Many films, telefilms and cartoons were drawn from its works.
ChildhoodPuîné of a family of six children, orphan of mother at the two years age, this wire of one marshal-shoeing is raised by his/her maternal grandparents who exploit a tilery with Villers-Robert, the Jura. The village will serve to him of decoration for the green Mare and as many other novels such as Vouivre , Gustalin or the Table with burst the (1929). It is of this world that it is inspired to describe very the political sharp passions, anticlericals or nuns of the rural world. It tries out itself besides these quarrels inside its own family since it will be necessary to await the death of the large father (anticlerical) to make it baptize at the seven years age. In 1910, with died of his/her large mother, it is dealt with by an aunt, shop clerk, who places it in pension at the college of Dole, but it turns over to spend its holidays to the countryside where it is made shepherd on the occasion. Although raises poor, it prepares the contest of Polytechnique; however the epidemic of Spanish Grippe which prevails with the autumn 1919 puts an end to its studies and will leave a long time it fragile health.
The initial writerAfter its military service (1923), it arrives at Paris where it exerts the most various trades: bank clerk, insurance agent, journalist. It is no talent:
Small provincial gherkin, not more gifted for the letters than were to it then the ten miles boys of my age, not having only never been first in French essay (…) I did not even have these strong admirations which could have involved me in a wake .
It however benefits from a convalescence to write its first very noticed novel: Brûlebois published in 1926, then Return ticket (1927), and the Table with burst the (1929) which obtains this same year the price Renaudot. But it is with the green Mare (1933) that Marcel Aymé obtains great notoriety. From there, he regards the literature as a trade, he launches out at the same time in the cinema and starts to be interested in the theater. It is before the Second world war that he wrote Vogue the galère , part which will be played only in 1947.
The recognized writer then décriéMarcel Aymé passed a good part of his life and his work to being and doing what one did not await from him, in consideration of which it ended up occupying a perfectly recognized ministry: that of the political irony and intellectual discomfort .
Its course is indeed disconcerting. While in full occupation it makes team with the cinema with a Marxist realizer, Louis Daquin, it gives in same time Romance and new to newspapers collaborationnists: I am everywhere , the Sheaf , but as there is in its texts no trace of political commitment, it will not be put on the black list of the writers at the Libération. It even savagely turned in derision the Nazi regime before 1939 (See: Travelingue , and: the Chart or the Decree in the Pass-wall) and did not give any pledge of rallying to the occupant after 1940. Irony of fate, it is a cinematographic collaboration with the Continental film which will be worth a “blame without posting to him”. Actually, these are not the writings nor its scenario which are worth to him the charge of anti-semite and collaborationnist, they are rather his/her friends: Celine, and especially Robert Brasillach.
The controversy Marcel AyméThe writer was attacked by all those which did not support that its novels rather crûment describe France of the Forties and that of purification, putting on the same foot the monstrous collaborators and the sinister revanchists, describing with an off-hand exactitude the black-market, the denunciations, the settlings of score ( Uranus , the Longest way round ). But it especially supported until the end indefensible the Robert Brasillach, trying to make sign with intellectuals of any edge a petition against the capital punishment whose Brasillach was struck. François Mauriac and others signed it. But Brasillach was shot nevertheless.
During the occupation, writes it, I gave novels and news with I am and with everywhere the Sheaf. With the Release, I had the chance that one does not put to me in prison and that one is satisfied to maltreat me in the newspapers .
Popular success despite everythingAlthough very wounded by this episode, Marcel Aymé does not continue any less to publish a great number of novels, tales, news and plays. Its works are worth an immense popular success to him, the critic the met in part or is unaware of it, and that until his death where, while being very read, it is presented by intelligentsia like not very advisable. Champion of against current, one reproaches him to his primary education anti-Americanism of the Bluebottle in full pro-American period. In connection with moon Birds , Elsa Triplet written: “One laughs enormously with these moon birds. But yesterday like today, whether one cries or that one laughs, it of rotted something in this kingdom there there”. Marc Soriano gives a curious appreciation of the Tales of the cat perched : Nothing new good in these tales which are compared to Perrault what Giraudoux is with the Greek Tragédie (…). Nothing in fact which left the conventional one. A wisdom very of irony at the same time disillusioned and turned towards the past, of the winks over the shoulder of the child to the adult: “Me which visited Russia, said the duck, I can say to you that there low it is not better than here”.
And yet, with the theater, Marcel Aymé obtains great successes with Lucienne and the butcher , Clérambard (1946), joke who badly hides a fundamental interrogation on the existence of God, and another joke, the Head of the others (1952), put in scene by André Barsacq, whose Magistrature is alone not to laugh. the Head of the others is the first great plea against the Capital punishment - and this good before others very mediatized - which makes scandal. It ridicules the state prosecutors there, the public prosecutors. The song If the photograph is good of Barbara is inspired as much by this part than of the pangs of a woman of president.
Style and the manThe style of Marcel Aymé is very elaborate. It analyzes with spirit them through man and company. Its vision can be black. Hypocrisy, greed, violence, the injustice, the contempt, appear in its works, as well as friendship, the friendship, kindness, indulgence and devotion. It describes the social structures in a very realistic way, with the Balzac or the Zola, while granting an important place to the fantastic one. Its fantastic, far from being traditional, is tinted of irony and can be qualified of " fantastic ludique" (cf the collection the Pass-wall ). When it receives the Goncourt in 1945, Jean-Louis Bory declares: My two passions are Aragon and Marcel Aymé. I wrote My village at the German hour while thinking of Marcel Aymé . And Antoine Blondin: It had much indulgence for very whole humanity. Its frequentation improved you . Always hidden behind black glasses, speaking little, Marcel Aymé recognized itself in no political current. Its precursory immense talent is not yet sufficiently appreciated. Its production is abundant. Marcel Aymé left two tests, seventeen novels, several tens of news, ten plays and more than one hundred sixty articles. Ignorance in which the criticism and the handbooks of literature have held for thirty years the work of this writer concerns the scandal culturel
In 1950, he refuses a seat with the French Academy.
HomageA monument and a plate were high with its memory Place Marcel-Aymé, in the district of Montmartre to Paris. The statue, carried out by Jean Marais in 1989 evokes the “Pass-wall”, one of its most surrealist characters, and one of its more beautiful written works.
See also: Romance and news of Marcel Aymé
Romance and new
- Twins of the devil 1928
- the Table with burst (Romance) the 1929
- Brûlebois 1930
- the Street without name 1930
- the Good-for-nothing 1931
- the Well with the images 1932
- the green Mare (1933)
- low House (1934)
- the Dwarf , 1934
- It Mill of the Silencing device (1936)
- Behind at Martin (1936)
- Silhouette of the scandal , 1938
- Gustalin (1938).
- the clandestine Ox (1939)
- the Beautiful image (1941)
- Vouivre (1941)
- Travelingue (1941)
- the Pass-wall (1943)
- the Longest way round (1946)
- Wine of Paris (1947)
- Uranus (1948)
- boots of seven miles Romance ()
- Behind (1950)
- Tales of the cat perched : 17 tales published between 1934 and 1946, republished in complete Novels , Gallimard, Library of the Pleiad, vol. III.
- drawers of the unknown (1960)
- Spanned (1967). Illustrations of Giani Esposito, Gallimard, white Library.
complete Republication of the novels and news in six volumes illustrated by Topor, (Flammarion 1977.
Articles of Marcel Aymé
See also: Articles of Marcel Aymé
- Lucienne and the butcher , 1948
- Clérambard , 1950
- Vogue the galère , 1951
- the Head of the others , 1952
- the Four truths , 1954
- Witches of Salem , 1954
- moon Birds , 1955
- the Bluebottle , 1957
- Seen bridge , 1957
- Louisiana , 1961
- Maxibules , 1961
- Consumption , 1963
- the Wall cupboard , 1963
- the Night of the iguana (French adaptation of the part of Tennessee Williams), 1965
- Convention Belzébir , 1966
- Minotaure , 1967
Scenarios, adaptation and dialogs
- to develop
- dialogs of the mutinés film of Elseneur of Pierre Channel, 1936
- dialogs of Us them kids , first film of Louis Daquin, 1941
- adaptation and dialogs of the film the Traveller of All Saints' day , Louis Daquin, 1943
- Album Marcel Aymé , Gallimard, Library of the Pleiad, 2001.
Adaptations for the cinema and television
- 1950 : the Pass-Wall of Jean Boyer with Bourvil, Joan Greenwood, Raymond Souplex, Gerard Oury
- 1951: the Table with burst the of Henri Verneuil with Fernandel, Maria Mauban
- 1956: the Crossing of Paris of Claude Autant-Lara with Jean Gabin, Bourvil
- 1959: the Longest way round of Michel Boisrond with Francoise Arnoul, Bourvil, Louis de Funès
- 1959: the green Mare of Claude Autant-Lara with Bourvil, Valerie Lagrange, Sandra Milo
- 1969: Clérambard of Yves Robert with Philippe Noiret, Dany Carrel
- 1973: Vogue the galère of Raymond Roller with Robert Hossein, Claude Dauphin
- 1975: Good painting , of Philippe Agostini, with Claude Brasseur
- 1977: the Pass-Wall of Pierre Tchernia with Michel Serrault
- 1978: the Grace of Pierre Tchernia, with Michel Serrault
- 1988: Vouivre of Georges Wilson with Lambert Wilson, Suzanne Flon
- 1990: Uranus of Claude Berri with Michel Blanc, Gerard Depardieu
- 1991: the Usher of Pierre Tchernia with Michel Serrault
- 1991: Héloïse of Pierre Tchernia with Michel Serrault.
- 1993 : the clandestine Ox of Lazare Iglesis with Daniel Ceccaldi, Daniele Lebrun.
Reference booksIt is difficult to find reference books on Marcel Aymé. The author was classified on the right and was so obstinately recovered wrongly by the preserving circles, that very few intellectuals dared to undertake a thorough and objective study of its work of fear of being taxed with Fascism, anti-semitism or tendencies reactionaries. In addition, Aymé had art as a whole to put at back the politically correct circles including State education since one does not study it any more with the college, or the college except for: Tales of the cat perched in primary cycle. There will be an idea of his ease while reading: “Marcel Aymé could refuse with plume” by Gabrielle Rolin. Article published in '' Lire '', June 2001
- pol. Vandromme: Marcel Aymé (Gallimard 1994 republication of a work published in 1960.
- Jean Louis Dumont: Marcel Aymé and the marvellous . Paris. Debress. 1970.
- Jean Cathelin: Marcel Aymé , 1958.
- Roger Nimier: Days of reading , 1965
- Michel Lecureur, the human Comedy of Marcel Aymé, Manufacture, 1985.
- Jean-Claude Véniel, the Work of Marcel Aymé, the search of the Father to the triumph of the writer , the Amateurs of the book, 1990.
- Michel Lecureur, Marcel Aymé: an honest man , Beautiful letters-Archimbaud, 1997.
- Michel Lecureur: Letters of a life, Marcel Aymé , the Beautiful Letters
Notes and refer
|Random links:||Fakaha | Myzus | Civics of Ottawa | Pastor Micha Ondo Bile | Carnicerito de Méjico|