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Discurso en la Academia Sueca
Reticente a ponerse bajo los focos, Patrick Modiano leyó, tras recibir el Premio Nobel, un discurso bellísimo que es una auténtica arspoetica en la que desgrana las claves de su obra y su visión de la literatura.
Habla aquí del temprano deseo de escribir como un modo de intentar entender el mundo y comunicarse, del solitario proceso de la escritura y de la relación del lector con el libro. Invoca a los grandes narradores del XIX –Balzac, Dickens, Tolstói, Dostoievski–, a quienes llama «constructores de catedrales», pero su siglo, el XX, requiere otro tipo de novelas, más discontinuas, y sobre este credo estético ha forjado su obra entera. Y es que todo escritor es fruto de su época, aunque también aspira a lo intemporal, y por eso nos siguen apelando Shakespeare o Racine, y también autores como Poe, Melville o Stendhal, mejor entendidos hoy de lo que lo fueron en vida.
El novelista aspira a lo intemporal desde lo concreto, y en el caso de Modiano hay algunos episodios biográficos sobre los que se construye todo su edificio literario: los cimientos surgen de su infancia, como sucede, nos recuerda, con Hitchcock. Una infancia repleta de enigmas y marcada por el mundo incierto de la Ocupación en que vivieron sus padres. Estos episodios y los posteriores de la adolescencia y juventud –cuando, nos cuenta, vencía el miedo para explorar de noche barrios lejanos– suceden en una ciudad: París, escenario de encuentros y desencuentros, espacio sobre cuya cartografía indaga en otras vidas y en los secretos de la propia.
La misión del novelista, nos dice, es desvelar el misterio que hay detrás de lo cotidiano utilizando la imaginación no para deformar la realidad, sino para penetrar en ella y mostrar lo oculto tras las apariencias. La literatura de Modiano es una permanente búsqueda proustiana del tiempo perdido, pero si Proust retrataba un mundo todavía estable, la memoria es hoy más incierta y los textos necesariamente más ambiguos. Sin embargo, el objetivo del escritor sigue siendo el mismo: luchar contra el olvido a través de las palabras que, como icebergs, asoman en la página en blanco.
Habla aquí del temprano deseo de escribir como un modo de intentar entender el mundo y comunicarse, del solitario proceso de la escritura y de la relación del lector con el libro. Invoca a los grandes narradores del XIX –Balzac, Dickens, Tolstói, Dostoievski–, a quienes llama «constructores de catedrales», pero su siglo, el XX, requiere otro tipo de novelas, más discontinuas, y sobre este credo estético ha forjado su obra entera. Y es que todo escritor es fruto de su época, aunque también aspira a lo intemporal, y por eso nos siguen apelando Shakespeare o Racine, y también autores como Poe, Melville o Stendhal, mejor entendidos hoy de lo que lo fueron en vida.
El novelista aspira a lo intemporal desde lo concreto, y en el caso de Modiano hay algunos episodios biográficos sobre los que se construye todo su edificio literario: los cimientos surgen de su infancia, como sucede, nos recuerda, con Hitchcock. Una infancia repleta de enigmas y marcada por el mundo incierto de la Ocupación en que vivieron sus padres. Estos episodios y los posteriores de la adolescencia y juventud –cuando, nos cuenta, vencía el miedo para explorar de noche barrios lejanos– suceden en una ciudad: París, escenario de encuentros y desencuentros, espacio sobre cuya cartografía indaga en otras vidas y en los secretos de la propia.
La misión del novelista, nos dice, es desvelar el misterio que hay detrás de lo cotidiano utilizando la imaginación no para deformar la realidad, sino para penetrar en ella y mostrar lo oculto tras las apariencias. La literatura de Modiano es una permanente búsqueda proustiana del tiempo perdido, pero si Proust retrataba un mundo todavía estable, la memoria es hoy más incierta y los textos necesariamente más ambiguos. Sin embargo, el objetivo del escritor sigue siendo el mismo: luchar contra el olvido a través de las palabras que, como icebergs, asoman en la página en blanco.
40 pages, Hardcover
First published February 19, 2015
51 people want to read
About the author
Patrick Modiano
137 books2,138 followersPatrick Modiano is a French-language author and playwright and winner of the 2014 Nobel Prize in Literature.
He is a winner of the 1972 Grand prix du roman de l'Académie française, and the 1978 Prix Goncourt for his novel "Rue des boutiques obscures".
Modiano's parents met in occupied Paris during World War II and began a clandestine relationship. Modiano's childhood took place in a unique atmosphere: with an absent father -- of which he heard troubled stories of dealings with the Vichy regime -- and a Flemish-actress mother who frequently toured. His younger brother's sudden death also greatly influenced his writings.
While he was at Henri-IV lycee, he took geometry lessons from writer Raymond Queneau, who was a friend of Modiano's mother. He entered the Sorbonne, but did not complete his studies.
Queneau, the author of "Zazie dans le métro", introduced Modiano to the literary world via a cocktail party given by publishing house Éditions Gallimard. Modiano published his first novel, "La Place de l’Étoile", with Gallimard in 1968, after having read the manuscript to Raymond Queneau. Starting that year, he did nothing but write.
On September 12, 1970, Modiano married Dominique Zerhfuss. "I have a catastrophic souvenir of the day of our marriage. It rained. A real nightmare. Our groomsmen were Queneau, who had mentored Patrick since his adolescence, and Malraux, a friend of my father. They started to argue about Dubuffet, and it was like we were watching a tennis match! That said, it would have been funny to have some photos, but the only person who had a camera forgot to bring a roll of film. There is only one photo remaining of us, from behind and under an umbrella!" (Interview with Elle, 6 October 2003). From their marriage came two girls, Zina (1974) and Marie (1978).
Modiano has mentioned on Oct 9, 2014, during an interview with La Grande Librairie, that one of the books which had a great impact on his writing life was 'Le cœur est un chasseur solitaire' (The Heart is a Lonely Hunter), the first novel published by Carson McCullers in 1940.
(Arabic: باتريك موديانو)
He is a winner of the 1972 Grand prix du roman de l'Académie française, and the 1978 Prix Goncourt for his novel "Rue des boutiques obscures".
Modiano's parents met in occupied Paris during World War II and began a clandestine relationship. Modiano's childhood took place in a unique atmosphere: with an absent father -- of which he heard troubled stories of dealings with the Vichy regime -- and a Flemish-actress mother who frequently toured. His younger brother's sudden death also greatly influenced his writings.
While he was at Henri-IV lycee, he took geometry lessons from writer Raymond Queneau, who was a friend of Modiano's mother. He entered the Sorbonne, but did not complete his studies.
Queneau, the author of "Zazie dans le métro", introduced Modiano to the literary world via a cocktail party given by publishing house Éditions Gallimard. Modiano published his first novel, "La Place de l’Étoile", with Gallimard in 1968, after having read the manuscript to Raymond Queneau. Starting that year, he did nothing but write.
On September 12, 1970, Modiano married Dominique Zerhfuss. "I have a catastrophic souvenir of the day of our marriage. It rained. A real nightmare. Our groomsmen were Queneau, who had mentored Patrick since his adolescence, and Malraux, a friend of my father. They started to argue about Dubuffet, and it was like we were watching a tennis match! That said, it would have been funny to have some photos, but the only person who had a camera forgot to bring a roll of film. There is only one photo remaining of us, from behind and under an umbrella!" (Interview with Elle, 6 October 2003). From their marriage came two girls, Zina (1974) and Marie (1978).
Modiano has mentioned on Oct 9, 2014, during an interview with La Grande Librairie, that one of the books which had a great impact on his writing life was 'Le cœur est un chasseur solitaire' (The Heart is a Lonely Hunter), the first novel published by Carson McCullers in 1940.
(Arabic: باتريك موديانو)
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Displaying 1 - 13 of 13 reviews
September 28, 2024
I have always thought that writing was close to music, only much less pure, and I have always envied musicians who to my mind practised an art which is higher than the novel. Poets, too, who are closer to musicians than novelists. I began writing poems as a child, and that is surely why a remark I read somewhere struck such a chord with me: 'prose writers are made from bad poets'. For a novelist, in terms of music, it is often a matter of coaxing all the people, the landscapes, the streets he has been able to observe into a musical score which contains the same melodic fragments from one book to another, but which will seem to him to be imperfect. The novelist will then regret not having been a pure musician and not having composed Chopin's Nocturnes.
Patrick Modiano's 2014 Nobel lecture is a very moving, lucid, poetic and enlightening essay on writing, memory, Paris during the Occupation in the second world war, his use of telephone directories in the creative process, Proust, the importance of childhood experiences on writing, his views on his own writing and vocation as a novelist, the harmony which develops between the reader and the author. He finely brushes his themes ("Themes of disappearance, identity and the passing of time are closely bound up with the topography of cities"), touches on the writer as as seismograph who reveals the depths and reality hidden behind appearances and his literary influences - particularly other writers who - like Modiano is to Paris - are strongly linked to a single city (Balzac, Dickens, Dostoevsky, Söderberg).
With the passing of the years, each neighbourhood, each street in a city evokes a memory, a meeting, a regret, a moment of happiness for those who were born there and have lived there. Often the same street is tied up with successive memories, to the extent that the topography of a city becomes your whole life, called to mind in successive layers as if you could decipher the writings superimposed on a palimpsest. And also the lives of the thousands upon thousands of other, unknown, people passing by on the street or in the Métro passageways at rush hour.
I returned to my city familiar to tears,
To my vessels and tonsils of childhood years,
Petersburg, […]
While you're keeping my telephone numbers alive.
Petersburg, I still have the addresses at hand
That I’ll use to recover the voice of the dead.
I was moved to tears by the stanza's of this poem of Osip Mandelstam that Modiano quoted - it reminded me of the moment I found the telephone guide 1997-1998 from Leuven that the French artist Christian Boltanski (1944-2021) used in his work of art "Les abonnés du téléphone, 2000" that one can see - and touch - in the basement of the Musée d’Art Moderne in Paris, and looked up the telephone number of the place where I had been living at that time with the one who I loved and who took me to Paris, and is no more.
Sometimes human existence is simply signified by lists of names, as in Abonnées du téléphone (‘Telephone Subscribers’), which was designed for the exhibition “Voilà” in 2000, where telephone directories from all over the world were displayed on shelves and could be consulted. Human presence here was reduced to its simplest expression: a surname.
Thank you very much Helga, for bringing this lecture of this author that I adore to my attention.
Modiano, toujours Modiano.
To me, Monsieur Modiano, your novels mean as much as the nocturnes, and preludes, and other pieces of Chopin - an almost daily necessity, a balm -thank you ♥.
The Nobel lecture of Patrick Modiano can be found here (in French, English and Swedish).
Patrick Modiano's 2014 Nobel lecture is a very moving, lucid, poetic and enlightening essay on writing, memory, Paris during the Occupation in the second world war, his use of telephone directories in the creative process, Proust, the importance of childhood experiences on writing, his views on his own writing and vocation as a novelist, the harmony which develops between the reader and the author. He finely brushes his themes ("Themes of disappearance, identity and the passing of time are closely bound up with the topography of cities"), touches on the writer as as seismograph who reveals the depths and reality hidden behind appearances and his literary influences - particularly other writers who - like Modiano is to Paris - are strongly linked to a single city (Balzac, Dickens, Dostoevsky, Söderberg).
With the passing of the years, each neighbourhood, each street in a city evokes a memory, a meeting, a regret, a moment of happiness for those who were born there and have lived there. Often the same street is tied up with successive memories, to the extent that the topography of a city becomes your whole life, called to mind in successive layers as if you could decipher the writings superimposed on a palimpsest. And also the lives of the thousands upon thousands of other, unknown, people passing by on the street or in the Métro passageways at rush hour.
I returned to my city familiar to tears,
To my vessels and tonsils of childhood years,
Petersburg, […]
While you're keeping my telephone numbers alive.
Petersburg, I still have the addresses at hand
That I’ll use to recover the voice of the dead.
I was moved to tears by the stanza's of this poem of Osip Mandelstam that Modiano quoted - it reminded me of the moment I found the telephone guide 1997-1998 from Leuven that the French artist Christian Boltanski (1944-2021) used in his work of art "Les abonnés du téléphone, 2000" that one can see - and touch - in the basement of the Musée d’Art Moderne in Paris, and looked up the telephone number of the place where I had been living at that time with the one who I loved and who took me to Paris, and is no more.
Sometimes human existence is simply signified by lists of names, as in Abonnées du téléphone (‘Telephone Subscribers’), which was designed for the exhibition “Voilà” in 2000, where telephone directories from all over the world were displayed on shelves and could be consulted. Human presence here was reduced to its simplest expression: a surname.
Thank you very much Helga, for bringing this lecture of this author that I adore to my attention.
Modiano, toujours Modiano.
To me, Monsieur Modiano, your novels mean as much as the nocturnes, and preludes, and other pieces of Chopin - an almost daily necessity, a balm -thank you ♥.
The Nobel lecture of Patrick Modiano can be found here (in French, English and Swedish).
August 19, 2024
J’ai toujours pensé que l’écriture était proche de la musique...
This is the French author, Patrick Modiano’s Nobel Lecture. He was awarded the 2014 Nobel Prize for Literature “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the Occupation.”
In his short but profound address, Modiano talks about his reasons for choosing themes centered around ‘disappearance, identity and the passing of time’ and why his books are filled with bits and pieces from the past and follow in fragile traces of lost humans.
Since I read the lecture in French, I will include an excerpt with its English translation:
"Pour ceux qui y sont nés et y ont vécu, à mesure que les années passent, chaque quartier, chaque rue d’une ville, évoque un souvenir, une rencontre, un chagrin, un moment de bonheur. Et souvent la même rue est liée pour vous à des souvenirs successifs, si bien que grâce à la topographie d’une ville, c’est toute votre vie qui vous revient à la mémoire par couches successives, comme si vous pouviez déchiffrer les écritures superposées d’un palimpseste. Et aussi la vie des autres, de ces milliers et milliers d’inconnus, croisés dans les rues ou dans les couloirs du métro aux heures de pointe."
"With the passing of the years, each neighbourhood, each street in a city evokes a memory, a meeting, a regret, a moment of happiness for those who were born there and have lived there. Often the same street is tied up with successive memories, to the extent that the topography of a city becomes your whole life, called to mind in successive layers as if you could decipher the writings superimposed on a palimpsest. And also the lives of the thousands upon thousands of other, unknown, people passing by on the street or in the Métro passageways at rush hour."
You can find the text in the official Nobel site
https://www.nobelprize.org/uploads/20...
https://www.nobelprize.org/prizes/lit...
This is the French author, Patrick Modiano’s Nobel Lecture. He was awarded the 2014 Nobel Prize for Literature “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the Occupation.”
In his short but profound address, Modiano talks about his reasons for choosing themes centered around ‘disappearance, identity and the passing of time’ and why his books are filled with bits and pieces from the past and follow in fragile traces of lost humans.
Since I read the lecture in French, I will include an excerpt with its English translation:
"Pour ceux qui y sont nés et y ont vécu, à mesure que les années passent, chaque quartier, chaque rue d’une ville, évoque un souvenir, une rencontre, un chagrin, un moment de bonheur. Et souvent la même rue est liée pour vous à des souvenirs successifs, si bien que grâce à la topographie d’une ville, c’est toute votre vie qui vous revient à la mémoire par couches successives, comme si vous pouviez déchiffrer les écritures superposées d’un palimpseste. Et aussi la vie des autres, de ces milliers et milliers d’inconnus, croisés dans les rues ou dans les couloirs du métro aux heures de pointe."
"With the passing of the years, each neighbourhood, each street in a city evokes a memory, a meeting, a regret, a moment of happiness for those who were born there and have lived there. Often the same street is tied up with successive memories, to the extent that the topography of a city becomes your whole life, called to mind in successive layers as if you could decipher the writings superimposed on a palimpsest. And also the lives of the thousands upon thousands of other, unknown, people passing by on the street or in the Métro passageways at rush hour."
You can find the text in the official Nobel site
https://www.nobelprize.org/uploads/20...
https://www.nobelprize.org/prizes/lit...
January 3, 2022
More like 4.5
Reflections on writing, reading, literary influences and ultimately the urgency driving the passion to write.
Reflections on writing, reading, literary influences and ultimately the urgency driving the passion to write.
April 28, 2024
This is Modiano’s reflections on what it means to be a writer, after having won the Nobel Prize for Literature. It is especially full of insightful comments about the role of temporality in a writer’s career. I very much enjoyed what Modiano has to say.
July 13, 2020
Le discours prononcé par Patrick Modiano à l’occasion de la remise de son prix Nobel de littérature a été édité par Gallimard, comme pour les autres livres de l’auteur, dans la collection “NRF” – le timing n’a pas été bon car il aurait pu figurer en bonne place dans le Quarto rassemblant la majorité de ses romans.
Tout le monde connaît Modiano pour ses hésitations lorsqu’il s’exprime à l’oral qui passent souvent pour de la timidité. Tout le monde était donc curieux de voir comment il allait se tirer d’un tel exercice. Je n’ai pas eu cette curiosité, j’ai préféré attendre la parution du texte pour le savourer tranquillement. Et dès les premières lignes de son discours, il répond de très belle manière aux curieux.
> Il [le romancier] a une parole hésitante, à cause de son habitude de raturer ses écrits. Bien sûr, après de multiples ratures, son style peut paraître limpide. Mais quand il prend la parole, il n’a plus la ressource de corriger ses hésitations.
Il parle ensuite de ses hésitations dans le cadre de son travail et de la manière dont il les surmonte.
> C’est un peu comme être au volant d’une voiture la nuit, en hivers, et rouler sur le verglas, sans aucune visibilité. Vous n’avez pas le choix, vous ne pouvez pas faire marche arrière, vous devez continuer d’avancer en vous disant que la route finira bien par être plus stable et que le brouillard se dissipera.
Il aborde ensuite la “matrice” qui nourrit son oeuvre composée principalement de son enfance, de la période de l’occupation et de la ville de Paris. Il n’oublie pas de parler de ces vieux annuaires qui apparaissent souvent dans ses livres et dont il se sert pour écrire.
> À cause des années qui s’étaient écoulées, les seules traces qu’avaient laissées ces milliers et ces milliers d’inconnus, c’étaient leurs noms, leurs adresses et leurs numéros de téléphone.
Enfin, il termine en évoquant la mémoire, en faisant une comparaison entre la précision du travail de Proust et le flou de son propre travail.
> À cause de cette couche, de cette masse d’oubli qui recouvre tout, on ne parvient à capter que des fragments du passé, des traces interrompues, des destinées humaines fuyantes et presque insaisissables.
Outre la l’écriture qui est toujours très belle chez lui, j’ai beaucoup apprécié qu’il n’élude pas dans son discours tous ces éléments, déjà connus, sur sa personnalité et sur son oeuvre. Il les reprend de manière simple pour nous livrer dans ce discours l’essence de Modiano. Lisez, regardez ou écoutez ce concentré de talent et de belle littérature.
Également publié sur mon blog.
Tout le monde connaît Modiano pour ses hésitations lorsqu’il s’exprime à l’oral qui passent souvent pour de la timidité. Tout le monde était donc curieux de voir comment il allait se tirer d’un tel exercice. Je n’ai pas eu cette curiosité, j’ai préféré attendre la parution du texte pour le savourer tranquillement. Et dès les premières lignes de son discours, il répond de très belle manière aux curieux.
> Il [le romancier] a une parole hésitante, à cause de son habitude de raturer ses écrits. Bien sûr, après de multiples ratures, son style peut paraître limpide. Mais quand il prend la parole, il n’a plus la ressource de corriger ses hésitations.
Il parle ensuite de ses hésitations dans le cadre de son travail et de la manière dont il les surmonte.
> C’est un peu comme être au volant d’une voiture la nuit, en hivers, et rouler sur le verglas, sans aucune visibilité. Vous n’avez pas le choix, vous ne pouvez pas faire marche arrière, vous devez continuer d’avancer en vous disant que la route finira bien par être plus stable et que le brouillard se dissipera.
Il aborde ensuite la “matrice” qui nourrit son oeuvre composée principalement de son enfance, de la période de l’occupation et de la ville de Paris. Il n’oublie pas de parler de ces vieux annuaires qui apparaissent souvent dans ses livres et dont il se sert pour écrire.
> À cause des années qui s’étaient écoulées, les seules traces qu’avaient laissées ces milliers et ces milliers d’inconnus, c’étaient leurs noms, leurs adresses et leurs numéros de téléphone.
Enfin, il termine en évoquant la mémoire, en faisant une comparaison entre la précision du travail de Proust et le flou de son propre travail.
> À cause de cette couche, de cette masse d’oubli qui recouvre tout, on ne parvient à capter que des fragments du passé, des traces interrompues, des destinées humaines fuyantes et presque insaisissables.
Outre la l’écriture qui est toujours très belle chez lui, j’ai beaucoup apprécié qu’il n’élude pas dans son discours tous ces éléments, déjà connus, sur sa personnalité et sur son oeuvre. Il les reprend de manière simple pour nous livrer dans ce discours l’essence de Modiano. Lisez, regardez ou écoutez ce concentré de talent et de belle littérature.
Également publié sur mon blog.
March 2, 2019
The speech of Modiano is clearly his great manifesto on literature where he explains his concept of writing as collecting small pieces of memory, without possibility of making some bigger image of it. The idea of some sort of responsibility for the history that one hasn't been part of is also something that makes me love the work of Modiano even more!
March 6, 2015
Magnific text. A love declaration for the novel. It was published by the the newspaper « Le Monde ». It is already accessible on its site for free. Gallimard publish it. 7 euros. Great text. It must be read in every highschool.
January 17, 2020
Je trouve toujours les discours de Nobel très intéressants. Je pense qu'ils sont la meilleure façon de comprendre la parole intérieure et la motivation de l'écrivain. Le discours de Modiano adresse aussi son aventure d'écriture et son inspiration. Je pense qu'il y a deux piliers importants de son écriture; la mémoire et la vie urbaine. C'est peut-être pour cela que je suis si impressionné par son discours. Parce que l'élaboration de la mémoire et de la vie urbaine attire mon attention. D'autre part, son sens de l'humour et l'humilité sont autres valeurs du discours.
Je pense que ce paragraphe est un bon résumé du discours. "...c’est sans doute la vocation du romancier, devant cette grande page blanche de l’oubli, de faire ressurgir quelques mots à moitié effacés, comme ces icebergs perdus qui dérivent à la surface de l’océan.”
Je pense que ce paragraphe est un bon résumé du discours. "...c’est sans doute la vocation du romancier, devant cette grande page blanche de l’oubli, de faire ressurgir quelques mots à moitié effacés, comme ces icebergs perdus qui dérivent à la surface de l’océan.”
March 15, 2020
A literatura de Modiano fala a respeito de cidades e da relação dos indivíduos com as cidades e não poderia ser diferente em seu discurso ao receber o Nobel. Ele fala de sua infância em Paris, de suas descobertas pela cidade e como isso moldou seu modo de enxergar o ambiente e a si mesmo, assim como seu lugar como artista. Não deixa de citar autores que o inspiraram e trataram desses temas antes dele, o que só comprova a máxima de que todos os bons escritores são, antes de tudo, bons leitores.
July 28, 2017
Very moving, so true
February 21, 2015
Il s'agit du discours prononcé l'autre jour à Stockholm par un Patrick Modiano encore ébahi d'avoir reçu le prix Nobel de littérature. Relativement court dans le genre, disons qu'il y a eu plus long, il témoigne d'abord de la modestie et de l'humour de son auteur, qui aborde dès la première page ses légendaires soucis d'élocution. Dans sa substance il contient des propositions intéressantes sur l'art du roman, que Modiano avait déjà esquissées ici ou là dans des interviews mais qui trouvent ici une forme achevée : notamment l'importance de la musique de la langue, qui naît des multiples ratures de l'écrivain et se révèle à la lecture ; affirmant qu'un romancier est d'abord un poète raté, Modiano creuse sa propre sape sous la barrière des genres. En cela il est héritier de Nerval, comme dans la revendication d'une inspiration des lieux, et spécifiquement de Paris. La part la plus personnelle de ce texte est en effet la revendication d'une inspiration littéraire liée au temps et au lieu ; à plusieurs reprises Modiano évoque les changements du monde moderne et lance un appel aux nouvelles générations d'écrivains pour en rendre compte ; quant à lui, sa date de naissance (1945) le voue à être le sismographe des suites de l'Occupation, séisme dont ses romans auscultent les innombrables répliques. La grandeur du roman moderne, disons à partir du XIXe siècle, est selon Modiano intrinsèquement liée à celle de la civilisation urbaine. Poétique toute personnelle, dans la mesure d'abord où elle est celle de ses propres romans, ensuite dans la mesure où elle est, d'expérience, reliée à une pensée de la genèse des oeuvres.
February 19, 2018
5 out of 5 stars! ⭐ This must be one of the most beautiful speeches that I have ever read. When I feel down I really love going back to that little booklet. Patrick Modiano is just so so humble and his words are a fountain of pure wisdom. 🖤🖤🖤
October 1, 2015
Patrick Modiano ne m'a pas déçu. Plein de référence à des auteurs que j'ai hâte découvrir.
Displaying 1 - 13 of 13 reviews