Cedric LÃ©pine: What links do you see between your previous book My father, my mother, my earthquakes and 907 times Camille where both question the identity of a father and the impact on individual construction of its parentage?
Dufresne Julien Lamy : The link is tenuous but always there when it comes to requestionner our family units that are not as cells that shackles or screeds often. This is the case of Camille when this is not the case of Charlie and his loving parental figure in My father, my mother, my earthquakes. Camille as heroine as she is while she’s my friend, I asked another choice: the family secret, silent, criminal, like truth, that we forged, which conceals then for watching for its own identity.
CL: Quel.s fu.ren.t the / elements. dÃ©clencheurs.s for you and Camille the need to be born of this book writing?
J. DL. : We must tell here the ten years that have marked the friendship between Camille and I, our conversations about our origins, our families, our models that were not. The starting point, I remember, Camille tells me about his father trafficker of women, then flip and reminds me of this tribal clan of women, hers, who raised him and opened him the way. A story of women who resist, begin straight, break some patriarchal chains, also sometimes fail. The book was born of this ancient truth.
CL: What context determined the end of the writing of this book?
J. DL. : Write the end of a true story, doomed to perpetuate itself, to continue (Camille pregnant with her second daughter, the birth of this, its link to the father who obviously publication of the novel is tinged else choose) is never easy. But we must find the right endpoint, know when to stop precisely this tiny gap of my heroine who finished with his memories and the author observes, listens and looks, makes this ultimate experiment then his final act.
CL: Between journalistic investigative work of fiction and autobiographical analyzes, how have you measured these different approaches?
J. DL. : This compilation of genres seemed like an obvious combination, the same balance of the text. Because this text probe both my friend like daughter thug, tell my obviously against it and friendship, truth finally, how to make or dispose in writing, any questioning, because here speaks of a pimp father of our societies consume and yet still women’s bodies. It should say it all, give a narrative context and a literary sense and political Camille of history that is at the heart of women’s history.
CL: You who are a close friend of Camille, born the same year that she and moreover his neighbor how his portrait you paint it can also be a self-portrait?
J. DL. : For all the reasons you cite. Because, whether I like it or not, I’m in his story, I write and I embodies, I Camille time of the novel, that is to say for months and months, while I I narrate continues to this author that describes and explains the urgency to make history of her friend a book. The more I confront this urgency in the book, the more I exist. The more I then question my own family foundations, my figures, my education, to understand those who invested Camille.
CL: This writing was it influenced by the context of containment and global pandemic that by doing socially requested locations and individual responsibilities in families?
J. DL. : Confined or not, writing is still a monastic gushing. I met Camille for her book me his story and I put words on the silences of his life, there is the writing that decides, seeks implements. Regardless of the context, it is not constrained by anything, it is just moved, it looks different. As we were all those months in our family or social groups.
CL: What design like reading this book has taught you to you and Camille?
J. DL. : Like all my books for ten years: an understanding. I write to understand, to shade my eyes or my opinions about the world, to ensure that they are never definitive. For Camille, it was also understood, this time differently, to re-examine the beliefs and principles that have marked his learning little girl who grew up under the influence of an absent father criminal and yet so far.
CL: Camille is also the first in which all kinds are possible while protecting anonymity, is chosen by politically defenders ZAD: this contemporary dimension of the first to talk about the new generation rÃ©interrogeant those above had the – it makes sense to you?
J. DL. : The name of Camilla was my music, my appeal to the book, I quoted every page, each scene to exist fairer and closer Camille in what it is, in every age of life. Because originally Camille is this name given by his father in honor of a mobsters murdered before his birth, given name, offered then abandoned, that could screw it up. And it is a unisex name so that says men and women, which confronts the unit or just as here illustrate invasions and dominations.
CL: The title in addition to the justification of the number of occurrence of the name, there a link with the novel and the film Christophe HonorÃ© 17 times CÃ©cile Cassard ?
J. DL. : This link exists only in its poetic dimension, in this obstinacy chanted to tell a woman, the better to deliver the pass.
CL: What hope and what prospects do you have at present about the awareness of the responsibilities of fathers in parenting today and tomorrow?
J. DL. : Having written 350 pages about a pimp father who has three daughters, who never stops to exploit women did not give me much hope. Just as that term to your question awareness. As for the reverse is still spoken and always instinctively or maternal care. The words always betray our social models and it was nice to talk for three or four decades, these new fathers, I tick a little, because being a new father for forty years, it asks me although some doubts. But my book does not reduce this awareness there, just as he never erase the notion that mothers are still those who have to manage the bulk of domestic production to the detriment of the rest.
907 times Camille
Number of Pages: 336
Release Date (France): August 26, 2021
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