Les Grosses Têtes: LE LIVRE DU JOUR - "L'épaisseur d'un cheveux" de Claire Berest

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RTL, the book of the day.

The book of the day is a wonderful book that I read during the summer in a novel signed by Claire Béreste.

It's called The Height of a Hair. It's at Albin Michel. Why are you doing it?

Because I met her at Chanson-Préloche.

At Gonzague.

At Gonzague-Sainte-Brie.

Ah, you're doing the salons.

She was there, she was rewarded.

The literary salons, well maybe you can answer the question.

But I didn't read it.

That I'm going to ask you before we are Claire Béreste on the phone for 100 years.

The Height of a Hair.

The question is very simple.

The hero of this book, hero, I don't know if it's the word,

we're going to say the main character of Claire Béreste's book,

in any case, has missed the ENC when he was younger, younger.

But what is the ENC?

The National School of something.

The National School of something.

The Cirque?

Yes, the Cirque.

No.

The ENC?

Yes, it is.

Communism.

A great school, by the way.

But what is it?

Accountable.

Sorry.

Accountable.

Accountable.

Literary.

Literary.

The National School of things.

Literary.

Communication.

No.

And if there is someone here.

It's artistic.

Artistic who should answer.

Two fields, two fields, two fields.

Two fields, no.

The National School.

A great school founded in 1821.

A conservator.

Artists.

Ah, the charts, yes.

Charts.

The National School of Charts.

Good answer, Paul Elkarat.

Charts.

You mean what is the National School of Charts?

It's the school that forms the paleographs, the archivists,

the great savants.

The historians can be too wise.

Yes.

Ah, the historians, Mr. Ferrand.

The historians, if we can say yes.

Yes, if we can say yes.

Yes, yes.

The historians specialized in the archives.

In the education, in the auxiliar sciences.

In any case, it's the largest school in this domain.

So there is a murder in it.

The National School of Charts.

Usually we call it the School of Charts.

The School of Charts.

The ENC.

And it's true that the character of your book

will have missed the charts.

It made him angry at the time

because he wanted to be a conservator.

Hello, Claire Berest.

Hello, Laurent. Hello everyone.

Hello.

And it's true that instead of being a conservator

and working for the national archives,

he has become a corrector for a house of editions,

your main character.

He lives in a couple

and you make us live an absolutely incredible couple story.

Terrible.

I want to say with a formidable suspense

because we understand quite quickly

that this character called Etienne,

I don't reveal anything because otherwise,

the first part of the book,

he is at the criminal brigade

asking himself what could have happened

with his companion,

companion who is a photographer

who does photography exposures

while he corrects the authors

of a large house of editions.

Did I pitch the couple in any case?

Yes, absolutely.

It's almost a limited time of place and action

because we're going to live a few days with Etienne

at the beginning of a week

that starts well,

that looks like all the weeks

that he's a little rigid.

He likes things to be a little bit the same way.

On Monday, he thinks that the week is going to go well.

He lives with Viv since 10 years.

But indeed, I wrote on the very first page,

so I don't reveal anything,

that Etienne is going to kill her wife,

live in the night of Thursday to Friday.

The question is, what happened to this man

who has no evidence of conjugal violence,

who is a little bit like Mr. Toutmonde,

who could be you or me,

what happened in four days

to commit the irreparable?

It's fascinating.

Really, I find that you tell us,

it's at the scalpel,

almost quarter by quarter,

what could have happened between this couple,

until, for example, the scene where there are young people

who are next to each other,

and you say very well these young people who are next to each other,

at the moment where they laugh,

don't imagine that maybe soon,

we'll see the story of this man and this woman,

on the rolling flags of BFM TV or CNews,

they can't imagine what's going to happen.

Yes, at a given moment, I liked to go down like that,

because we're really in Etienne's body,

in her head,

and suddenly, indeed, that's what fascinates in winter.

It's often the neighbor,

the person who doesn't live very far,

it happened in the private sphere,

behind the doors and the windows,

it's unimaginable.

Indeed, this little couple of 20 years old

who see these 40 men

laughing at the coffee,

they have fun,

because it distracts them from their conversation,

they are a little bit dragging themselves,

both of them, so it makes them a little show,

to see these 40 men who are arguing.

And indeed, what is vertiginous,

is that there are 24 hours left,

and indeed, will they make the link

in 24 hours with the rolling flags

that will be everywhere, on all the TVs.

So, he is Etienne, sorry to tell you,

but he is a little bit cuddly.

No, but you have to say things.

He is a bit tatio, he is very cultured,

at the same time, that in the interrogation with the flicks,

he always brings back on his culture.

Oh, it's Frank Ferrand?

Yes.

Oh no, no, no, no, frankly, Frank,

he is not boring, then.

Oh no, I try to be the least possible.

We can tach him anyway.

We don't touch him.

Ah, my frankie.

No, but you have to tach him,

those who are cultured.

My frankie.

I was not going to tach him anyway.

But it's true that he is, he is unbearable,

in fact, this Etienne, you have to say it well.

Oh yes, so I wouldn't go all the way there,

because precisely, I consumed my characters

by loving them.

Like every time, I like my characters.

I don't want to have any judgment on them.

And precisely, I try to go to the place

of the conjugal homicide,

by having a suspension of the moral judgment.

I'm not here to condemn Etienne.

I try to accompany her to understand

what happened.

So it's sure that he is quite rigid.

He has a little bit of a superiority complex.

He thinks that others are a little bit of a cretin,

and that he knows everything.

But often, people who have superiority complexes

are the ones who hide great flaws.

Oh no.

There is another subject in the book.

It's precisely because of his job,

the fact that he thinks he writes better

than the authors, that he corrects.

That's very interesting too.

He thinks that indeed,

those who publish today are not good writers,

and that he would do better than them.

It's good that they are able to correct their books too much.

And there is another debate.

We were going to talk about this matter here too,

following an excellent paper that had been in the magazine

M, the supplement of the world.

It's the case, remember, of this contemporary artist,

Maurizio Cattellan, an Italian,

often exposed to the Pinot Foundation, for example,

who indeed made this little bit clear

to Genouillet or the Pope who received a meteorite on his head.

And at the time, there was a whole controversy

between him and the real sculptor,

because he had the idea, of course, of his teachings,

but it's not him who...

Who was the author.

It's not him who makes the sculptures.

There was a process between the two

to find out what the real author is,

the one who sculpts,

or the one who had the idea of the sculpture.

And we are at about the same level,

that's what your character thinks,

to find out if it's not him,

in the end, the author of the books he corrects.

Yes, in any case, it is indeed,

he falls on an article on this process that he has acquired.

So it really existed between this artist,

let's say an artisan who created the sculptures

that Cazellan then used in his installations.

And Etienne takes this eco, obviously,

for the one who stayed in London,

the one who is not cited in the catalogs,

the one who is not even invited to the varnishing

of his own works,

and the eternal question,

but then of the one who thinks,

who conceals the idea,

and of the one who puts it into work,

who is the real artist.

And that's it.

And we think that Etienne,

indeed, feels like an autumnal fact,

he is frustrated.

In fact, there, there is a certain thing that we can say,

it's that he is frustrated.

Yes, there is a series of,

well, there is a life with frustrations,

humiliation.

Etienne, when he was at the FAC,

he suffered from the fact

that he was always the one we didn't expect.

It's not even that we didn't like him,

it's the guy we forget to invite to the evening,

we forget to say that the time has changed.

There is really this idea of,

but am I transparent?

Do people see me?

And this kind of frustration

can also lead to a given moment,

well, they will see what they will see,

even if all this is of course unconfident,

in any case, in the case of Etienne,

who does not premeditate in any case

to kill his wife,

but who will arrive at a paroxysm of frustration.

Caroline Diamant.

You speak very well of your character,

do we also understand,

even if it is seen by the prism of man,

the woman?

Because if I understood,

is she the one who dies?

That's enough.

Viv.

It's a character that I was conscious with,

that's a lot, a lot.

She's called Violette at the beginning

and her surnames are Viv.

Yes, she's called Violette,

but her surnames are Viv.

It's a bad choice.

Not by the author.

No, not by the author.

A little macabre,

but I also chose her surnames

because she is very lively

and that's what is absolutely

vertiginous,

it's that he goes the whole year.

He obviously loves her,

because she is like that too.

So I wanted to show you

these ten years of couples

where they are loved,

they still love each other a lot,

they have their jargon,

they have their jokes,

they have their little cross,

it's a couple like we all know,

like we all live.

And indeed, Viv is present,

bright in the text,

but I made this choice of being proud,

of deciding to really go

in the body,

so to speak,

of the bad,

of the place where it falls,

and it was my writing project,

it was really to be

in the head of the Tiennes,

to make this effort there.

And have you chosen,

I ask you,

have you chosen this job as a corrector

because of the double meaning

of the word correction?

Absolutely.

I thought about that

because it's a bad correction,

it's a correction that ends badly.

He will want,

without wanting it,

he will have corrected his wife,

corrected the situation.

And indeed,

I played on this double meaning there,

this idea of ​​I want to intervene

to redress.

The thickness of a hair

is an excellent novel.

Bravo Clair Bérez,

it was published by Alba Michel,

and it was our book of the day.

Machine-generated transcript that may contain inaccuracies.