To exorcise the years 2019-2020, the writer has hit the “yellow vests”, strikes, covid and containment with the universe of people.
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Julia Deck’s books are communicating vases. We were leaving Viviane Elisabeth Fauville, who gave his title to the first novel of the writer (midnight, 2012), in a city “concrete army other than” which “could be Saint-Nazaire, Cherbourg, Le Havre”. It was in this last agglomeration that we met the heroin of the winter triangle (midnight, 2014), its next work. Could the two women be one? They share in any case a common trend to reinvent, play with their identity as others disguise themselves.
National monument, the fifth novel by Julia Deck, beautiful in large part in a castle entrenched behind “brisbted gates of arrows with golden spikes”, it does not escape the big flow where the characters circulate and the motives of the lattice. “For the first time”, even, it had “a truly clear idea” of his next book while she still worked on the previous one: “I wanted to take two private property characters [midnight, 2019 ], does it tell the “books world”. I wanted to be domestic in a big castle without them recognizing them right away. “
An exquisite corpse of Jean-Paul Belmondo, Alain Delon, Johnny Hallyday and others
Cachotterie is not really one, since the mystery is one of the principles assumed from the story. The accumulation of feints (secrets of alcoves or sneaky manipulations) and conceales (identities such as fortunes) makes a national monument a large part of cache. The novel in key, although it is not the challenge “for the writer, never seems to be very far in this history pivoting around an old glory of French cinema, kind of exquisite corpse of John -Paul Belmondo, Alain Delon, Johnny Hallyday and others. At his side, his young woman, former Miss Provence-Alpes-Côte d’Azur reconverted featuring the Instagram Social Network, and their two adopted children complement the glamorous painting.
To build his People’s characters, Julia Deck admits: “I did not try to inform me. Moreover, we do not need to inquire: we have their heads on the posters of Paris Match on the back of all the kiosks. They infiltrate our lives without getting for them. “Curious omnipresence of those who are never really present: Even when the people reveal some of their existence, it is essentially through the turns. From a staging, in the press as on social networks, which fascinates the writer. Julia Deck nevertheless “hesitated openly reference to Instagram”: “It was immediately too prosaic,” she says. The novelist feared that too direct references to the trivialities of time affect its satire. But in the end, “rather than torth, it was necessary to really go – really name things”: in other words, look at the right time in the eyes.
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