Showing posts with label Alpes-de-Haute-Provence (04). Show all posts
Showing posts with label Alpes-de-Haute-Provence (04). Show all posts

3 July 2019

Hubert Blond: Parcours poétiques du Berger Albert (2012. repr. 2015)

Hubert Blond's Parcours poétiques du Berger Albert is a highly original and in a number of other ways very remarkable book in its fourth edition as new information comes to light. It's a mixture of a very unusual literary investigation, an autobiography, a history of shepherding in Haute Provence, and I only hope its glossy, beau livre (i.e. 'coffee table') format doesn't deter any people who receive it as a present from merely looking at the pretty photos and not reading it through to the climactic (unfortunate word) end. I had in fact seen (but not noted) this book on my first visit to Le Bleuet bookshop in Banon, as 'Berger Albert' or his real name Albert Cicocca (1894-1963) were both unknown to me at the time: it was only on seeing Cicocca's 'theatre' in Le Contadour the same day, and subsequent delving into the internet, that I in fact discovered the existence of this book: clearly, a second visit to Le Bleuet was necessary.

Blond first discovered the pencilled writings by the same person on dry stone sheepfolds and cabanes over a relatively wide area in Provence and later collated them: some are (sometimes politically incorrect) comments on women and sex, some on the unfortunate lot of the shepherd and are usually dated (from 1912 to 1959) and signed 'Berger Albert'. They often rhyme.

The book follows the story of the stones from the time Blond discovered them, collected the writings and found out more about the shepherd than the autobiographical information the stones told, and originally he was unable to trace his death certificate until it was revealed to him that Berger Albert was in fact Albert Cicocca, of Italian parents who moved to Marseille (where Albert was born), although they died when he was relatively young, and in Marseille he received a very basic schooling until he was thrown into the ruthless world of work at the then minimum age of thirteen.

The Epilogue of the book deals with the work of the modern shepherd and with interviews with people who knew Cicocca, particularly in his home in Le Gubian, a hamlet of Revest-des-Brousses. Cicocca had a gramophone and two or three 78 rpm records, was well liked by those who knew him, he smoked in moderation but liked several glasses of wine, was a good and conscientious shepherd, although (not unusually in this profession) he didn't marry. He does on one stone, though, suggest that he lost a girl for reasons not too clear. And military service? World War I? Some interviewees suggest that there must have been a problem, but don't know what.

Hubert Blond, the relentless detective, found out: Albert Cicocca was due for military service from the age of twenty, although his army medical records reveal that he was completely without testicles in his scrotum: he suffered from a condition technically known as cryptorchidism. Without the ability to create testosterone, he was obviously of no use as a fighter. Brilliant book, well worth the 28 euros and return trip to Banon to buy it!

My Albert Ciocca posts:
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Hubert Blond: Parcours poétiques du Berger Albert
Albert Ciocca in Le Contadour

23 June 2019

René Char, Céreste, Alpes-de-Haute-Provence (04)


"DANS CETTE MAISON A VÉCU
LE POÈTE RENÉ CHAR,
ALIAS CAPITAINE ALEXANDRE,
CHEF DÉPARTEMENTAL DE LA S.A.P
 DANS LA RÉSISTANCE.
SES COMPAGNONS ET LUI MENÈRENT
DE CÉRESTE,
ET DANS LES ALPES DE HAUTE PROVENCE,
LE COMBAT POUR LA LIBERTÉ
CONTRE L'OPPRESSION FASCISTE ET NAZIE"
1940 - 1944'"

SAP stands for 'Section des atterrissage et des parachutages', an internal resistance movement during World War II, of which, as the plaque says, 'Capitaine Alexandre' (the poet René Char), was the leader from this house in Céreste. Rue René Char is quite apart from this house, on the other side of the village.


My René Char posts:
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René Char in Céreste
René Char in L'Isle-sur-la-Sorgue

21 June 2019

Albert Ciocca in Le Contadour (04)

On the interpretation plaque opposite the Mairie in Le Contadour, it notes the 'Théâtre du Berger Aubert. En hommage à Albert Ciocca, berger 'Poète'. Né à Marseille en 1894, décédé à Banon en 1963.' Hubert Blond discovered the pencilled work of Albert Ciocca (1894-1963), the 'shepherd poet',  on the stones of a number of sheepfolds: they tell, for instance, of unattainable love and the hatred for his work. Blond's Parcours poétiques du berger Albert, was published in 2012, and tells the story of his search for these writings and his findings on the man. In 2012 the commune Redortiers-La Contadour built this théâtre as a homage to shepherds, and Albert in particular. Ciocca was buried in a communal grave in Banon. (The windmill behind the photo is not that of 'Giono's mill', as is commonly believed.)



My Albert Ciocca posts:
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Hubert Blond: Parcours poétiques du Berger Albert
Albert Ciocca in Le Contadour

15 June 2019

Pierre Magnan in Revest-Saint-Martin (04)

Patrick Magnan (1922-2012) was born in Manosque and much inspried by Jean Giono. Thyde Monnier persuaded her editor Juillard to publish his first novel. L'Aube insolite appeared in 1946, although it was La Maison assassinée (1984) which was his most successful.

"'J'ai écrit dans ce pigeonnier la plupart de mes livres ; J'y ai vécu heureux pendant 30 ans.'
Pierre Magnan

1922-2012"






12 June 2019

Jack Drummond and family, Forcalquier (04)




English biochemist Jack Drummond, his wife Anne and ten-year-old daughter Elizabeth were murdered when the family were travelling in France in a Hillman Minx brake. Drummond parked by the side of the road near Lurs (04) on 5 August 1952, the family camped, and the three were murdered. What has been called the Dominici affair because of Gaston Dominici's conviction is widely open to dispute, and the real facts behind the crime will most likely never be solved. The presence of Jean Giono hovers aroud here as in most parts of Provence, he attended the court case, and wrote a short book on his findings.

11 June 2019

Aimée Castain in Banon (04)


Aimée Castain (1917-2015) was born and died in Banon. She spent her life as a shepherd until, inspired by the painter Jean-Michel Sardou, she made her first attempts at painting. The 'postman-poet' Jules Mougon, Pierre Martel (the founder of Alpes de Lumière) and the painter Serge Fiorio soon took an interest in her work. Oddly, these images are the only ones I currently know of of her grave on the internet. The cemetery is just outside the centre of the village, a few hundred metres from Le Bleuet.

Le Bleuet bookshop in Banon (04)


The bookshop Le Bleuet, in a central position in the village, and with an intriguing sculpture of a pile of books outside.

10 June 2019

Léandre Mégy in Saint-Michel-l'Observatoire (04)

'ICI NAQUIT LE 24 JUIN 1835
LÉANDRE MÉGY
ILLUSTRE INGÉNIEUR DE L'ÉCOLE DES
ARTS ET MÉTIERS D'AIX

INVENTEUR DU FREIN DE CÉLÉBRITÉ MONDIALE
–––––––––––––
MORT EN 1910'

Reconstructed Oil Mill, Saint-Michel-l'Observatoire (04)

The restored remains, by L'Association des Amis du Saint-Michel et Linceul, of a village oil mill which ceased production around 1938. The millstone was activated by an animal tied to the axle.

The Observatory, Saint-Michel-l'Observatoire (04)

Marcel de Kerolyr (1873-) began his working life as a violinist and married a singer whom he accompanied in Europe. They lived in Nice and he and his wife are said to have witnessed the accidental strangulation of Isidore Duncan in 1927. His wife lost her voice and, after subsisting on menial jobs, de Kerolyr visited the observatory in Nice and resolved to devote himself to astrophotography. He began in Digne, moved to Forcalquier, and probably died in 1969. Jean Giono's ‎Le Poids du ciel (1938) contains thirty-two astrophotographs made by Kerolyr.‎ (He also joined in with Giono's Contadour 'utopia').

Windmill, Saint-Michel-l'Observatoire (04)

The windmill at  Saint-Michel-l'Observatoire is open on certain days of the week.

9 June 2019

Taos Amrouche in Saint-Michel-L'Observatoire (04)


'TAOS AMROUCHE
4 MARS 1913 - 2 AVRIL 1976'

Until relatively recently the grave of Taos Amrouche wouldn't have meant a great deal to many people. The Algerian singer, dancer and writer was the daughter of the writer Fadhma Aït Mansour Amrouche and the sister of the writer Jean Amrouche. With her brother she conducted a number of interviews with Jean Giono, with whom she was madly in love, with whom she had a brief affair, and of whom she wrote in her Carnets intimes, which was not published until 2014.

20 May 2019

Pierre Citron: Jean Giono 1875 [sic] –1970 (1990)

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?

My Jean Giono posts:
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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

4 November 2018

Pierre Magnan: La Folie Forcalquier (1995)

This takes place at the end of the era of Napoleon III, and is set in and around Forcalquier in Alpes-de-Haute-Provence, with the narrator and protagonist Félicien Brédennes, a herbalist  and something of a quack doctor, something of a petty thief, and a great deal of a lover of numerous women.

And the vocabulary is quite a mountain to climb, with not only archaic expressions but – this being an epic full of the atmosphere and smells of Provence – also the names of many herbs, flowers, etc.

It is also the story of devastating letters, fear, murder, and general mayhem. There are many characters described here, perhaps the most colourful, apart from Brédennes, being the rich highwayman Zinzolin and the sex-loving Aigremoine, with who Brédennes and Zinzolin (her unwitting father) separately share sex romps.

There's a fair amount of blood shed, a great deal of chasing (especially by Brédennes on his horse behind the stolen coffin-shaped buggy), and changing affinities: a long, convoluted story with almost as many twists and turns as the horses themsleves have to undergo.

That, perhaps, is the main problem: at 487 pages, the novel goes on far too long for its own worth: which is a pity, as Pierre Magnan can write a hell of a tale with tremendous jest and confidence.

23 October 2018

Jean Giono: Notes sur l'affaire Dominici (1955)

In the early morning of 5 August 1952 three people were murdered near the village of Lurs in Provence: the eminent scientist Jack Drummond, his wife Ann, and their daughter Elizabeth, aged ten. Jean Giono was asked by the weekly paper Arts to cover the trial, and presumably Giono (never possessing a car) went by train from his home in Manosque to Digne in order to do so. These are notes on his findings.

Much of this concerns the Dominici family, near whose home the Drummond family – on holiday from Long Eaton in Derbyshire, near where Jack worked for Boots – had stopped to perhaps camp for the night, but who were certainly in need of water for the Hillman's radiator, tortured by the the heat in Provence.

The trial was a little crazy, but the 72-year-old Gaston Dominici – who had admitted to the murders several times but then retracted his statements – seems to be a cooked goose still in the farmyard: Giono (surely slightly exaggerating?) states that he's worked out that Gaston (who must have left school between the age of nine and eleven) has a total vocabulary of 35 French words, and even though he's intelligent, this is no match against the many thousands of words lawyers and judges make use of, especially if they choose to use them to get a trial over quickly.

Giono says he wouldn't like to be in the shoes of one of the jurors, but Gaston is sentenced to death, in spite of the unbelievable bungling of the cops, and in spite of no motive for the murders being put forward, although the sentence was commuted to life imprisonment and de Gaulle freed Dominici on health grounds in 1960 (five years afters Giono published these notes). Giono is uncertain of Dominici's guilt, but certain that the trial was by no means fair.

But Dominici was never pardoned, which later generations of the family have tried to achieve. A German prisoner Wilhelm Bartkowski had confessed that he was partly responsible for the murders (the motive no doubt being robbery) although this doesn't appear to have been followed up by anyone. Such is the course of justice.

My Jean Giono posts:
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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

19 June 2018

Serge Fiorio in Montjustin, Alpes-de-Haute-Provence (04)

The end of last year, Céreste (04) had an exhibition in which three cultural personalities from tiny Montjustin were highlighted: Serge Fiorio, Lucien Jacques, and Lucienne Desnoues. Serge Fiorio (1911–2011), who was born in Vallorbe, Switzerland, and died in Viens, Vaucluse, was a painter of Italian origin. In adolescence he drew and painted pictures of quarry workers. His father was a cousin of Jean Giono, of whom Fiorio drew an important portrait in 1934. Serge Fiorio spent 64 years of his long life in tiny Montjustin, and was friendly with Jean Mogin and his wife Lucienne Desnoues. A friend of Lucien Jacques, Fiorio started his life in Montjustin in 1947. Serge Fiorio's grave is in one of the tiny cemeteries in Montjustin.

My Montjustin posts:
––––––––––––––––––––––––––––––––––––
Henri Cartier-Bresson, Pierre Citron and others in Montjustin
Serge Fiorio in Montjustin, Alpes-de-Haute-Provence
Lucien Jacques in Montjustin, Alpes-de-Haute-Provence
Jean Mogin in Montjustin, Alpes-de-Haute-Provence
Lucienne Desnoues in Montjustin, Alpes-de-Haute-Provence
Suzanne Citron in Montjustin, Alpes-de-Haute-Provence

Lucienne Desnoues in Montjustin, Alpes-de-Haute-Provence (04)


Lucienne Desnoues (1921–2018) was the pseudonym under which Lucienne Mogin (who married Jean Mogin in 1947) wrote her poetry. She was the great-niece of the representation of Desnoues the blacksmith in Alain-Fournier's Le Grand Meaulnes. According to Wikipédia, her poems are noted for their alliteration and her use of holorimes: a new word for me, but then an example is given:

'Ah ! ce qu'on sert de faux ré
À ce concert de Fauré'.

Obviously, we're talking about about different words being used as sonic appoximations of others. In a slightly silly analogy, I'm reminded of the French 'Un petit d'un petit s'étonne aux Halles' being a near equivalent of 'Humpty Dumpty sat on a wall'. A little silly in my example certainly, although surely we're not far from the DNA of Oulipo?

Desnoues' first volume of poetry, Jardin Délivré, Raisons d’être (1947) was prefaced by Charles Vildrac, and was the first of ten works of poetry.

My Montjustin posts:
––––––––––––––––––––––––––––––––––––
Henri Cartier-Bresson, Pierre Citron and others in Montjustin
Serge Fiorio in Montjustin, Alpes-de-Haute-Provence
Lucien Jacques in Montjustin, Alpes-de-Haute-Provence
Jean Mogin in Montjustin, Alpes-de-Haute-Provence
Lucienne Desnoues in Montjustin, Alpes-de-Haute-Provence
Suzanne Citron in Montjustin, Alpes-de-Haute-Provence

Jean Mogin in Montjustin, Alpes-de-Haute-Provence (04)


Jean Mogin (1921–86) was a Brussels-born poet, dramatist and journalist, and the son of the poet Georges Mogin (usually known as Norge). He founded the short-lived magazine Pylônes with the poet and novelist Alain Bosquet. In 1943 he won the Prix des Poètes 1943 for his collection La Vigne amère, and his highly successful play À chacun selon sa faim, for which he won the Prix Lugné-Poe. Another successful collection of his poetry is Pâtures du silence (1956). In 1983 Mogin retired with his wife Lucienne to Montjustin, where he died a few years later.

My Montjustin posts:
––––––––––––––––––––––––––––––––––––
Henri Cartier-Bresson, Pierre Citron and others in Montjustin
Serge Fiorio in Montjustin, Alpes-de-Haute-Provence
Lucien Jacques in Montjustin, Alpes-de-Haute-Provence
Jean Mogin in Montjustin, Alpes-de-Haute-Provence
Lucienne Desnoues in Montjustin, Alpes-de-Haute-Provence
Suzanne Citron in Montjustin, Alpes-de-Haute-Provence

Lucien Jacques in Montjustin, Alpes-de-Haute-Provence (04)



In an article in Bibliobs of May 2016 it mentions the three great 'Gs', writers of the interwar years – Guéhenno, Giono and Guilloux – all of whom were sons of shoemakers. The article says an honorary addition should be made to this list: Lucien Jacques (1891–1961), who co-translated Moby-Dick with Giono. It calls Jacques one of the pillars of the Contadour pacifist movement: as a stretcher-bearer in the 161st infantry regiment, he'd known only too well the atrocities, stupidities and lies of war. He had known the barns stinking of cat piss; reveille (the bugle call) at two in the morning; 'pals' drunkenly puking up on each other; standing thigh-deep in mud in the trenches; the quicklime sprinkled on bodies before throwing them into a ditch. All this, he wrote in his 'Moleskin diaries'. A wonderful quotation: 'When you've not enough courage to be a pacifist you become a soldier.'

My Montjustin posts:
––––––––––––––––––––––––––––––––––––
Henri Cartier-Bresson, Pierre Citron and others in Montjustin
Serge Fiorio in Montjustin, Alpes-de-Haute-Provence
Lucien Jacques in Montjustin, Alpes-de-Haute-Provence
Jean Mogin in Montjustin, Alpes-de-Haute-Provence
Lucienne Desnoues in Montjustin, Alpes-de-Haute-Provence
Suzanne Citron in Montjustin, Alpes-de-Haute-Provence

Suzanne Citron in Montjustin, Alpes-de-Haute-Provence (04)


I can't see the name Suzanne Citron (1922–2018) mentioned here, although she is buried here next to her husband Pierre Citron (1919–2010). She was born in Ars-sur-Moselle, died in Paris, and was a noted historian. She spent the last weeks of the internment camp in Drancy before it was liberated in June 1944. Her unpublished doctoral thesis was titled 'Aux origines de la Société des professeurs d'histoire : la réforme de 1902 et le développement du corporatisme dans l'enseignement secondaire (1902-1914)'. She is perhaps best remembered for her book Le Mythe national : l'histoire de France en question (1987; revised with the sub-title 'l'histoire de France revisitée in 2008 and 2017). It has been called a reference work 'which deconstructs the historiographical and ideological strata on which the scholarly legend of the Third Republic was built.'

My Montjustin posts:
––––––––––––––––––––––––––––––––––––
Henri Cartier-Bresson, Pierre Citron and others in Montjustin
Serge Fiorio in Montjustin, Alpes-de-Haute-Provence
Lucien Jacques in Montjustin, Alpes-de-Haute-Provence
Jean Mogin in Montjustin, Alpes-de-Haute-Provence
Lucienne Desnoues in Montjustin, Alpes-de-Haute-Provence
Suzanne Citron in Montjustin, Alpes-de-Haute-Provence