Reviewed by: Un barrage contre l’Atlantique by Frédéric Beigbeder Alexander Hertich Beigbeder, Frédéric. Un barrage contre l’Atlantique. Grasset, 2022. ISBN 978-2-246-82655-2. Pp. 272. As his “du même auteur” page indicates, Beigbeder’s literary output can be fairly easily categorized: there are the “essais,” which are primarily compilations of previously published newspaper and magazine columns; short stories; the Marc Marronnier and Octave Parango “trilogies;” and the “romans de non-fiction,” which includes both works like Oona & Salinger, a historical novel relating the relationship between J.D. Salinger and Oona O’Neill; and more autobiographical texts, like his latest book, subtitled Un roman français, tome 2. As in the first volume, Beigbeder recounts his past while also examining his current life and contemporary society. But unlike the 2009 Prix Renaudot winner, this book is much more disparate in content and form. Most of the text is comprised of single sentences with a space between them—“Mes phrases respecteront la distanciation littéraire” (14)—which affords Beigbeder multiple opportunities for his trademark, winking aphorisms: “Certaines phrases se surestiment: elles se prennent pour des maximes, comme une instagrammeuse se prend pour une star” (39). This style also allows him to flow from one anecdote to the next, primarily from the 1980s, a sybaritic orgy of jetsetters, alcohol, drugs, sex, and outlandish pranks pulled across the party capitals of Europe—Paris, Venice, Ibiza—his “éducation sentimentale” (70). This era sharply contrasts with today’s pandemic-stricken world where individual rights, and for Beigbeder the hedonistic possibilities they allow, are curtailed: “Jamais je n’aurais pu imaginer que la fête serait prohibée en France sans la moindre protestation des citoyens” (169). Beigbeder, too, is in isolation. Barrage was composed at Benoît Bartherotte’s compound in Cap Ferret. Bartherotte, “le Sisyphe gascon” (40), le “Don Quichotte de la Pointa” (204), has been in the press most recently for his efforts to stop the erosion of Cap Ferret by building a 450-meter long seawall—whence the title, with a nod to Duras, flippant allusions being another Beigbeder specialty. While some see Bartherotte as a hero toiling tirelessly to save a landmark, others see him as an ultrarich rulebreaker who does whatever he wishes (he built both his house and the seawall without proper authorization). This portrait of his friend allows Beigbeder to ponder topics dear to him, such as iconoclasm, individual choice, and Western civilization. Like its predecessor, this autobiography builds to a crescendo of maudlin sentimentality. Even though Beigbeder repeatedly criticizes his father, by the end he recognizes that, in his own way, his father, stricken by Parkinson’s, loves him. Beigbeder reunites his extended family—his divorced parents, his adult daughter from a previous marriage, his young children and wife—for a dinner in Cap Ferret: “Il me suffit de me souvenir de cet instant, de le graver ici, sur cette page, et alors aucune de ces personnes ne disparaîtra jamais” (261). But given that his life story, as he admits, “est celle d’un homme qui a tellement tout tourné en [End Page 204] ridicule qu’il ne sait même plus comment retrouver le sérieux” (32), the reader may well have doubts. Beigbeder’s admirers and detractors will find much fodder here. [End Page 205] Alexander Hertich Bradley University (IL) Copyright © 2022 American Association of Teachers of French
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