Search results for ""Author Maylis Besserie""

In the final of Maylis Besserie's Irish-French trilogy, her preoccupation with the art and lives of artists who crossed borders between France and Ireland has a fitting climax as Bacon confronts the boundaries between the real and the imagined.

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'She came in like a shadow. She slid and bore herself into my eye, between my eyelids which blinked against the dust.' She is Maud Gonne, the muse of writer William Butler Yeats. Yeats here returns as a ghost, after having been buried in France in 1939 in the cemetery of Roquebrune-Cap-Martin, to be returned to Ireland a decade later. He emerges from his grave to recount his thwarted love with Maud, a story that merges with that of the independence movement of Ireland, of which they were both emblematic actors. Yeats' ghost has suddenly arisen because diplomatic documents long kept secret have resurfaced, casting doubt on the contents of the coffin brought back into Ireland for a state funeral. Where did the poet's body go? Does he still hover, as he wrote, 'somewhere above the clouds'? What remains of our loves and our deaths, if not their poetry? Besserie's exciting new novel follows on from Yell, Sam, If You Still Can (Le Tiers Temps), translated by Cliona Ni Riordain. In Maylis Besserie's second novel, she turns her attention from Samuel Beckett to another iconic Irish writer, W. B. Yeats. The connection between France in Ireland is once again explored in the context of art, culture and the days at the end of life.

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This novel by Maylis Besserie, the first of her Irish trilogy, shows us Samuel Beckett at the end of his life in 1989, living in Le Tiers-Temps retirement home. It is as if Beckett has come to live in one of his own stage productions, peopled with strange, unhinged individuals, waiting for the end of days. Yell, Sam, If You Still Can is filled with voices. From diary notes to clinical reports to daily menus, cool medical voices provide a counterpoint to Beckett himself, who reflects on his increasingly fragile existence. He remains playful, rueful, and aware of the dramatic irony that has brought him to live in the room next door to Winnie, surrounded by grotesques like Hamm or Lucky, abandoned by his wife Suzanne who died before him. Besserie delights in Beckett’s bilingualism and plays back and forth between the francophone and anglophone properties of language, summoning James Joyce as Beckett reminisces about evenings the two spent together singing, talking and drinking. Largely written in the library of the Centre Culturel Irlandais, Besserie has kept the hum of Irish voices throughout this work. Yell, Sam, If You Still Can won the “Goncourt du premier roman”, the prestigious French literary prize for first time novelists, just before the country went into lockdown. Besserie is now planning a further two novels that will explore the links between Ireland and France and is touted as the new star of the French literary world. Financial Times Book of the Year 2022

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