Reviewed by: Réveiller l'archive d'une guerre coloniale: Photographies et écrits de Gaston Chérau, correspondant de guerre lors du conflit italoturc pour la Libye (1911–1912) by Pierre Schill Arthur Asseraf Pierre Schill. Réveiller l'archive d'une guerre coloniale: Photographies et écrits de Gaston Chérau, correspondant de guerre lors du conflit italoturc pour la Libye (1911–1912). Paris: Créaphis, 2018. 480 pp. €35. ISBN: 978-2354281410. In 2008, the historian Pierre Schill, whilst researching coalminers in Southern France, found an unusual archival box containing photographs of the Italian-Ottoman War in Libya. These photographs of colonial violence turned out to be the work of Gaston Chérau, a French reporter sent to Libya by the newspaper Le Matin. In Réveiller l'archive d'une guerre coloniale, Schill has reproduced this archive as well as brought together a variety of approaches to understanding it in an original and complex collective project. The resulting book is both an in extenso publication of Chérau's work in 1911, both textual and visual, as well as an analysis of his activities from a variety of disciplinary and artistic perspectives. It is a beautiful object, highly attractive and graphically sophisticated, that has been produced by Créaphis Éditions. In 1911, as conflict exploded in Libya, Gaston Chérau was thirty-nine years old, and already a successful popular writer and novelist. Though he had a vague desire for adventure and to go to "Africa," Chérau did not travel to Tripoli out of any particular interest for Libyan affairs. Rather, what he sought was more recognition. At the time, war reporting (reportage de guerre) was emerging as a particularly prestigious form of literary writing. The commission by Le Matin, one of the most highly published newspapers not just in France but in the world at the time with 700,000 daily copies, seemed like an ideal way to achieve greater recognition. Tripoli at the time was full of foreign journalists, who were brought in and controlled by the Italian government. Chérau himself stopped in Rome on the way to Tripoli to meet Italian Prime Minister Giolitti to receive instructions, as Le Matin received subsidies from the Italian government in exchange for favorable coverage. Correspondents like Chérau were invited to be "embedded," as we would now say, within Italian regiments, and the information they reported was entirely controlled by the Italian army. However, on the ground, this control was not as effective as planned. By the time Chérau arrived, Italians encountered unexpected resistance at Shar [End Page 482] al-Shatt in October 1911 (spelt in Italian as Sciara-Sciat). Italian soldiers who had been taken prisoner were tortured and massacred. In retaliation, Italians executed men accused of leading this revolt in the streets of Tripoli. Chérau's photographs documented both the gruesome mutilation of Italian soldiers' bodies and the haunting sight of dangling rows of hanged Libyan bodies. The first section of the book reproduces these photographs of astounding violence, along with an essay by Schill contextualizing them. This includes some interesting details on the technicalities of photographic journalism at the time. For instance, as only text could be sent on telegraphic cables, images would be printed with several days or weeks' delay compared to articles. The second section moves to text to deal with Chérau's articles sent back to Le Matin, here again with a contextualization by Schill. This is then followed by Chérau's correspondence, which allow for an interesting comparison among which of his impressions made it into published form, and which remained confined to the private sphere. Finally, a later, literary text from Chérau from 1926, "Sur le trésor des caravans" (on the treasure of caravans) is reproduced, showing a retrospective memorialization of this North African adventure, and the emerging genre of the war reporter's memoir. The second, shorter section of the book deals with a number of multidisciplinary perspectives on this archive. Schill worked alongside artists to produce an exhibition, À fendre le coeur le plus dur (Enough to break the toughest heart), which was presented in several locations in 2015 and 2016...
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