Pierre Citron's Giono 1875 [sic] -1970 gets off to a bad start because the title page (as opposed to the correct cover title) makes his date of birth twenty years before it in fact was: he was of course born in 1895. That weird proofreading oversight – all the weirder because Seuil is a major publishing house – notwithstanding, this is still a huge contribution to knowledge of Jean Giono, a masterly work, on a great author, written by someone who not only had access to Giono's papers, but who knew him over a large period of time. I hesitate to call this the definitive work on Giono only because I believe Citron's later unpublished 'Les Ordres étranges. Sur les amours de Giono' should adjust the gaping hole in this biography – when the opening of it is allowed in, I think, 2040! But more of that below.
This biography is a work by an academic, a considerable 670-page book with copious textual apparatus. It's also a critical biography, including Giono's many works: his novels, plays, non-fiction, newspaper articles, film work, etc. And Citron often gives his opinion of the value of these works in Giono's oeuvre as a whole. I found Citron's brief mention of Giono's earlier substantivising of adjectives fascinating: 'le sensible des cuisses', 'le gluant du courant', 'le profond de sa pipe', etc – this is part of his description of how Giono's writing develops between the years before and after World War II.
Citron's book isn't a eulogy of the man, either: it includes his faults, although that is at the same time a way of fleshing the man out, humanising him more. And of course in so doing it adds humour to the text: it's interesting to learn, for instance, of Giono's clumsiness, of how he tried to learn to drive earlier in his life when he was working in a bank in Manosque but failed to get the hang of a work colleague's Citroën. So it may appear odd that Giono, in his correspondence home during World War I, should mention apparent physical feats: Citron realises that Giono is merely trying to put his worried family's mind at rest, knowing from his experiences of playing darts and boules with him that Giono really was incorrigibly clumsy, that he had great problems with objects. He even mentions the time that Giono, in his Le Paraïs home, called out an electrician to mend his broken radio: he'd just forgotten to plug it in.
In Giono's work untruths have an importance, and as a story-teller – in other words a kind of professional liar – he often had a cavalier attitude to the truth: he couldn't, for instance, understand why Readers' Digest didn't like the work he had, as asked, sent them ('L'Homme qui plantait des arbres') but invented (which wasn't asked for) the man who planted trees: why bother to commission a story-teller if he wasn't allowed to tell stories? Pure and simply, Giono was often economical with the truth, treated it not so much perhaps with contempt but with indifference: any numbers he mentioned might well be exaggerated, certainly they changed frequently during different tellings.
This, in a roundabout way, brings us to how Pierre Citron, in writing this book, entered into a 'moral contract' with Giono's daughter Sylvie not to make any mention of Giono's extra-marital affairs, and this contract was also included in the Pléiadisation of his work. This means that there is only a fleeting mention of Simone Téry, only a few mentions of Hélène Laguerre (as a pacifist friend), but no mention at all of the woman who influenced a number of aspects of Giono's work (including the bizarre second half of the biography on Herman Melville – Pour Saluer Melville (1974)), a woman who appears in Giono's work under different guises, with whom Giono had a passionate love affair, and to whom he wrote well over a thousand letters between 1939 and the year of his death in 1970 : Blanche Meyer, who first came to Manosque with her solicitor husband, and first came to Giono's attention when she wanted a copy of Joyce's Ulysses from a local bookseller.
The vast majority of Giono's letters went to Yale University in Connecticut, and from these Patricia A. Le Page wrote her university thesis 'Space of Passion: The Love Letters of Jean Giono to Blanche Meyer' in 2004. The truth was at last out. Annick Stevenson's book Jean Giono et Blanche Meyer reached a larger public in 2007. In 2013 Pierre Citron's widow Suzanne wrote an article in Histoires Littéraires revealing the existence of the 232-page typescript 'Les Ordres étranges. Sur les amours de Jean Giono', which her husband had deposited at the Bibliothèque nationale. The half-title refers to an expression which appears in Giono's novel Le Chant du monde: 'Dessous campait cette partie de sa chair d'où jaillissaient les ordres étranges', which is obviously a reference to an erection. The following year (2014) the novelist and singer Taos Amrouche's Cahiers Intimes were published posthumously; this is a 476-page collection of her writings in her diaries, and it was quite evident that she was very much in love with Giono, although their liaison was brief. She mentions one sentence that a number of writers have repeated: 'Il m’a prise par trois fois et pour la première fois, il a osé me retourner et entrer par-derrière' ('He took me on three occasions, on the first of which he dared to turn me round and enter me from behind'): oddly, the title of the short chapter in Citron's typescript (revealed by Suzanne) is called 'Taos ou la tentation refusée' – an instance of Giono lying again?
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Sylvie Giono: Jean Giono à Manosque
Jean Giono: L' Homme qui plantait des arbres
Jean Giono: le Hussard sur le toit
Jean Giono: Colline | Hill of Destiny
Jean Giono: Un de Baumugnes | Lovers Are Never Losers
Jean Giono in Manosque
Jean Giono: Notes sur l'affaire Dominici
Jean Giono's grave, Manosque, Alpes-de-Haute-Provence
Pierre Citron: Jean Giono 1895–1970
Jean Giono: Regain | Second Harvest
Jean Giono: Que ma joie demeure
Jean Giono: Pour saluer Melville
Jean Giono et al, Le Contadour
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