Jacques Jouet – författare

Based on the life of Post-Impressionist painter Paul Gauguin, Jacques Jouet's "Savage" compels the reader to ask whether it is the primitive or the civilized man who is savage. At the height of the Belle ?poque, an eccentric young clothing designer searches for inspiration and identity as an artist among the "savage" peoples of France's colonies. Influenced by several exotic lovers, a quirky "vieille" dame, and ?douard Manet himself, Paul's increasingly unconventional designs parallel his increasingly unbalanced state of mind as he struggles to find a market for his work among the haute bourgeoisie. The failure of this venture, coupled with psychosis due to an untreated illness, ultimately leads to his demise.

Poetic, comic, obsessed with minutiae, My Beautiful Bus is a welcome dose of serious frivolity at the expense of the contemporary novel. Based on an actual bus trip across France taken by Oulipo-member Jacques Jouet, this fictional reconstruction focuses not so much on the scenery as on the possibilities offered an author by the eponymous vehicle and its occupants.

In an unnamed country, the President of the Republican Council, wanting to "do something big," strikes upon the idea of building a 1,500-meter high mountain as an inspirational monument to national greatness. Construction of the mountain will reduce unemployment, attract hordes of tourists, and the idea can even be exported for sale to other countries. Mountain R relates the rise and fall of this insane project through the eyes of those involved over several decades: the President whose double-talk sets the plan in motion, a worker who, years later, tells his daughter about the disastrous consequences of the never-completed mountain, and an author commissioned to write a novel about the project. An incisive satire about the dangers of half-witted government officials who use political rhetoric to manipulate the patriotism of their constituents, Mountain R is a humorous yet disturbing allegory quite appropriate to our times.

Two minutes into the second act, there is a knock on Nicolas Boehlmer's dressing-room door, just as he's smoking his last cigarette before having to go back on stage... and, without thinking, he says, "Come in," still in character. He quickly finds himself bound, gagged, and stripped by a man who appears to be his mirror image: costumed in the same wig, makeup, and clothes. Nicolas is powerless to prevent his usurper from going out and playing his role--with increasingly ridiculous consequences. Is this "upstaging" the act of a depraved amateur? Sabotage by a rival? A piece of guerrilla theater? A political statement? Whatever the cause, Nicolas and his fellow actors soon find their play--and their lives--making less and less sense, as the parts they play come under assault by this irrational intruder.