ARTICLE LONG FORMAT, Clément Guntern | At the start of this new century, a new order is gradually taking hold: authoritarianism around the world is gaining in power, and the states claiming to be authoritarian are asserting themselves with increasing brutality. Russia and China are raising their voices and threatening reprisals against anyone who dares to criticize the state of democratic principles and human rights on their territory. While escalation with Russia remains measured, China is agitating, vituperating and sanctioning. For the time being, it is mainly on their own territories that these states are committing more and more crimes, but for powers with global ambitions, it is to be feared that this is an exportable model of governance. Democratic principles are now under direct threat. As a result, democratic states have a duty to respond firmly to authoritarian forces, while leaving the door open to collaboration.
After the best-selling Winter in Sokcho (2016) and The Pachinko Balls (2018), Elisa Shua Dusapin gave birth to a third novel last August: Vladivostok Circus (2020), which tells the story of Nathalie, a costume designer who travels to a circus in Vladivostok, Russia, on assignment. She has to create outfits for a trio of artists practicing the Russian barre. But between language barriers, shyness and downright discomfort, Nathalie struggles to carve out a place for herself in the group. A group that would represent society, in all its complex human relationships? Meet the author to find out more about her novel and herself.
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The last years of the Romanovs
Avant la critique de la société du ricanement avec «L’Homme qui pleure de rire» (2020), mais après ses frasques de publicitaire cocaïnomane dans 99 francs (2000), Octave Parango a passé quatre saisons en Russie. Dans «Au secours pardon» (2007), le double de Frédéric Beigbeder est toujours aussi misérable, drôle, fascinant, désespérant, horrible, tragique, pathétique, touchant.
Nostalgia of a poet in search of the Absolute
Ce souffle, c'est Andreï Tarkovski
Netflix imagines the coming of the Messiah
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