François Bon

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François Bon [ ˈfʀɑ̃swa'bɔ̃ ] (born May 22, 1953 in Luçon , Département Vendée ) is a French writer .

He first studied mechanical engineering and worked as a welder and engineer before turning to writing. He became known with his first novel Sortie d'usine (German “Feierabend”) from 1982, which is based on his sometimes traumatic experiences in a metalworking factory. Bons literary works, which have a wide range of themes and forms, combine the representation of social reality with intensive work on language as a material. He is known for his writing workshops with members of social minorities and fringe groups . He has a keen interest in other arts such as painting and music. In 2000, he received the La ville à lire award for Paysage fer . Bon founded a major literature website and has recently been a publisher.

biography

Childhood, education, job

François Bon spent his childhood and youth in Saint-Michel-en-l'Herm ( Vendée ) and from 1964 in Civray (Vienne). He grew up as the son of a car mechanic and an elementary school teacher, which is why he is ascribed an early interest in both mechanics and literature. The writer Pierre Bergounioux , whom Bon got to know at the end of the 1980s, sees Bons' specific situation as an author in this two-stranded coinage.

In 1972, François Bon began studying mechanical engineering at the École Nationale Supérieure d'Arts et Métiers (ENSAM), an elite technical university in Bordeaux and Angers . He specialized in metal construction and worked from 1976 to 1980 as a welder and engineer in the aerospace and nuclear industries in France and abroad. Work stays took him to Moscow, Prague, Gothenburg and Bombay, among others. During this time he began reading intensively from various authors of world literature.

Writer, relocation and family

At the end of the 1970s, François Bon gave up his profession and studied philosophy for two years at the University of Paris VIII , among others with Jean-François Lyotard and Gilles Deleuze .

In 1982 he published his first novel with the title Sortie d'usine with the Paris publisher Éditions de Minuit . After this first publication, several writing grants took him to Italy and Germany and allowed him to devote himself entirely to writing. In 1984/85 he received a scholarship from the Académie de France à Rome in the Villa Medici (the French Villa Massimo ) in Rome. In 1987/88 he spent a year in West Berlin as a scholarship holder of the Berlin artist program of the German Academic Exchange Service (DAAD) . The Berlin time flowed into the novel Calvaire des chiens . He only returned briefly to the Vendée, only to live in Stuttgart for a year in 1991/92 as part of an authoring grant from the Robert Bosch Foundation .

From 1992 to 1996 François Bon lived in Montpellier , where he ran writing workshops . He began to work with young people from an underprivileged milieu or with a migrant background, for whom he has continued to be involved ever since. In 1996 he moved to Saint-Cyr sur Loire , a small town near Tours . Between September 2009 and April 2010 he was visiting professor for creative writing at universities in Quebec, Canada.

In December 2000 his father, René Bon, died. François Bon is married and has five children.

Literary work

The 1980s, beginnings as a writer

François Bon's first novel, Sortie d'usine , received positive reviews. In this novel, François Bon deals with some traumatic experiences of working in the factory. He describes the working conditions that shape everyday life in a metalworking factory. The plot is structured into four parts, each of which condenses the narrator's events and experiences during a week: the monotonous daily work and the conversations of the workers, a noisy farewell ritual after the death of a worker, the emotions and actions during a strike and finally the increasing one Distance between the narrator and the factory, which ultimately leads to his resignation and a reflexive turn to writing about the factory.

Although François Bons novel is based on his own, in part traumatic, experiences with work in the factory, he does not process it into an autobiographical project in the narrower sense . The novel also depicts the working conditions, power structures and discourses that shape everyday life in a metalworking factory. Unlike Robert Linhart in L'Établi from 1978, François Bon does not approach this reality with a sociological, “committed” or explicitly socially critical attitude. Even the fragmentary representation, the lack of explanations, the lack of overview make it clear that it is not a question of depicting the world of the factory in the sense of literary realism. Rather, Bon’s intention is to develop linguistic equivalents for the factory: the style of the novel does not name the violence that the factory does to people, but makes it clear and tangible in the syntax and rhythm. Dominique Viart writes that François Bon “bends words and sentences and makes them crunch”.

In the 1980s, François Bon published three more novels, which at first glance are very different thematically: Limite (1985) is about four friends whose thoughts and desires revolve around a woman; Décor ciment (1986) is about the residents of a Parisian suburb and their everyday experiences; and Le Crime de Buzon (1988) is about two men who have just been released from prison but are still firmly in their “inner prison”. Yvan Leclerc sees the thematic commonality of these three novels and Sortie d'usine in the fact that they all explore a closed space in its relationship to the outside world: the factory, the prison, the settlement, four different rooms in Limite . According to Jean-Claude Lebrun, what they have in common is that they address the world of socially marginalized people. François Bon himself formulated that he “made it his business to carry voices into the public domain that would otherwise not remain silent, but were put on hold”. Stylistically, this is also evident in the polyphonic narrative that characterizes these texts: none of the novels, neither Limite nor Décor ciment or Le crime de Buzon , have a central narrator. They alternately give the floor to different characters of the plot, who each report the events to an indefinite counterpart from their point of view.

Advanced author, moved from Minuit to Verdier

Calvaire des chiens appeared in 1990 with the Éditions de Minuit . The novel was written as a result of a one-year work grant in West Berlin. It is about the experiences of a German-French film team that travels to an abandoned village in the French Cévennes to prepare a film . The novel has an important place in the overall work in that it represents both a “conclusion and a new beginning”, especially in formal terms in relation to the previous novels. In addition, the reflection on the representation of the real in Calvaire des chiens is now integrated using the medium of film, similar to what will be later in Un fait divers from 1994.

In the early 1990s, François Bon left the Editions de Minuit publishing house, which is particularly associated with the Nouveau Roman , and began to publish at Verdier publishing house. This change also implies a different way of writing: Bon no longer calls his texts novels, but stories (frz: récit ). Sometimes he also leaves the generic name open. The fragmentary narrative style remains, but is no longer tied to a large number of narrative voices. The autobiographical or autofictional aspects of his writing also emerged more clearly during these years. For example, the publication of a collection of stylistically refined memorial texts about work in different factories ( Temps machine , 1993), a text about the relationship between seeing and writing that apparently documents a train journey repeated several times ( Paysage fer , 1999) and a text that deals with the family history on the basis of photographs after the death of Bon's father ( Mécanique , 2001).

At this time, François Bon also turned increasingly to the theater : He published texts such as Parking , which is located between polyphonic narrative and theater text (1997), as well as Impatience (1998) and Quatre avec le mort (2001), which were primarily written as theater texts, but can also be read as texts about theater. During this time, Pour Koltès (2000) also published an essay on the French playwright Bernard-Marie Koltès . Multiple François Bon had the opportunity to his texts in various theaters stage . In 1998 he held a “residence de création” at the Center Dramatique National in Nancy and in 1999 at the Théâtre Ouvert in Paris. The novel Daewoo , which deals with the closure of a factory of the company of the same name in Alsace, was staged as a play by Charles Tordjman at the Avignon Festival in 2004 .

In recent years, as with the original version of Daewoo , François Bon has returned to more narrative forms of writing. However, this did not lead him to broad-based novels, but rather to detailed descriptions of small events or to writing short narrative texts. In 2005, François Bon started a writing project on the Internet in which he resolved to complete a text every day and post it on the Internet. In this way, 227 short texts were created that combine everyday experiences, personal memories and dreams as well as purely fictional circumstances. The texts were published in book form in 2006 under the title Tumulte . The generic name of the book, roman , does not seem to do justice to the book in terms of content and form and was interpreted, among other things, as an expression of criticism of the novel. In August 2009, Bon published L'incendie du Hilton , which is about a nighttime fire alarm in a large hotel in Montréal that surprised attendees at a book fair there. François Bon describes the ultimately unspectacular event meticulously and uses it to reflect on the city and writing.

Literature and the Other Arts

Since the early years of his work, François Bon's works have emerged from a confrontation with other arts, in particular painting, music and film. This interest has also been evident in publications directly dedicated to these arts since the late 1990s.

Painting is important to Bon's work. It is the subject of Dehors est la ville (1998) , for example : Here the text accompanies and comments on the pictures by the New York artist Edward Hopper . The city and urban life as well as the topic of loneliness play a central role. Most of the Edward Hopper pictures selected by François Bon show one or two people in an urban context who seem lost in thought and psychologically distant. In addition to the book publication, Bon’s website Le tiers livre also pays homage to Edward Hopper.

While in Calvaire des chiens the cinema helped determine the action and reflection on writing, an explicit reflection on film and photography, among other things, shaped the writing to Paysage fer (2000): this text, which was written on repeated train journeys between Paris and Nancy, poses problems with the View from a moving train explores the relationships between view, image, movement and text, but also deals with the issue of collective memory of what can be seen from the train. The book is also accompanied by a photo project; later a film will also be made for the book. In Mécanique (2001), too, photographs from family and technological history play a central role in the interplay between writing and memory.

For François Bon, who himself played the bass in a punk rock band for a few years, music also plays an important role in the literary production process. For example, the rock music in Limite (1987) or the revision of pieces of Gregorian chant by Arvo Pärt in Calvaire des chiens (1990) are also models or images for writing. François Bon also works regularly with musicians at readings.

More recently, François Bon has also published several biographies of musicians and bands. In 2002, Bon's biography of the Rolling Stones was published , which is closely linked to his own youth and in which personal memories of the 1960s are reflected. Other biographies and radio features published by François Bon also deal with musicians who became successful in the 1960s and are known to the present day: in August 2007 he published a biography of Bob Dylan , and in 2008 Rock'n Roll, un portrait de Led Zeppelin . The life and work of various musicians are also the subject of several radio programs produced by François Bon together with Claude Guerre, about Led Zeppelin (France Culture, 2004) and about Bob Dylan (France Culture, 2007). An ode to Jimi Hendrix is planned for 2010 .

Other activities: writing workshops, literature and the Internet

In parallel to his work as a writer, François Bon has been active in the field of “ateliers d'écriture” (writing workshops) and creative writing since 1991. Among other things, he would like to help people with a weak social environment to use literature to make themselves heard and expressed. He has also written a manual with Tous les mots sont adultes for the implementation of such writing workshops. He emphasizes again and again that his motivation for running these writing workshops is not only altruistic, but also that the people with whom he writes give him a new linguistic access to reality. For a long time, François Bon has been on the road for readings, workshops, theater seminars and teaching assignments at universities in France and abroad.

In September 1996, François Bon discovered the Internet for himself when he set up his first Internet connection to download Baudelaire's Les Fleurs du Mal (The Flowers of Evil) in full. The following year, François Bon initiated one of the first websites dealing with modern and contemporary literature: remue.net . It was Bons' goal, on the one hand, to share his passion for certain authors, but also to discover and use the possibilities of the new, fascinating medium. This website has been continued by a collective of authors since 2000, where François Bon is only marginally involved, and has developed into an increasingly extensive and independent project. Remue.net is an established and important point of contact when it comes to contemporary French literature. At the same time, a more personal website was created, Le tiers livre , which provides information on François Bon's life, work and other activities, in particular with photo dossiers on some of his works.

Since 2008 François Bon's activities on the Internet have also affected his work as a publisher. In 2007, he and Bernard Comment began to publish a series of books called “Déplacements” at Le Seuil , which specializes in experimental contemporary literature. For many of the texts that were proposed to him for publication, an electronic form of publication seemed more sensible to him. This is how the online project publie.net came into being at the beginning of 2008 . This website, which François Bon runs jointly with Fred Griot, is a platform for the publication of contemporary texts in electronic form. He sees no competition between traditional print and electronic publications, but rather emphasizes how both forms can complement one another.

Literary classification

François Bon's work can be classified in a phase in the history of French literature of the 20th century in which, after the experiments of the nouveau roman, a so-called return to storytelling takes place, which, however, undermines the formal innovations and the fundamental criticism of the nouveau roman of the realistic novel of the 19th century not rejected, but processed further. François Bons literary works, which have a wide range of themes and forms, combine the representation of social reality with intensive work on language as material. Dominique Viart describes Bon’s literary work as the constant attempt to find a way to describe the real in literary terms, without doing so in the mode of literary realism , which is understood as outdated , which leads him to ever new forms of writing.

Role models and reception

Literary role models and friends

François Bon has repeatedly commented on other writers who are important to him, be it in interviews or in smaller articles, with some authors appearing again and again for different epochs. From the early modern period, François Bon dealt in particular with François Rabelais , among other things in the form of an essay on language and fiction by Rabelais ( La Folie Rabelais , 1990), which, however, was accused of careless handling of the state of research on the academic side, as well a faithfully transcribed new edition of the four books of Rabelais' work (1991–1993). From the 19th century, François Bon repeatedly mentions Balzac , whose collected works he allegedly read as a youth, and Gustave Flaubert .

From the early 20th century, William Faulkner is particularly important, who, like François Bon, proceeds from mental images rather than ideas or stories in the writing process and whose experiments with narrative polyphony have left a clear mark on Bon’s work. François Bon also identifies Franz Kafka as an important literary reference for his work on his first novel, Sortie d'usine, among other things . From the period after 1945, called François Bon alongside Samuel Beckett and Julien Gracq particular Claude Simon as an important role model. Parallels between the two authors, above all, in the literary handling of their own biography and the question of literary engagement (as differentiated from Jean-Paul Sartre ), in the conception of the materiality of language as the starting material and engine of the writing process, but also in the Montage of fragments can be seen as a structural principle of the texts. In the Encyclopedia Universalis , Blaise Cendrars and Guillaume Apollinaire are named as stylistic influences.

Speaking of contemporary writers, François Bon said in an interview for Scherzo magazine in 1999 that he feels very attached to some of them in various fields and that a kind of “family of writing” has emerged. Contemporary authors who are particularly important to François Bon are Pierre Bergounioux (who has written several articles about him), Pierre Michon , Valère Novarina and Bernard-Marie Koltès . Bon is considered to be Tanguy Viel's mentor .

reception

In the reviews of François Bon's books, which appear in features (in L'Humanité or Le Monde ) and in literary magazines (such as La Quinzaine littéraire , Le Matricule des Anges or Le Magazine littéraire ), there is a mostly very appreciative, but sometimes ambivalent one Attitude towards the author expressed. The serious and existential issues that François Bon addresses are underlined again and again: prison, unemployment, structural change, lack of perspective, loneliness and death, among others.

At the same time, it describes how the dense, sonorous and rhythmic style, the powerful and impressive images, the innovative polyphony and the refined narrative construction of the texts exert lasting fascination on the reader and effectively do justice to the topics. However, it is occasionally emphasized that François Bon is a difficult to classify, demanding and not easily accessible author. In particular, his style appears to some reviewers less fascinating than exhausting or even unsettling.

Since the 1980s, literary studies in the narrower sense of François Bon's work have appeared again and again, initially mainly in smaller journals. The first scientific colloquium on François Bon's work was held in March 2007 in Saint-Étienne under the title François Bon - Éclats de réalité , in the presence of François Bon. In March 2008 the first monograph on François Bon was published, in which Dominique Viart gives a knowledgeable overview of Bon's literary work (see section Literature ). The recognition of his work is also reflected in the numerous awards that François Bon has received, including the Prix ​​Paul Vaillant-Couturier for L'enterrement and the Prix ​​La ville à lire for Paysage fer (see section Awards ).

In Germany, François Bon is far less known than in France. Only four of his books, the first two ( Feierabend and Limit ) and two other early novels ( Included and The Burial ) have been translated into German, and these books are now only available in antiquarian versions. The university reception is also rather cautious, with only a few Franco-Romanists , in particular Wolfgang Asholt and Klaus Semsch, dealing with François Bon's work.

Works

Monographic works

Fictional texts

Documentarism, anti-novel

  • L'Enterrement , récit. Lagrasse: Verdier, 1991. - German: The burial , transl. Holger Fock, Manholt, Bremen 1993 ISBN 3-924903-48-4
  • Temps machine , recit. Verdier, Lagrasse 1992
  • C'était toute une vie , récit. Verdier, Lagrasse 1995
  • Parking . Minuit, Paris 1996 ISBN 2-7073-1552-4
  • Paysage fer , récit. Verdier, Lagrasse 2000
  • Mécanique , récit. Verdier, Lagrasse 2001
  • Daewoo , roman. Fayard, Paris 2004
  • Tumults , roman. Fayard, Paris 2006 ISBN 2-213-62990-0 (227 short essays.)
  • Autobiography of the objet . Seuil, Paris 2012 ISBN 978-2-0210-8839-7

Biographies:

  • Rock'n Roll, a portrait of Led Zeppelin . Paris 2008
  • Bob Dylan, a biography . Albin Michel, Paris 2007
  • Rolling Stones, a biography . Fayard, Paris 2002. TB Le Livre de Poche , 2004

Essays:

  • La Folie Rabelais , essai. Minuit, Paris 1990 ISBN 2-7073-1350-5
  • Dehors est la ville: Edward Hopper . Flohic, Charenton 1998 ISBN 2-84234-048-5
  • Tous les mots sont adultes, method pour l'atelier d'écriture . Fayard, Paris 2000. Édition revue et augmentée, Fayard, Paris 2005, again 2010 (handbook for writing workshops)
  • Pour Koltès , essai. Solitaires Intempestifs, 2000
  • Exercice de la literature. Formes neuves de récit pour une realité transformée . Weidler, Berlin 2001. ISBN 3-89693-716-2 (text of the five poetics lectures in the Villa Gillet, Lyon, January to May 1999.)
  • Proust is une fiction . Seuil, Paris 2013 ISBN 978-2-0211-0073-0

Shorter publications (selection)

stories

  • Cité Balzac, rue froide , in: Digraphe 31, 1983. pp. 7-10.
  • Haute autorité , in: Digraphe 34, 1984, pp. 7-12.
  • Pas doué , in: Autrement , 1986, pp. 12-15.

Interviews

  • Côté cuisines , interview with Sonia Nowoselsky-Müller, in: L'Infini 19, 1987, pp. 55–62.
  • Le tremblement authentique , interview with Pierre Bergouniuoux, on: Quai Voltaire 3, 1991, pp. 16-21.
  • Rabelais en mouvement , interview with Jean-Claude Lebrun, in: Europe 757, 1992, pp. 120–127.
  • François Bon, ascendant Rabelais , interview in: L'Actualité Poitou-Charente , December 1997, also online .
  • Une famille d'écriture , interview with Frédéric Châtelain, in: Scherzo 7, 1999, pp. 5–15.
  • Paradoxes du biographique , interview with Dominique Viart, in: Revue des Sciences humaines , 1999.
  • L'écran devient une vue sur le monde , interview with Camille Tenneson, in: Bibliobs , April 24, 2009 ( online ).

Contributions to magazines

  • Écrire la ville: 'L'homme des foules' , in: Écritures 7, 1995, pp. 35-42.
  • Sur Pierre Bergounioux , in: Écritures , 1997.
  • Sur le Fausto Coppi. Hommage à Pierre Michon , in: Scherzo 5, 1998, pp. 35–40.
  • Quart Livre, territoire inconnu , in: Le Magazine littéraire 319, 1994, pp. 31-35 (on Rabelais).
  • Volonté , in: Politis 642, 2001, dossier Littérature. L'engagement aujourd'hui.
  • Claude Simon: Fantastique et tragédie , in: Critique 511, 1989, pp. 980-996.

A selection bibliography of shorter fictional texts, theoretical contributions and interviews can be found in Dominique Viart, François Bon, étude de l'oeuvre , Paris: Bordas, 2008.

Awards

  • 1984–1985 scholarship from the Académie de France à Rome (stay at the Villa Médicis, Rome)
  • 1987–1988 scholarship from the German Academic Exchange Service (Berlin artist program)
  • 1991 Funded by the Robert Bosch Foundation , Stuttgart
  • 1992 Prix Paul Vaillant-Couturier (for L'enterrement )
  • 1992 Book Prize of the Poitou-Charentes region (for L'enterrement )
  • 2000 Prix France Culture / revue Urbanisme “La ville à lire” (for Paysage fer )
  • 2002 Prix Louis Guilloux (for Mécanique )
  • 2002 Prix d'automne de la Société des gens de Lettres (for Rolling Stones, une biography )
  • 2004 Prix Wepler (for Daewoo )
  • 2007 Prix Radio SACD (for radio broadcast about Bob Dylan)

literature

Literary articles

  • Wolfgang Asholt: Mourning work in modern times: François Bon. in: The French novel of the eighties . Wissenschaftliche Buchgesellschaft , Darmstadt 1994, pp. 138–151.
  • Jan Baetens: Mot: travail, adjectif: bon. Notes sur le style de Temps machine , in: Esperienze Letterarie, Rivista Trimestrale de Critica et Cultura 21.1, 1996, pp. 27-36.
  • Pierre Bergounioux: François Bon et le monde présent. In: La Cécité d'Homère. Cinq leçons de poétique. Circé, Strasbourg 1995, pp. 95-116.
  • Arnaud Bertina: Le silence gagne. Les tentations de Paysage fer , in: Critique 646, March 2001, pp. 209-223.
  • Bruno Blanckeman: Romans à vif: (phénomènes de société et faits divers, littérature policière, engagements) , in: Les fictions singulières. Étude sur le roman français contemporain , Paris: Prétexte éditeur, 2002, pp. 41–58.
  • Dominique Viart: Inscrire pour mémoire. Temps machine , in: Scherzo 7, 1999, pp. 45-52.
  • Dominique Viart: 'Théâtre d'images'. L'esthétique de François Bon d'après 'Calvaire des chiens' . In: Roman et Cinéma . Lille: Roman 20-50, 1996, pp. 103-123. (Also available online (PDF; 228 kB).)
  • Jean-Bernard Vray: François Bon, chiffonnier de la mémoire collective dans Paysage fer , in: Yves Clavaron and Bernard Dieterle (eds.), La mémoire des villes , Saint-Étienne: Publications de l'Université de Saint-Étienne, 2003, Pp. 107-122.
  • Gerda Zeltner-Neukomm: François Bon . In: The novel in the back streets. New structures in the French epic . Stuttgart: Franz Steiner Verlag, 1991, pp. 18-23.

Scientific book publications

  • Klaus Semsch: Discrete Heroes. Strategies of world encounters in Romance narrative literature from 1980 . Meidenbauer, Munich 2006 (On narrative technique, among others, in François Bon.) ISBN 3-89975-062-4
  • Klaus Semsch: François Bons 'Poetics of Inward Textuality': Reflections from the ateliers d'écriture and their narrative practice . In: O.Ette / A.Gelz (eds.): The French-language novel today. Theory of the novel - Roman der Theory in France and the Francophonie, Tübingen 2002, pp. 111–123, ISBN 3-86057-693-3 .
  • Dominique Viart: François Bon. Etude de l'œuvre. Bordas, Paris 2008 ISBN 978-2-04-732221-5 (Series: Ecrivains au présent. - The first monograph on the complete works.)
  • François Bon, éclats de réalité , ed. by Dominique Viart & Jean-Bernard Vray. Saint-Étienne: Publications de l'Université de Saint-Etienne, 2010. ISBN 978-2-86-272564-2 (files from the 2008 session.)
  • Gilles Bonnet, François Bon. D'un monde en bascule . Chêne-Bourg: La Baconnière, 2012. ISBN 978-2-940431-07-6 .

Dossiers in journals

  • Christiane Baumann & Gisela Lerch (eds.): Extreme presence. French literature of the 1980s. Bremen: Manholt, 1989. ISBN 3-924903-70-0 . (Each with own and third-party contributions; on François Bon: pp. 129–152.)
  • Dossier on François Bon in: Le Matricule des Anges 3, 1993 (article by Thierry Guichard, interview, review, bibliography.)
  • Dossier on François Bon in: Scherzo. Revue de littérature 7, 1999, pp. 3-52. (Contains an interview with François Bon and contributions from Pierre Bergounioux, Valéry Hugotte and Dominique Viart.)
  • Dossier on François Bon in: L'Animal. 16, 2004. (Includes an interview with François Bon as well as contributions by Jean-Paul Goux, Bernard Noël, among others.)

Web links

Individual evidence

  1. ↑ See Pierre Bergounioux, La Cécité d'Homère , Strasburg: Circé, 1995, pp. 97–98.
  2. ^ Dominique Viart, François Bon, étude de l'oeuvre , Paris: Bordas, 2008, p. 176.
  3. ↑ See the description by François Bon: “Une biographie, parcours, étapes, traces”, online at Le Tiers livre .
  4. ↑ See the description by François Bon: “Une biographie, parcours, étapes, traces”, online at Le Tiers livre .
  5. ↑ François Bon reflects on his stay in Rome and the importance of the Villa Medici as a cultural institution in a contribution to Le Tiers livre : “ À quoi sert la villa Médicis? "(2008).
  6. ↑ See website of the Berlin artist program, guests 1963–2009 .
  7. ^ François Bon, The Harvest of Contempt, in: NZZ of November 8, 2005 ( online ).
  8. ↑ See the description by François Bon: “Une biographie, parcours, étapes, traces”, online at Le Tiers livre .
  9. ^ Christine Ferniot: François Bon en direct avec le réel. In: Lire. February 1, 2000 L'Express .
  10. ↑ See the review by Nathalie Daladier, “Quand un tourneur prend la parole”, in: Magazine littéraire , 191, janvier 1983, p. 49.
  11. ↑ Wolfgang Asholt. “Modernism of Mourning: François Bon”. In: The French novel of the eighties . Darmstadt: Wissenschaftliche Buchgesellschaft, 1994, pp. 138–151, 140.
  12. ↑ Wolfgang Asholt. “Modernism of Mourning: François Bon”. In: The French novel of the eighties . Darmstadt: Wissenschaftliche Buchgesellschaft, 1994, pp. 138–151, 142.
  13. ↑ Dominique Viart, François Bon, étude de l'oeuvre , Paris: Bordas, 2008, p. 18. Original quote: "la pâte des mots et le phrasé de la langue, que l'écriture tord et fait grincer."
  14. ↑ On limits , see Bruno Blanckeman, "Romans à vif: (phénomènes de société et faits divers, littérature policière, engagements)", in: Les fictions singulières. Étude sur le roman français contemporain , Paris: Prétexte éditeur, 2002, pp. 41–58.
  15. ^ Louis Soler, "François Bon, Le Crime de Buzon", in: L'Ane , 1986, also online at the Éditions de Minuit .
  16. ↑ Yvan Leclerc, review for Critique n ° 503, avril 1989, also online at the Éditions de minuit . Original quote: "Chacun de ses livres, en effet, explore un espace fermé, dans son rapport violent à un dehors."
  17. ↑ See the contribution by Jean-Claude Lebrun, “Paroles d'exclus”, in: François Bon, un écrivain en Seine Saint-Denis. Bobigny: Conseil général de la Seine Saint-Denis, 1993, pp. 5-20.
  18. ↑ “Entretien avec François Bon”, by Frédéric Chatelain and Fabrice Gabriel, in: Scherzo 7, 1999, pp. 5–15, p. 7. Original quote: “[…] je me charge volontairement de porter dans l'ordre public une parole sinon tue, du moins reléguée [...]. "
  19. ↑ Wolfgang Asholt, "Mourning Work of Modernity: François Bon". In: The French novel of the eighties . Darmstadt: Wissenschaftliche Buchgesellschaft, 1994, pp. 113–151, there p. 139.
  20. ↑ See Dominique Viart, “'Théâtre d'images'. L'esthétique de François Bon d'après Calvaire des chiens . ”In: Roman et Cinéma . Lille: Roman 20-50, 1996, pp. 103-123. (also online (PDF; 228 kB).)
  21. ↑ See Dominique Viart, “Inscrire pour mémoire. Temps machine ”, in: Scherzo 7, 1999, pp. 45–52 and Jan Baetens,“ Mot: travail, adjectif: bon. Notes sur le style de Temps machine. ”In: Esperienze Letterarie, Rivista Trimestrale de Critica et Cultura 21.1, janvier-mars 1996, pp. 27-36.
  22. ↑ See Arnaud Bertina, “Le silence gagne. Les tentations de Paysage fer ”, in: Critique 646, mars 2001, pp. 209-223.
  23. ^ Benjamin Renaud, François Bon, Tumulte: l'interruption du roman . In: Tache-aveugle , December 2007 ( online ).
  24. ^ Jean-Claude Lebrun, Le roman par contrainte , in: L'Humanité , September 10, 2009 (online at Le Tiers livre ).
  25. ↑ See Dominique Viart. François Bon , 2008, pp. 140-145.
  26. ^ "Hommage à Edward Hopper: objets cylindriques sur toits à géométrie droite", in: Le tiers livre .
  27. ↑ See on this Jean-Bernard Vray, "François Bon, chiffonnier de la mémoire collective dans Paysage fer ", in: Yves Clavaron and Bernard Dieterle (eds.), La mémoire des villes , Saint-Étienne: Publications de l'Université de Saint -Étienne, 2003, pp. 107-122.
  28. ↑ The photo project with 32 photographs by Jérôme Schlomoff appears under the title 15021 (Nizza: L'Amourier, 2000). The film Paysage fer by François Bon and Fabrice Cazeneuve is shown for the first time in 2003 (52 minutes, ARTE and Imagine, F 2003). More information on Le tiers livre .
  29. ↑ See Dominique Viart, François Bon , 2008, pp. 145–149.
  30. ↑ On this the description by François Bon: “Une biographie, parcours, étapes, traces”, online at Le Tiers livre .
  31. ↑ See Dominique Viart, François Bon , 2008, pp. 134–140.
  32. ↑ Tous les mots sont adultes, méthode pour l'atelier d'écriture , Paris: Fayard, 2000, new editions 2005 and 2010.
  33. ↑ See François Bon, Lautréamont offert , on Le Tiers livre , July 3, 2010 ( online ).
  34. ↑ The Bibliothèque nationale de France references the website and describes it as a “site personnel pionnier” in the field of contemporary literature. See “Remue.net: littérature”, in: Signets de la BnF ( Memento of June 24, 2007 in the Internet Archive ).
  35. ↑ L'écran devient une vue sur le monde , interview with Camille Tenneson, in: Bibliobs , April 24, 2009 ( online ( Memento of February 21, 2010 in the Internet Archive )).
  36. ^ Dominique Viart: François Bon, étude de l'oeuvre. Bordas, Paris 2008, p. 13.
  37. ↑ See the critical review by Guy Demerson, in: Bulletin de l'Association d'étude sur l'humanisme, la réforme et la renaissance , 34.1, 1992, pp. 122–123.
  38. ↑ On these and other publications and projects relating to Rabelais, see Le tiers livre and the interview with François Bon, ascendant Rabelais , in: L'Actualité Poitou-Charente , December 1997.
  39. ^ Dominique Viart, François Bon, étude de l'oeuvre , Paris: Bordas, 2008, p. 17.
  40. ↑ See Dominique Viart, François Bon, étude de l'oeuvre, Paris: Bordas, 2008, p. 23.
  41. ^ Dominique Viart, François Bon, étude de l'oeuvre , Paris: Bordas, 2008, pp. 115–16.
  42. ^ See on this the homage by François Bon in Le Regard des écrivains , in: Revue 303 , number 93, 2006, dossier on Julien Gracq, pp. 57–69.
  43. ↑ See, among others, François Bon: D'où vient la rage quand on écrit? In: Cahiers Claude Simon. 2, 2006. (Also available online at Le Tiers livre )
  44. ↑ Michel P. Schmitt: François Bon / notice de l'Encyclopedia Universalis: BON FRANÇOIS (1953 -) , accessed July 5, 2010
  45. ^ "Entretien avec François Bon", by Frédéric Chatelain and Fabrice Gabriel, in: Scherzo 7, 1999, pp. 5–15, p. 5.
  46. ↑ See “ Tanguy Viel et son Paris-Brest remportent le prix carhaisien ( Memento of December 5, 2009 in the Internet Archive )”.
  47. ↑ Reviews of publications up to 2002 are documented by Christof Schöch, Situation et représentation dans l'œuvre de François Bon , Scientific thesis, Albert-Ludwigs-Universität Freiburg, 2002, pp. Xxx-xxxiii, URL: Le tiers livre (PDF; 381 kB). For more reviews, see the websites of the publishers in the web links section .
  48. ↑ See announcement and program at www.fabula.org (accessed December 5, 2007).
This version was added to the list of articles worth reading on July 12, 2010 .
personal data
SURNAME Bon, François
BRIEF DESCRIPTION French author
DATE OF BIRTH May 22, 1953
PLACE OF BIRTH Luçon , France