Carmen Cru

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Jean-Marc Lelong
Carmen Cru - Vie & Mœurs
( Please note copyrights )

Carmen Cru [ ˈkaʁmən kʀy ] is a completed comic series by the French cartoonist and scenario artist Lelong ( Jean-Marc Lelong , 1949-2004), which first appeared in 1981 in issue no. 67 of the comic magazine Fluide Glacial and is still eight Comic albums being released at Audie-Fluide Glacial; Volumes 1–5 have been published in German .

The protagonist , Carmen Cru (in the German translation Carmen Krusch ), is a very headstrong old woman who lives alone and self-sufficient in a small house surrounded by high apartment blocks. She shows no empathy when dealing with other people, at best she tries to ignore them. But if they still do not calm down, they ruthlessly offend the old Cru with blunt words or maneuver her through her stubborn behavior - consciously or unconsciously - into a " chaos " from which she emerges untouched and unharmed.

Genre and presentation

In a small, typically French provincial town, in a courtyard that is surrounded on all sides by large neighboring buildings and which can only be reached by stairs, there is a gable-adorned house from the end of the 19th century surrounded by an additional wall . In this self-chosen seclusion, the old Carmen Cru lives in almost complete autonomy. To her displeasure, however, she is repeatedly disturbed by her neighbors, her scrounging great-great-nephew and other people, against which she defends herself in a very peculiar way.

Carmen Cru shows in an exaggerated caricature way the untimely, unteachable, often eccentric or even latently aggressive behavior of an old person who lives alone and with almost no consideration for other people according to his own values .

The completed series comprises 75 episodes on 333 pages. There are also three more pages of text on which the author comments on the character and psychology of Carmen Cru , as well as her family history and environment; attached is a map with the location of your house. Through this description and the content of the episodes, Lelong has created a personality in Carmen Cru who was perceived in France outside the comic scene.

The drawings are very detailed in black and white, the covers of the comic albums are colored. Apart from the exaggeration of the characters' physiognomy , the representations in the drawings can be described as “almost realistic”. Lelong indicates that his drawings through which he is black and white photographs by Robert Doisneau from the 1940s and 1950s was inspired.

It is typical for several successive panels that the speech bubbles of other people involved - analogous to the off in the film - blow over and thematically describe more and more the worsening of the situation, while Carmen Cru - within earshot and in the center of the panel - goes on completely unmoved and in silence pursues own occupations. In addition, Lelong uses several very unusual graphical representations to represent a particular type of pronunciation or a certain physical state of his comic characters.

The death of Jean-Marc Lelong in February 2004 ended the continuation of the series, but not the success of Carmen Cru . The early albums have been reissued for almost 30 years; the final eighth and 2008 posthumously band released Thriller consists of episodes that were found in the estate of Lelong.

people

In the stories about Carmen Cru , the reader encounters several dozen actors, some of whom only intervene once in the plot (occasionally commenting off-screen), while others appear several times. The characters in the series fulfill typical French clichés . Appearance and body language go parallel to the character and intellect of the depicted people.

Carmen Cru

Outward appearance

Carmen Cru is a very stubborn old woman with piercing eyes, high cheekbones and a wart on her mighty nose. Despite a pronounced hunchback , she has very robust health, good eyesight, strong hands, is good at walking and riding a bicycle.

Outside of the house, she wears a bell-shaped coat that extends to the floor over layers of clothing ; when working in her allotment garden , she ties an apron over it. Her shoes are big and bulky, and her head is almost completely hidden under a helmet-like hat. In the house she wears old-fashioned, wide robes, occasionally a shawl-like cloak , slippers ( Charentaises ) and a kind of night cap .

Due to the compactness of her appearance, Carmen Crus' body language is very limited. She only acts from her stooped posture and with the same sullen and serious expression on her face - whereby she also stares regularly and threateningly in the direction of the reader.

Way of life

Old Cru is a pensioner and lives a very simple life. You don't find out whether she ever worked, but she receives a small pension. She's not an old maid because she was briefly married to an "inflated show-off named Stanislas Cru" in her youth. While Carmen's grandmother was only abandoned by her husband in old age and her father left her mother after Carmen was born, Carmen's marriage to Stanislas Cru was divorced after a very short period. Lelong leaves no doubt about the reason: Carmen's character. Since she was consequently never a mother, her behavior towards children can be described as rather unusual: If she gives them chewing tobacco and mulled wine - to calm them down - this leads to further rumors both with the parents and with the children arise around their person.

Carmen Cru lives in the house in which she was born and in which practically nothing has changed since the 1940s. Even Carmen Cru has stopped at this time, modern life or current politics do not interest them. Without contact with the outside world and without sanitary facilities, it takes care of itself "1000%" and also carries out minor repairs.

Her means of transport is an old bicycle from the 1920s with a trailer and a plywood box on the luggage rack, with which she ruthlessly curves through traffic. Your bike rides are always purposeful. She visits z. B. the bistros in the village one after the other, where she treats herself to several (unpaid) Fernet-Branca - at home she prefers to prepare vin chaud (mulled wine) or drinks a few glasses of red wine - or she just needs something again, without hesitation and acts very unsentimentally and only follows their own legal ideas. When she goes to church, she only does so for the purpose of stocking up on candles or tools left there for renovations; she only visits the cemetery when she needs more topsoil for her allotment garden, and near the small train station she fetches railway sleepers from the camp to burn them.

She learned her rude pragmatism since her childhood before the First World War . In contrast to her neighbors, she knows how to take care of herself completely: She gets water from a handle pump next to her house, heats and cooks with wood and grows her own vegetables in a small, secluded allotment garden . To the chagrin of the neighbors, she also has a beehive behind her house, which she uses, among other things, to stow her cash , as in this respect - as in general - she does not trust anyone, neither the great-great-nephew nor the savings bank.

There are certain things that are important to Carmen Cru . She prefers to be at home alone, sitting quietly and undisturbed in the living room, having a mulled wine next to her and reading a book or looking at her photo album. For them, photographs are an important link to the past. The great-grandnephew, who simply burns old photographs after the death of another family member, and Carmen Crus' mother, Barbe Cru, who even does not value a photo of her own daughter, have a completely different view of family photos.

Carmen Cru also attaches great importance to a grammatically correct and very beautiful cursive , in which she occasionally writes letters of complaint to Monsieur le Procureur de la République - or illegally (but not perceived by her as illegitimate) as Monsieur l'Officier du Ministère Public issues.

character

Carmen Cru's character - as her outward appearance suggests - is "like a block, made of one piece." As far as her own opinions and behavior are concerned, she is straightforward and "more stubborn than an old goat in heat" . She knows (almost) only one way of dealing with other people: Whether you show her real affection , constant attention , occasional help or pity - or whether you hope for her sympathy, ask her for help, keep screeching , want to take advantage of her or offended - she's consistently grumpy and dismissive. Any intrusion into her privacy is repugnant to her. She is direct and says what she thinks without the slightest concern about what her words can trigger in other people. She doesn't care whether it's a secret lover, a child, a journalist, a black man , a police superintendent or a young woman who is potentially at risk of suicide . The only exception in their behavior is the (one-sided) relationship with their mother (see L'Escapade ).

This rude behavior is Carmen Cru surprisingly successful because it it her counterpart literally runs over and bring to a helpless despair into chaos or literally to the brink of insanity. But her "successes" do not leave her with a feeling of triumph, she is never happy about it, she never laughs or smiles. Her basic attitude is not egoism or misanthropy , "but it behaves like that because life is like this and not different and you have to make ends meet with it" .

In general, Carmen Cru has no unethical ulterior motives in her actions (Lelong: "She has no ulterior motives (.. although ..)" ), but there are exceptions. When she orders two dozen oysters in a restaurant and only finds a piece of rubber in the last oyster (one like the one used in bicycle repair kits), she complains with harsh words to the waiter and demands two dozen Roman snails and a double fernet as compensation Branca.

At the end of most of the episodes she has a kind of philosophical self-talk about what she has experienced and the inability of her fellow human beings that she has perceived. She regularly sums up that "everything is falling apart" , "the world is heading towards the apocalypse" or she encourages herself to endure life as it is with perseverance.

More people

  • The great-great-nephew is a rowdy hillbilly who works a farm 60 kilometers away and has only one interest: somehow to get money so that he can impress the ladies and continue celebrating with his cronies. He visits Carmen Cru again and again . to scream at them for money (or "favors") for doing something stupid. has done ( quelques bêtises. e.g. impregnated a girl). On these occasions he calls her “Tanti (e)” ('Auntie') and - after she has him every time. rejects - he regularly insults her with rude words. He speaks patois and you can tell by his profile and facial expression that he actually belongs to the family.
  • Monsieur Raoul is one of Carmen Cru's neighbors . He is a mostly nice, simple-minded alcoholic with a penchant for self-irony , whose weakness for all kinds of spirits at any time of the day is evident in his words and on his face. It happens that he interprets what was created by Carmen Cru's actions as a hallucination or delirium . He is always ready to celebrate or play cards , provided that there is something to drink. M. Raoul is married, but his wife Lulu is never shown in drawings. She always gives her caustic comments off-screen because she seems to be permanently on the toilet. Since M. Raoul lives right next to the stairs that lead into the courtyard, it is - from Carmen Cru's point of view - his job to carry her bike up or down the stairs - which he does tirelessly without ever getting thanks .
  • Poupi Mouvillon is another neighbor, stupid, vicious, overweight , superstitious and very self-conscious . Every act (or non-act) by Carmen Cru nourishes his wish that "the old woman " should run away as soon as possible (foutre le camp) or give up the spoon (claquer) .
  • Monsieur l'Abbé is a practical, strong person wearing glasses and a pipe smoker with a broad chin and strong arms in a cassock and a beret , who was responsible for the bicycle cellar there during his training at the seminar. Despite his spiritual calling, he uses a very rustic, direct language. Since his Christian charity demands it, he is always ready to do a good deed and often it is Carmen Cru who benefits (or has to endure it), which leads to very absurd situations. Monsieur l ' Abbé is responsible for the guidance and training of a seminarist of indefinite age who accompanies him occasionally. In contrast to Monsieur l'Abbé, he uses a very neat, mannered manner of speaking and has a lot of theoretical knowledge, but repeatedly makes mistakes or suffers injuries when he follows the instructions of his teacher.
  • The railway attendant is a good-natured, angular giant - he can carry two railway sleepers at the same time. As a factotum , he takes care of all work that occurs in and around the small train station. He is a railway worker through and through, knows the file number of every form and all reference numbers and properties of railway components and allows this information to flow generously into his monologues , which Carmen Cru chokes in the usual harsh manner.
  • Adolphe is not a person, but a neighbor's hangover. Ugly and with a sneaky expression on his face, he hangs around at Carmen Cru's , hisses at her, scratches her, claws at her and steals fish from her purchases, which she counters with powerful strokes of a broom and cold water. The reader does not find out how this special relationship began, but Adolphe keeps coming back to Carmen Cru , where he receives a bowl of milk and is occasionally allowed to spend the night in her bedroom.

action

Most of the episodes stand on their own and revolve around a specific topic, in the course of which a "conflict" arises about Carmen Cru , which she - in contrast to the other people involved - mostly in stoic calm and through stubborn insistence on her own worldview survives; even if a situation forces her to do so, she never argues. She explains her position and that has to be enough. Occasionally, previous situations are taken up again and given a new variant.

The stories L'Escapade and Thriller differ from the other individual episodes because they are series of eight (or five) thematically consecutive episodes, which allow a very special insight into the character of Carmen Cru .

L'Escapade

The great-great-nephew brings Carmen Cru a telegram from the Hospice des Vieux du Midi (dt. Old people's home in the south of France ) that her mother, Barbe Cru, is doing very badly, that she should visit her immediately and arrange the funeral expenses in advance. Worried, she packs up immediately and sets off by bicycle with suitcase, bags and umbrella on the first stage of a long and arduous journey to help her mother.

At the small train station, she negotiates the storage of luggage for her bike with the station factotum. On the train, the usual friction with a conductor and the passengers occurs. When she arrived in the small town of Tinquillan , she refused a shabby hotel room and managed to spend the night in the hotelier's private bedroom - and was compensated for it financially. A truck driver takes her to the Hospice des Vieux du Midi , where Carmen Cru learns from the manager that her mother only had an upset stomach and has already left the old people's home, but without paying for the stay there. Carmen Cru sets off on foot with all her luggage to her mother, who lives in complete seclusion in a small house - even smaller than her own - high on a mountain.

Barbe Cru is much older, more stooped and more headstrong, sullen and sharp-tongued than her daughter and she showered her with accusations and insults when she arrives. During the “visit”, which lasts only a few minutes, Carmen Cru endures this tirade stoically and defensively, and leaves her mother with a photo of herself when she parting, which she immediately comments with further insults in this regard. Back down in the valley and out of earshot of her mother, Carmen Cru " ends the conversation" for herself with a "Jusqu'à la prochaine fois." ("See you next time.") .

On the whole long way back, Carmen Cru is withdrawn and does not answer any of the questions others ask her. Only when she returned to her hometown and picked up her bike in the usual arguing manner and when she got back to ring out all the neighbors did she find her way back to her previous form. She makes herself a mulled wine, adds a pear brandy and comes to the conclusion: "On est jamais si bien que chez soi."

thriller

Carmen Cru receives an anonymous letter - written in faulty French and without periods and commas - in which she is told that they knew her good relationship with the Germans during World War I, that they knew what she did with her mother and that one knew wants her to leave her house immediately and move away - otherwise, inform the police.

Since she doesn't know who wrote this letter, she mentally goes through the gallery of her friends over a glass of wine. Finally she got the idea to write the same reply letter to each of her neighbors, in which she asked the Corbeau (literally raven ; translated to be understood as an informer ) to a duel behind the church. As a weapon she chooses her own MAS rifle, built in 1872, which from then on she always carries around with her when distributing letters, shopping and also in the bistro. The next morning she waits at the specified location, ready for an argument - but no one shows up for the duel.

Since she absolutely wants to solve the riddle about the Corbeau , she changes her strategy and is now drafting an anonymous letter ("Cher Corbeau ..") in which she pretends to know who is cheating on that Corbeau and his partner - which you can see for yourself the next day in the Joyeux Bar , which is also a seedy hotel. She also wrote this letter to each of her suspects.

This strategy is crowned with success, because in the bar she meets the pensioner neighbor, the impoverished nobleman, the great-great-nephew, one of the house owners, M. Raoul and Poupi Mouvillon. According to Mouvillon, whom she calls the mastermind, which he does not deny, Carmen Cru builds up in front of one after the other and dismisses everyone by listing his weaknesses. In addition, it forces everyone to use the sentence “ Je suis un lâche, un furoncle, un jean-foutre, j'en suis fier et j'en crèverai. “To say what everyone does in his own way and - under pressure - replacing the terms in the sentence she demands with others that make his individual weaknesses even more personal and even clearer.

Then Carmen Cru leaves the bar without a word, leaving behind the group of six men that she has leveraged and intimidated. At home she takes the letter with her pointed fingers and burns it in the oven with the comment: "Tout est dit."

Perception outside of the series

Carmen Cru is mentioned mainly in the French-speaking area in other areas of public life.

  • Carmen Cru episodes . were by Marijo Kollmannsberger and his Compagnie du Préau. staged for the theater and performed more than 500 times in Paris and also during three seasons at the Festival d'Avignon .
  • In addition to other material, Hervé Curat also used volumes 1–4 by Carmen Cru. in his essay on Verbal Morphology and Time Referencing in Modern French.
  • In the novels of various French authors, the type of Carmen Cru. cited to characterize characters appearing in these novels.
  • As part of her dissertation, Corinne Six examined the depiction of alcohol-consuming female characters in French comics. Carmen Cru served as an example . Sœur Marie-Thérèse des Batignolles and Jessica Blandy .

Comic albums

French editions

  • Volume 1: Rencontre du 3 ème âge (Audie-Fluide Glacial, 1984, ISBN 2-85815-402-3 )
    • Les escrocs
    • Chips and cacahuètes
    • Le cageot cassé
    • La BA
    • Dimanche après-midi
    • L'amie des bêtes
    • Le portrait artistique
    • La collision
    • La visite
    • Les vieux copains
    • Le club
  • Volume 2: La Dame de fer. (Audie-Fluide Glacial, 1985, ISBN 2-85815-084-2 )
    • Le terreau
    • La consultation
    • Les huîtres
    • Sale temps
    • Le caniveau
    • Le quatre-heures
    • Voisinage
    • L'héritage
    • Les ordures ménagères
  • Volume 3: Vie & mœurs. (Audie-Fluide Glacial, 1985, ISBN 2-85815-837-1 )
    • Le pique-nique
    • La bibliothèque
    • La traverse de virage
    • Le fardeau
    • Trois heures du matin
    • Le terrassier et l'impotente
    • La fete
    • Le courrier
  • Volume 4: Ni Dieu ni maître. (Audie-Fluide Glacial, 1986, ISBN 2-85815-403-1 )
    • Le nouveau
    • La vermine
    • routine
    • Le terrain vague
    • La Vollaille
    • Les comptes
    • La pétition
    • L'interview
  • Volume 5: L'Écorchée vive. (Audie-Fluide Glacial, 1987, ISBN 2-85815-106-7 )
    • La fièvre
    • La grenouille
    • La leçon
    • Le Calvaire
    • Le Joyeux Bar
    • L'agression
    • La cour et la baraque
    • Metamorphosis
    • Le bord de l'eau
  • Volume 6: Carmen Cru et autres histoires. (Audie-Fluide Glacial, 1994, ISBN 2-85815-191-1 )
    • Moins quinze au-lingerie
    • Fluids
    • Le débauché
    • La lessive
    • La convocation
    • Other drawings and episodes that are not Carmen Cru. affect:
      • 10 pages of graphic head and body studies
      • Le merveilleux est quotidien
      • Le malheur des uns fait le bonheur des autres
  • Volume 7: Une cervelle de plomb dans un crâne de béton. (Audie-Fluide Glacial, 2001, ISBN 2-85815-302-7 )
    • Chez Bibi
    • Rumeurs
    • La bete de somme
    • L'Escapade
      • Le cataclysme
      • Parking
      • SNCF
      • La nuitée
      • La baguenaude
      • La joute
      • Vers les frimas
      • Chez son chez-soi
    • ... Et plus si affinités
    • Travail manuel
    • Cotillons
  • Volume 8: Thriller. (Audie-Fluide Glacial, 2008, ISBN 978-2-85815-875-1 )
    • thriller
      • Un os dans le frometon
      • Deux coups les gros
      • Les tronches plates
      • Faut y aller mou
      • Va y avoir du mastic
    • Le malfaisant
    • La pension
    • Flash News
    • graffiti
    • Le revitaillement
    • La grace
  • Anthology 1: Brut de décoffrage. (Audie-Fluide Glacial, 2001); contains volumes 1–3
  • Anthology 2: La vioque de choc. (Audie-Fluide Glacial, 2003); contains volumes 4-6
  • Anthology 1: Intégrale Volume 1 (Audie-Fluide Glacial, 2014, ISBN 978-2-352-07512-7 ); contains volumes 1–4
  • Anthology 2: Intégrale Volume 2 (Audie-Fluide Glacial, 2015, ISBN 978-2-352-07587-5 ); contains volumes 5–8

German editions

  • Carmen 1. Alpha Comix, Sonneberg 1987, ISBN 3-89311-008-9 (= U-Comix presents Volume 4).
  • Carmen 2 - The spirit of the family. Alpha Comic, Sonnenberg 1988, ISBN 3-89311-048-8 (= U-Comix presents, Volume 10).
  • Carmen 3 - Not God nor Master. Alpha Comic, Sonnenberg 1989, ISBN 3-89311-081-X (= U-Comix presents, Volume 20).
  • Carmen 4 - The iron lady. (translated by Gerd Benz), Alpha Comic, Sonnenberg 1990, ISBN 3-89311-126-3 (= U-Comix presented, Volume 35).
  • Carmen 5 - frogs, cemeteries and the health police. Alpha Comic, Sonnenberg 1991, ISBN 3-89311-165-4 (= U-Comix presents, Volume 46).

literature

  • Hervé Curat: Les déterminants dans la référence nominale et les conditions de leur absence. Librairie Droz, 1999.
  • Jacques Diament: Fluide Glacial Gotlib ... Et moi. Editions L'Harmattan, 2011.

Individual evidence and explanations

  1. ↑ Nomen est omen ; the French word cru can have different meanings depending on the context: brutal, coarse, garish, hard, raw, rude, ruthless, unvarnished, or blunt.
  2. ↑ a b c d e f g h i j k La "bible" de Carmen Cru, de la main de Lelong (Eng. The Carmen Cru Bible, handwritten by Lelong ); Lelong describes his view of Carmen Cru : her character, how her personality expresses itself, how he sees her from a psychological point of view, her family members and how she leads her life. This is followed by descriptions of the neighbors and some other actors. The conclusion is a plan with the location of your house in the courtyard of the residential complex. These elaborations were found in Lelong's estate and had never been published before. It stands to reason that as a scenarioist he carefully planned the personality of Carmen Cru and all of her surroundings in this way (Volume 8, pp. 43–46).
  3. ↑ Visages et paysages du livre de jeunesse , Université Paris-Nord, Institut international Charles Perrault, Harmattan (1996), p. 116.
  4. ↑ Examples are: “Indistinct speaking without teeth” (Volume 2: L'héritage ); “Being in a bad mood” (Volume 2: Voisinage ); “Have a fever” (Volume 5: La fièvre ); “Awakening from a dream” (Volume 5: Métamorphose ); “Speechless, sullen rejection of a conversation” (Volume 7: Vers les frimas ); Etc.
  5. ↑ Based on photos from her youth you can see that she had the same piercing look and sullen expression as a baby. Her grandmother, mother and Carmen Cru themselves are confusingly similar in old photos, not only with regard to the wart (Volume 4: Insomnia ).
  6. ↑ Volume 1: Le portrait artistique. Volume 2: La consultation ; Volume 5: La fièvre
  7. ↑ Charentaises are a typically French product that was created at the beginning of the 20th century. They are mostly yellow-brownish slippers made of felt with different patterns reminiscent of Scottish tartans .
  8. ↑ The title page of Thriller can serve as an example .
  9. ↑ From her point of view, you can see how she turns the pages of her family album, which contains pictures of herself and members of her family (Volume 4: Insomnia ).
  10. ↑ Volume 1: L'amie des bêtes ; Volume 2: Le quatre-heures ; Volume 7: Rumeurs ; Volume 8: Graffiti
  11. ↑ She took over the house from her mother when she retired to an even smaller, even older house in southern France. The exact circumstances of the handover and the separation are not known, but after Lelong there was a dispute. Nevertheless, Carmen Cru has great respect for her mother.
  12. ↑ She has no telephone or TV , but she has an old radio that resembles a people's receiver . After one day she fetched it from the attic, turned it on and listened for a while, she came to the conclusion: “ I haven't listened to the radio since the Front Populaire . You'd think the news would get better over time, but that's not true. It's always the same idiocy. The opposite would have surprised me, too. “ , Whereupon she turns off the radio and puts it back on the memory. (French: " J'avais pas écouté de radio depuis le front populaire. On s'imagine que les nouvelles s'améliorent avec le temps, mais c'est pas le cas. C'est toujours les mêmes âneries. Le contraire aurait été étonnant. “, Volume 8: Flash news ).
  13. ↑ Volume 7: Travail manuel
  14. ↑ In French these ancient packing boxes are called cageot ; Carmen Cru has a whole shed full of cageots behind her house .
  15. ↑ Volume 1: Le cageot cassé. Volume 1: La collision
  16. ↑ Volume 1: Chips & cacahuètes. Volume 4: Routine ; Volume 5: Le "Joyeux Bar"
  17. ↑ The manner of the drinking habits of Carmen Cru were determined by Corinne Six in 2001 as part of her dissertation La représentation des conduites d'alcoolisation de la femme dans la bande dessinée à propos de 3 cas: Carmen Cru, Soeœur Marie-Thérèse et Jessica Blandy an of the Université du droit et de la santé (Lille).
  18. ↑ Volume 2: Le terreau. Volume 3: La traverse de virage ; Volume 5: Le calvaire ; Volume 6: La convocation
  19. ↑ Volume 3: Le pique-nique. Volume 3: La traverse de virage ; Volume 4: Insomnia ; Volume 5: La leçon ; Volume 5: La grenouille ; Volume 6: Moins quinze au-lingerie ; Volume 6: La convocation
  20. ↑ Volume 1: La visite. Volume 4: L'interview
  21. ↑ Volume 1: Les escrocs. Volume 1: La visite
  22. ↑ However, this situation is repeatedly disturbed by neighbors and other people (e.g. Volume 1: Dimanche après-midi. Volume 4: L'interview ; Volume 5: L'agression ) or by people who take possession of their house want (e.g. Volume 1: Le club ; Volume 5: La cour et la baraque ).
  23. ↑ Volume 1: Le portrait artistique. Volume 2: L'héritage ; Volume 4: Insomnia
  24. ↑ Dt. Mr. Procurator of the Republic
  25. ↑ Dt. Authorized Public Prosecutor
  26. ↑ Volume 1: Dimanche après-midi. Volume 4: La pétition ; Volume 5: Le "Joyeux Bar"
  27. ↑ "Entier. C'est un bloc."
  28. ↑ The term “interlocutor” would be wrongly chosen. Carmen Cru does not conduct any dialogues in the true sense of the word, nor does she address other people. She confronts her with her opinion - and she can take on anyone, including the gentleman in the sunglasses whom Poupi Mouvillon hired to turn her neck (Volume 5: L'aggression ).
  29. ↑ Her opponents generally approve of her an "age bonus" and always try to maintain the conventions of a conversation with an older lady, but Carmen Cru herself does not adhere to these rules. In the case of disagreeable remarks from others, she pushes them on the defensive through feelings of guilt with sentences such as: “Faut pas abuser de la situation, ni de ma sénilité.” (Eng. “You shouldn't take advantage of the situation, nor that I should old weak woman. ” , Volume 2 La consultation ) or“ Vous me prenez pour une bête? Faut pas essayer de m'escroquer. ”(Eng; “ Do you think I'm stupid? Don't try to piss me off ” , Volume 1: Les escrocs ); drive insane (Volume 6: La convocation ).
  30. ↑ In the conversation between the supervisors you learn: “Imagine something like that, a bicycle patch in the oyster, I just don't understand.” “Something like that only happens, last time it was a tire lever . She is [simply] haunted by bad luck. ” (Volume 2: Les huitres ).
  31. ^ " Tout se perd. On court à l'apocalypse. " (Volume 7: "Chez Bibi" ).
  32. ↑ " Mais ça m'est bien égal, je les enterrerai tous. “(Eng. “ But I don't care, I will bury them all. ” ) (Volume 5: La fièvre ); “ Pour ça je peux dormir la conscience nice. C'est pas donné à tout le monde. "(Eng. " That's why I can sleep with a clear conscience. Something like this is not given to everyone. " ) (Volume 3: Trois heures du matin ); “Faut pas me prendre pur pire que je suis.” (Eng. “I'm not that bad either.” , Volume 5: La grenouille ).
  33. ↑ "Pousse-toi, tu me gènes." ( Eng. "Go away, you disturb me." , Volume 5: La grenouille ).
  34. ↑ Volume 1: La visite. Volume 2: L'héritage ; Volume 4: Les comptes ; Volume 5: La grenouille ; Volume 7: L'Escapade : Le cataclysme and L'Escapade : Chez son chez-soi
  35. ↑ Volume 1: Le cageot cassé and Dimanche après-midi ; Volume 3: La fête ; Volume 4: Routine , La volaille and La pétition ; Volume 5: La fièvre ; Volume 6: Moins quinze au-dessous , Fluide and La lessive ; Volume 7: L'Escapade (Chez son chez-soi)
  36. ↑ Volume 1: Le cageot cassé. Volume 2 Voisinage ; Volume 4: La pétition ; Volume 5: L'agression ; Volume 6: Moins quinze au-dessous , Fluide and La lessive
  37. ↑ "J'insiste ... charité chretienne ... notre Devoir."; dt. " I insist ... Christian charity ... our duty. "
  38. ↑ Volume 1: La BA - Volume 2: Le terreau - Volume 3: Le fardeau
  39. ↑ Volume 3: Le pique-nique. Volume 5: Le calvaire
  40. ^ "Je connais rien de ce que vous dites. Je rentre."; dt. "I have no idea what you're talking about. I'm going home now." Whatever she does, but flips a railway switch unseen so that she can get past it more easily with her loaded bike ...
  41. ↑ Volume 3: La traverse de virage. Volume 7: L'Escapade : Parking and Vers les frimas
  42. ↑ Adolphe is the French version of Adolf .
  43. ^ Volume 1: Les vieux copains - Volume 3: Trois heures du matin ; Volume 4: La volaille ; Volume 8: Thriller Faut y aller mou
  44. ↑ L'Escapade (related to échapper , escape, escape ”) can mean“ excursion ”, but also the meaning of escapade , etc. a. 'Crazy, ill-considered prank'.
  45. ↑ Here is a logical mistake in the series: Carmen Cru got her last name from her former husband Stanislas Cru. Carmen's mother, however, had a different husband who also differed greatly from Stanislas Cru's physiognomy . So why should Carmen's mother Barbe have the same surname Cru ?
  46. ↑ Anyone who wants to hear it or not hear it, she tells: “Je m'en vais dans le Midi voir ma mère qui est à l'agonie.” (Ger. “I'm going to southern France to go to my mother to see who wrestles with death. ”Volume 7: L'Escapade ).
  47. ^ "... et faites attention à mon parapluie." " Oui, mais il me rentre dans le scrotum et c'est très douloureux. "(Eng .: " ... and please be careful with my umbrella. " " Yes, but it presses on my scrotum and that is very painful. " )
  48. ↑ Schüttelwort to Quintillan, a 64-strong community in the south of France, the Aude department , in the region Languedoc-Roussillon
  49. ↑ In this episode Lelong makes a tribute to a fluid-Glacial colleagues: In the office of the head of the nursing home one hanging on the wall Portrait of Soeur Marie-Thérèse des Batignolles , a cartoon character, which by the draftsman and scenarist Maester developed . In 2004, the year Lelong died, Marie-Thérèse and Carmen met in person , this time through the pen of Maëster. Carmen Cru had another cameo in Sœur Marie-Thérèse des Batignolles , Volume 4 (October 2004) in the episode Missa Impossibililis .
  50. ↑ .. ". elle n'aime pas les vieux .; "Eng. about " she couldn't stand the old people (there). "
  51. ↑ Crapaud (German toad) , chameau (camel, zimtzicke) , cafard (cockroach, hypocrite) , tétard (tadpole) , parasite (parasite) , charogne (carrion, bitch) , abcès (abscess) , poubelle (garbage can) , vicieuse (Vicious) , crevure (scum) , sale rosse (dirty villain)
  52. ↑ Tortionnaire (torturer) , gargouille (Gargouille , about demon face)
  53. ↑ Volume 7: L'Escapade , Chez son chez-soi ; dt. "Home always feels most comfortable."
  54. ↑ "Cru tu ferai mieu de le fichai can toe de suite de ton trou sinon on prévien la police salope .."; Free German translation: "Cru it who better to get out of your hole, otherwise we'll call the police bitch .."; Volume 8: Thriller
  55. ↑ An allusion to the French film Le Corbeau from 1943, which deals with the same subject of anonymous letters in a small town.
  56. ↑ MAS: Manufacture d'armes de Saint-Étienne , largest French arms manufacturer in the Franco-Prussian War of 1870/71.
  57. ↑ Volume 8, Thriller - Va y avoir du mastic : "I'm a coward, a boil, a good-for-nothing, I'm proud of that and I'll die of it."
  58. ↑ Volume 8, Thriller - Va y avoir du mastic : literally "Everything has been said.", Transferred "That settles the matter."
  59. ↑ Jacques Diament: Fluide Glacial Gotlib ... Et moi. Editions L'Harmattan (2011), p. 109.
  60. ↑ Excerpt from the article Bande Dessinée et Théâtre: Ces Heros qui ont pris vie by Thierry Groensteen and Esteban, in Cahiers de la bande dessinée , No. 67 (Jan./Feb. 1986) (French)
  61. ↑ Hervé Curat: Morphology verbal et référence temporelle modern en français: essai de sémantique grammaticale. Librairie Droz (1991)
  62. ↑ Nadine Monfils: Madame Édouard. Editions Complexes (2004); Pierre-Marie Bourdaud: Curieux. L'Harmattan (2008); Patrick Pelloux: Histoire d'urgences. Le Cherche Midi (2012); and other
  63. ↑ Corinne Six, La représentation des conduites d'alcoolisation de la femme dans la bande dessinée à propos de 3 cas: Carmen Cru, Sœur Marie-Thérèse et Jessica Blandy (2001), Université du droit et de la santé (Lille)

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