“What I am reflecting on is that I have to forgive people, events, time, the world, the country and probably also myself in order to be able to write. Your Clarice Lispector was trying this, I assume, and somehow apparently she managed. Or maybe I should say this: I am writing in order to forgive.”
— Ece Temelkuran (Turkey), Letter to Annelies Beck, 15 August 2016
‘A lot of time, a little money’: it is in these terms that Sophie Divry (b. 1979, Montpellier) described, in an interview with L’Express, the prerequisites of the writer’s life. She has a lot more to say in the comical (but not only) Quand le Diable sortit de la salle de bain (Notabilia, 2015). In this novel, a character called Sophie wrestles with hunger (and 17 euro to last her until the end of the month) and the need to write. It is a highly imaginative novel (among other things she uses experimental typography) which earned her a comparison with Georges Perec (Things) and Iain Levison (A Working Stiff’s Manifesto). However, the author is not the type to let herself be confined to a single style, as her earlier books demonstrate: La cote 400 (published in English translation as The Library of Unrequited Love) and La condition pavillonnaire, the book that introduced her to the general public in 2014.