a film…n’est pas…
Posted 28th February 2018 by realini
Le Redoutable has been nominated for the Palme D’Or and this means it is one of the best films of 2017
Furthermore, the writer of the screenplay and director of the motion picture is Michel Hazanavicius, the winner of the Oscar for The Artist, a phenomenon that not only won the Academy Award for Best Picture, but also caused a thunderstorm with the other Academy and multiple prizes it won.
The hero and at the same time antihero of this provocative, thoughtful, worthwhile, difficult film is Jean-Luc Godard.
Recognized as a Deity of the New Cinema, a genius with quintessential art works like Contempt, based on the consummate novel by Alberto Moravia, Breathless, Pierrot Le Fou, Godard refutes all this at one stage.
This is the archetypal case of the genius who descends into a big depression, if an authoritative artist, he is also an obnoxious, rude, impossible, loathsome and despicable human being.
If one only considers his political views, his “revolutionary stand” and that would be enough to reject the personage completely, even if he would find so much to argue in favor of tyrants, mass murderers like Stalin and Mao, the latter is so present in the conversation, quotes and on the walls of the apartment of Godard.
On the set of La Chinoise, the director becomes infatuated with the actress Anne Wiazemsky, who would later write the autobiography on which this excellent motion picture is based.
La Chinoise was not well received by a good number of critics and the communist Chinese that the filmmaker so cherished, who refuses his request to visit China, even going as far as to state that, were it up to them, they would make Godard change the title of his bourgeois, putrid feature that they hate.
The media is excited by the marriage and they insist on finding the details and keep asking about the ceremony, when the subject of the press conference is actually La Chinoise and one representative of the film festival is so upset that he starts referring to the film as “La Tonkinoise” and this results in further jokes, the spiritual Jean-Luc Godard rectifies the mistake, then corrects the official, even when he has the correct title and then changes the name of the man…
However, if the director can be affable, he is very often rude, insults people in a restaurant, talks dismissively about Truffaut and his romantic movies, he even rejects…Godard, saying I am not this Godard, he is dead.
This “new”, unlikeable Godard is not interested in making “middle class features”, not anymore, for he wants to depict, film fares about the revolution and keeps quoting the heinous –in this cinephile’s view- Mao and Che Guevara.
Che said that we have to create an “interior Vietnam” and that stupid quote is repeated at least twice and Jean-Luc Godard is repellent when, during one of the few marches he attends, one couple approaches him and the woman talks about the need to see felicitous films, since life is so “moche”.
The hero almost kicks these people, as he does with some others, including one working for Publicis, who has attacked the idol, deity of the stupid-in this matter- Godard.
Paradoxically or not, this ultimate revolutionary, adept of Che and every other damn killer in the name of communism, is rejected by some fired up student as in the same category of consumerism symbols as- anathema- Coca Cola…
He even understands them and he has a clash with his young wife, who is flabbergasted by his lack of response when so viciously insulted, and the director says that he hates “vieux cons „and as he becomes one, he despises himself.
Jean-Luc Godard, as described by his wife is unbearable, with his obsessive fight against the bourgeoisie and anything destined for its consumption, insistence on revolutionary attitudes- he even rejects Anne’s suntan and he gets a funny response: Lenin did not have a suntan, but Che Guevara surely did.
In terms of films, the man turned antihero rejects all his works and everything the others did, with some strange exceptions like…Jerry Lewis, The Marx Brothers…he attacks viciously Renoir and his “bourgeois films”, provoking an intense fight in the car, as they travel 800 kilometers to reach Paris.
When Anne is invited to act in a modern film, the husband is appalled by the script which has the protagonist naked throughout and rejects the project, only to accept it when the screenplay is changed, but he still insults and abuses his spouse when he arrives at the filming location, where he is jealous of the partner…by the way, he once calls all actors stupid, they only know to do what you tell them…
Jean-Luc Godard has another fight, he is a dedicated, serious combatant in this later part of his life, with Bernardo, whose work he destroys, as he does with everything except some aforementioned productions.
“Pezzo di merda, vaffanculo…c’est tout de la merde” these words are shouted with incredible frequency and they indeed might point out to mental failure and a serious depression which could explain some of the behavior and the extreme acts committed by this troubled artist, who just wants to be a “Maoist, communist and revolutionary” in his sad, loathsome part of his life.
The question posed in the later works is if Godard should make films or revolution, for films with the revolutionary message are hard to make, as he tries to have collective decisions on the making of features, with people voting on what should be and could not be in, the atrocities committed against Native Americans…but do we have the money to include that? You pay for it Godard, if you want them…the crew appearing to vote the director out of his ideas …if it a revolutionary film, it still needs to be a film…n’est pas…
Posted 28th February 2018 by realini
October 5, 2017
C’est la sortie du dernier film de Michel Hazanavicius, Le Redoutable, qui m’a incitée à emprunter ce livre à la médiathèque. Certes, le film est inspiré d’un autre livre d’Anne Wiazemsky mais je savais que dans Jeune fille, elle relatait sa première expérience d’actrice et il me semblait naturel de redécouvrir son parcours cinématographique depuis le début.
C’est en 1965 qu’Anne Wiazemsky, âgée de 17 ans, rencontre le cinéaste Robert Bresson qui va l’engager pour tenir un des rôles principaux dans son film Au hasard Balthazar. Le tournage a lieu pendant l’été et va participer à la transformation de l’adolescente, encore très protégée par son cocon familial, en une jeune fille plus libre et plus assurée.
J’ai déjà lu plusieurs livres d’Anne Wiazemsky, je les ai appréciés mais n’ai jamais réussi à en parler ici, pour des raisons que je n’identifie pas complètement. Peut-être parce que ces romans sont largement basés sur des éléments autobiographiques de l’auteur et qu’ils me parlent plus comme témoignage que comme intrigue romanesque. Et pourtant, il m’arrive d’écrire sur mes lectures d’essais ou de documents.
Ce livre-ci, aussi, je l’ai bien aimé. Sans doute parce que cette année 1965 me replonge dans l’enfance – j’avais sept ans et cette année a marqué un tournant dans ma vie, pas vraiment heureux, pourtant. Je retrouve dans les mots d’Anne Wiazemsky les traces d’une certaine éducation, des principes que l’on avait même dans des milieux moins intellectuels et privilégiés que celui où elle évoluait. Et puis j’ai beaucoup aimé la façon dont elle raconte sa découverte de l’univers du cinéma et des plateaux de tournage, sa complicité avec les équipes techniques, ses interrogations face à la personnalité complexe du réalisateur, la progression de sa compréhension de son rôle d’actrice. C’est très agréable à lire, un style sans fioritures, qui soutient un propos parfois léger, parfois plus grave, dans tous les cas sincère et pudique mais dénué de passion. C’est peut-être cette modération qui fait que j’ai du mal à parler des livres d’Anne Wiazemsky.
C’est en 1965 qu’Anne Wiazemsky, âgée de 17 ans, rencontre le cinéaste Robert Bresson qui va l’engager pour tenir un des rôles principaux dans son film Au hasard Balthazar. Le tournage a lieu pendant l’été et va participer à la transformation de l’adolescente, encore très protégée par son cocon familial, en une jeune fille plus libre et plus assurée.
J’ai déjà lu plusieurs livres d’Anne Wiazemsky, je les ai appréciés mais n’ai jamais réussi à en parler ici, pour des raisons que je n’identifie pas complètement. Peut-être parce que ces romans sont largement basés sur des éléments autobiographiques de l’auteur et qu’ils me parlent plus comme témoignage que comme intrigue romanesque. Et pourtant, il m’arrive d’écrire sur mes lectures d’essais ou de documents.
Ce livre-ci, aussi, je l’ai bien aimé. Sans doute parce que cette année 1965 me replonge dans l’enfance – j’avais sept ans et cette année a marqué un tournant dans ma vie, pas vraiment heureux, pourtant. Je retrouve dans les mots d’Anne Wiazemsky les traces d’une certaine éducation, des principes que l’on avait même dans des milieux moins intellectuels et privilégiés que celui où elle évoluait. Et puis j’ai beaucoup aimé la façon dont elle raconte sa découverte de l’univers du cinéma et des plateaux de tournage, sa complicité avec les équipes techniques, ses interrogations face à la personnalité complexe du réalisateur, la progression de sa compréhension de son rôle d’actrice. C’est très agréable à lire, un style sans fioritures, qui soutient un propos parfois léger, parfois plus grave, dans tous les cas sincère et pudique mais dénué de passion. C’est peut-être cette modération qui fait que j’ai du mal à parler des livres d’Anne Wiazemsky.
August 31, 2022
ce livre est une ode à la jeunesse, a la liberté, a la sensualité et a la passion qui m'a permis de me rafraîchir et de trouver un sens à des questionnements soulevés dans le romantisme de l'oeuvre d'anne wiazemsky !
October 11, 2024
Roman autobiographique qui raconte la rencontre d'Anne, jeune mineure et de Robert Bresson qui en fait son interprète principale. Le tournage d'un film et les intrigues du monde du cinéma sont bien dessinés. L'emprise du metteur en scène sur la jeune femme, mélange d'attirance et de tyrannie, et sa toxicité sont au centre du récit avec des schémas qui ont tendance à un peu trop se répéter. Mais surtout, ce qui ne m'a pas plu, c'est l'omniprésence du "je" qui devient lassante.
This entire review has been hidden because of spoilers.
September 7, 2017
L'histoire du tournage du film 'au hazard Balthazar' est fascinant. Le personnage d'Anne elle-meme, son inconscience de sa position privilegiee, sa fausse modestie (suis-je injuste?), son 'name-dropping' faussement naif (encore, suis-je injuste?) agaçants, finallement. J'aime beaucoup cet ecrivain, mais ce livre, moins.
June 14, 2025
3,5*
Το βιβλίο εστιάζει στην καλοκαιρινή περίοδο των γυρισμάτων μιας ταινίας (πραγματική ιστορία) από την οπτική της 18χρονης τότε Anne Wiazemsky και παρότι περίμενα ότι θα βαρεθώ, μου άρεσε και πέρασε διασκεδαστικά η ώρα. Δεν είναι και αριστούργημα, αλλά σίγουρα διαβάζεται ευχάριστα και προσωπικά με έβαλε να ψαχτώ και για τους πρωταγωνιστές της ιστορίας!
Το βιβλίο εστιάζει στην καλοκαιρινή περίοδο των γυρισμάτων μιας ταινίας (πραγματική ιστορία) από την οπτική της 18χρονης τότε Anne Wiazemsky και παρότι περίμενα ότι θα βαρεθώ, μου άρεσε και πέρασε διασκεδαστικά η ώρα. Δεν είναι και αριστούργημα, αλλά σίγουρα διαβάζεται ευχάριστα και προσωπικά με έβαλε να ψαχτώ και για τους πρωταγωνιστές της ιστορίας!
September 3, 2019
Un livre terriblement bien écrit, qui rappelle avec bonheur « jeune fille en fleurs ».
September 22, 2021
Un livre sur une jeune fille & écrit par une jeune fille - pas un fantasme autour d'elle.
December 16, 2022
robert bresson: cancelled.
July 30, 2023
Anne toujours aussi divertissante que d'habitude
March 24, 2025
Lecture très fluide, style agréable sans fioritures. On est facilement immergé dans sa tranche de vie. Bresson est un drôle de type.
May 2, 2025
Anne Wiazemsky aborde la naïveté avec tant de maturité...
January 24, 2023
4/5
C’est toujours un plaisir de lire les romans d’Anne Wiazemsky, même si je ne suis pas une grande fan de ce style d’écriture un peu « naïf ».
C’est toujours un plaisir de lire les romans d’Anne Wiazemsky, même si je ne suis pas une grande fan de ce style d’écriture un peu « naïf ».
August 26, 2011
In the spring of 1965 the French director Robert Bresson asked a17 year old girl, Anne Wiazemsky, to be his leading lady in his next movie "Au Hasard Balthasar".
Forty years after her first cinematographic experience Anne is wondering if he ever was in love with her.
"Jeune Fille" is a book immensely exciting in its amazing simplicity with well portraited characters and a story as interesting as only life can write. It describes the addictive relationship between Anne and Bresson and how that changed her life for ever. Those two had a chemistry despite their age difference and they had intense feelings for each other, but it never stoped them from hearting each other at various points. Bresson had a power over Anne and although he was known for treating his actors in a possesive, authoritan way he did go over the edge with her. THey were leaving in the same house, with adjoying bedrooms and he tried to control every part of her life in and out of the set and he did try to stop her from developping any king of relatioship with other members of the crew, keeping her a 'prisoner'. Anne felt strongly about Bresson and admired him deeply and strangely enough he was the reason that her sex life started. She took a lover, someone from the crew in a desperate attemp to regain a little control over her life and escape Bresson's control. Bresson grew so possessive over her that on finishing filming Au Hasard Balthasar asked her for the role of Guinivere in "Lancelot du Lac" on condition that she will never film with anyone other than him. Of course this never came to pass but its an excellent example of yheir relationship.
This is a book about a girl leaving her safe world and entering the adulthood under rather strange but also amazingly interesting circumstances. I remembered how it was when I was her age and I found myself thinking that I was at times like her.
“I have been happy with you”, Anne told him.
“Me, too. Living near you has given me a great deal. . . your youth has made me young. . . Often I was your age. . . You will understand later on . . . later”
And, thus it is later Anne Wiazemsky will write one of the very best books I read this year. A pure wonder, simple but absolute. An excellent piece of literature
Forty years after her first cinematographic experience Anne is wondering if he ever was in love with her.
"Jeune Fille" is a book immensely exciting in its amazing simplicity with well portraited characters and a story as interesting as only life can write. It describes the addictive relationship between Anne and Bresson and how that changed her life for ever. Those two had a chemistry despite their age difference and they had intense feelings for each other, but it never stoped them from hearting each other at various points. Bresson had a power over Anne and although he was known for treating his actors in a possesive, authoritan way he did go over the edge with her. THey were leaving in the same house, with adjoying bedrooms and he tried to control every part of her life in and out of the set and he did try to stop her from developping any king of relatioship with other members of the crew, keeping her a 'prisoner'. Anne felt strongly about Bresson and admired him deeply and strangely enough he was the reason that her sex life started. She took a lover, someone from the crew in a desperate attemp to regain a little control over her life and escape Bresson's control. Bresson grew so possessive over her that on finishing filming Au Hasard Balthasar asked her for the role of Guinivere in "Lancelot du Lac" on condition that she will never film with anyone other than him. Of course this never came to pass but its an excellent example of yheir relationship.
This is a book about a girl leaving her safe world and entering the adulthood under rather strange but also amazingly interesting circumstances. I remembered how it was when I was her age and I found myself thinking that I was at times like her.
“I have been happy with you”, Anne told him.
“Me, too. Living near you has given me a great deal. . . your youth has made me young. . . Often I was your age. . . You will understand later on . . . later”
And, thus it is later Anne Wiazemsky will write one of the very best books I read this year. A pure wonder, simple but absolute. An excellent piece of literature
April 19, 2016
Anne Wiazemsky rememora as gravações de Au Hasard Balthazar, sua estreia no cinema aos 18 anos de idade, sob a direção de Robert Bresson. A jovem desajeitada vai descobrindo a si mesma durante os meses de convivência com a figura sedutora e controladora do cineasta. Na relação deles, é indiscernível o que pode ser o rigoroso modelo bressoniano de preparação de atores ou uma obsessão romântica possessiva, mas Wiazemsky amadurece tanto submetendo-se aos desígnios do cinema de revelação de Bresson, quanto escapando desse mesmo controle na relação deles fora de cena. A metodologia peculiar de Bresson é descrita extensivamente e há algumas passagens divertidas em que ele tenta exercer sua vontade absoluta aos atores mais arredios de seu filme: o burrinho Balthazar, as nuvens, a noite.
May 8, 2024
3.75✩
Dans cette autobiographie, Anne Wiazemsky nous raconte son été de l’année 1965 où elle évoque ses mois partagés avec Robert Bresson, grand cinéaste français, sur le tournage du film Au hasard Balthazar. À seulement 18 ans, elle y tient son tout premier rôle et le rôle principal de ce long-métrage.
Jeune fille fait renaître les souvenirs des années de jeunesse de Wiazemsky. Avec sa justesse, sa fraîcheur et sa sincérité, elle fait revivre l’atmosphère incroyable qui régnait au milieu des années soixante. Ce roman donne un aperçu sur le travail de Bresson et les expériences ambiguës qu’Anne a traversées en découvrant l’univers majestueux et sévère du cinéma.
Ce livre à la fois doux et attachant regorge de rencontres et d’anecdotes qui façonneront l’incroyable vie de l’auteure.
Dans cette autobiographie, Anne Wiazemsky nous raconte son été de l’année 1965 où elle évoque ses mois partagés avec Robert Bresson, grand cinéaste français, sur le tournage du film Au hasard Balthazar. À seulement 18 ans, elle y tient son tout premier rôle et le rôle principal de ce long-métrage.
Jeune fille fait renaître les souvenirs des années de jeunesse de Wiazemsky. Avec sa justesse, sa fraîcheur et sa sincérité, elle fait revivre l’atmosphère incroyable qui régnait au milieu des années soixante. Ce roman donne un aperçu sur le travail de Bresson et les expériences ambiguës qu’Anne a traversées en découvrant l’univers majestueux et sévère du cinéma.
Ce livre à la fois doux et attachant regorge de rencontres et d’anecdotes qui façonneront l’incroyable vie de l’auteure.
February 7, 2015
Un livre léger, presque naïf (trop ?) sur la rencontre de la jeune Anne Wiazemsky avec Robert Bresson et le tournage d'Au Hasard Balthazar. On assiste à la naissance d'une femme - toujours fidèle à sa candeur - mais aussi d'une actrice.
Read
July 27, 2011quel ennui
November 12, 2013
Totally fascinating to get a bit of Bresson the man (and at work); almost as much so to imagine what elements justify the subtitle "un roman".
February 13, 2015
Happy to have read it once because it was destabilizing. But not my favourite book.
Displaying 1 - 20 of 20 reviews