French writer Françoise Sagan. Recent history of foreign literature

Ministry of Education and Science Russian Federation

Federal State Autonomous Educational Institution higher education“Crimean Federal University named after V.I. Vernadsky"

TAURIDE ACADEMY

Faculty of Slavic Philology and Journalism

Department of Russian and foreign literature

Life and work of F. Sagan

Performed:

3rd year student

Medvedeva Maria Sergeevna

Simferopol, 2015

Introduction

Conclusion

Introduction

Bright personality F. Sagan, s youth becoming a literary star, has always attracted the interest of the public and the attention of critics. The perception of the writer as a kind of popular figure who reflected in her work some of the characteristic features of her time also determined the corresponding approach to the study of her work, in which Sagan is usually viewed as a kind of sociological phenomenon that obscures the creative appearance of the writer. In French literary criticism, critical literature devoted to the work of Sagan is represented by monographs by J. Mourgues, J. Urdain and J. Lamy, as well as numerous articles containing reviews of her works, devoted to the analysis of certain aspects of her work and the reasons for her popularity (P. de Boisdeffre, J. Gan, M. Nadeau, F. Senard, P. Vandrome, A. Villor).

A number of Anglo-American researchers who represent feminist literary criticism and examine the writer’s novels from the point of view of the embodiment of women’s issues in them (J. G. Miller, V. A. Lipton, M. V. Saint) approach the study of Sagan’s work from a completely different point of view -Onge).

IN domestic literary criticism Recently, the appearance of a number of articles has been marked in which there is a desire to reconsider the negative assessments of Sagan’s work made by literary criticism in the 50s and 60s and giving a rather distorted idea of him. However, the literature devoted to Sagan’s work is mainly represented by prefaces and afterwords of an introductory nature, as well as mentions in articles and essays of a primarily educational or review nature (L. Zonins, Yu. Uvarov, L. Andreev, N. Rzhevskaya, I. Shkunaeva ), and researchers mainly consider individual early works of the writer, while Sagan’s later prose remains unattended.

The purpose of this study is to present F. Sagan and her work not only as a sociological phenomenon, but also, by lifting the veil of the legend surrounding her, to see in her a writer, a personality, a woman, to define artistic value her work, its connection with literary tradition and its place in modern French literature.

Sagan female writer

Chapter 1. Review of the biography of F. Sagan

At twelve o'clock in the morning on June 21, 1935, in the French department of Lot, in the town of Cajark, a girl was born into a family of hereditary factory owners and small landed nobles, who would later be called by fellow writers “a little charming monster” - Francoise Marie Anne Quare. Her pseudonym will be the name “Françoise Sagan”, which, barely worthy of birth, has become synonymous with a stunningly early rise and worldwide recognition.

Her father, Pierre Quaret, a successful engineer who graduated from the Industrial Institute of the North, traced his descent from the Spanish conquerors, and the ancestors of her mother, Marie Quaret (nee Lobard) walked behind the Holy Sepulcher, and the coat of arms of their family flaunts in Hall of Versailles Crusades. But Françoise herself - or Kiki, as her relatives called her - liked to assure that her grandmother on her father’s side was Russian, and on her mother’s side she was a descendant of St. Petersburgers. Since childhood, the future writer was tormented by a heightened sense of ownership towards loved ones, the fear of losing them - and, as a result, incredible jealousy, which terrified Françoise herself. And she transferred all these experiences to the pages of her novels.

Kazhark, the hometown of Françoise, was the center of the diocese and a stronghold catholic church, but essentially represented big village with a population of barely more than a thousand people, many of whom left the town for the winter. But Françoise, who had the habits of a tomboy, was not prone to despondency. In the company of older children, she played thieves and policemen, climbed trees and climbed rocks - while always being ahead, not afraid of anything and invariably getting involved in new adventures. Another side of her nature turned out to be a craving for nature. Contemplation of the surroundings fed Francette's romantic fantasies and from an early age became a necessity for her. However, besides all this, little Françoise’s soul was more and more captured by the world that reading opened up to her. She secretly made her way to the attic, where there was a closet full of books, and disappeared there all day long, enchanted by unknown secrets and feelings.

With the outbreak of World War II, Pierre Quare was a reserve lieutenant. engineering troops sent to the Maginot Line, where he served regularly for ten months. After his demobilization in 1940, the Quaret family moved to Lyon, and Kiki went to first grade. The girl was sent to the Le Cour de la Tour Pitra school. At the same time, she took music lessons. The poor widow who taught Françoise did not have a piano. The woman used a keyboard drawn on cardboard, and Francette had to practice scales on this more than strange device in complete silence. This is how she became familiar with Mozart and Bach, Beethoven and Brahms. Paradoxically, Kiki fell in love with classical music and subsequently served it well: after the publication of Sagan’s fourth novel, Do You Love Brahms? sales of recordings by her favorite composers increased fivefold.

During the occupation of France, the Quaret family hid Jews in their home. Somehow German soldier mixed up the floors and knocked on Quare's door. Françoise Marie's mother answered him very politely, and when she closed the door, she almost fainted.

In 1946, the Quare family moved to Paris, and Kiki’s wanderings began in privileged Catholic schools not only in the capital of France, but also in Swiss resorts. However, the “little charming monster” did not fit into the prim framework of boarding schools, where the foundations of education were good manners and the Bible, to the teachings of which Françoise, having become fascinated by the ideas of Sartre at the age of fourteen, forever lost interest.

From the age of 14, Françoise began to try her hand at prose and send her first works to publishing houses, but was rejected everywhere. The family did not attach any importance to their daughter’s attempts to write something. Marie Quare later said that Kiki read her works to her before sending them to magazines, but the mother only noted her daughter’s rich imagination. Françoise never passed the final exam, and she didn’t even try to. After leaving the boarding school in 1953, Kiki, with the approval of her parents, entered the philological faculty of the Sorbonne - University of Paris. However, the feeling of freedom and anticipation of new thrills encouraged her to spend most of her life not in classrooms and libraries, but at the tables of literary cafes. Bohemia, like a whirlpool, captured her entirely. Only among writers and artists, poets and musicians, in conversations until midnight, did she feel at ease. A company of free, extraordinary people - this was her world! Who knows if it was there that she heard the plot of the novel that made her a celebrity?

Having started her book, Françoise, in her own words, experienced a feeling of deep melancholy. In the morning she did not dare to re-read what she had written the day before - for fear of feeling humiliated if it turned out to be bad. She wrote down the outline of the novel in a notebook. Out of fear that someone would find the notebook in the dormitory, Françoise gave the manuscript to her friend for safekeeping, who locked the treasure in a safe. But soon the unfortunate woman suddenly fell ill and died, and the work of the aspiring author disappeared without a trace.

Due to failure in the English exam, Françoise had to forget about the Sorbonne. Now only literary achievements could calm their wounded pride and justify themselves to their family and friends. With great passion, Kiki began to restore the lost text and finished the novel in just over two months. On January 6, 1954, Françoise took it to two publishing houses at once: Juillard and Plon. Pierre Javet, literary director of the Juillard publishing house, was extremely surprised by the age and appearance of Françoise Quare - her weight was 49 kilograms, her height was just over one and a half meters, she was completely drowned in a huge cloak. Having cast a quick glance at the first pages, Javet immediately discovered completely new, unusual notes in the manner of narration of this girl, so young. Pierre Javet introduced the find to editor François Le Gris, and in the morning a report appeared on the desk of Rene Juillard, the head of the publishing house, that in this novel “life flows like a stream,” and the author dared to reflect, without false modesty, the psychology of his characters so vividly that It is unlikely that the reader will ever be able to forget them.

During a long conversation, Rene Juillard also inquired about the size of the desired advance. Françoise, who was a complete amateur in the publishing accounting system, ventured to name the amount of twenty-five thousand francs, but immediately became embarrassed and suggested that this was probably too much. Juillard offered her double the amount, but with the condition that the first circulation would not be three thousand copies, as is customary for the first publication, but five.

Pierre and Marie Quaret agreed to the publication of their daughter's novel without much enthusiasm and with the indispensable condition that the book would be published under a pseudonym. They considered their surname too famous to talk about it “over trifles.”

Novel "Hello, sadness!" appeared without a preliminary advertising campaign, but no one at the publishing house had even a shadow of doubt that the sale would be completely successful. The reality exceeded all expectations: the first few days after the start of sales showed that it was necessary to prepare a reissue. The additional circulation was set at three thousand copies. But soon a third reprint was required - already in twenty-five thousand copies, followed by another fifty. Within a year, the bestseller was published in an unprecedented circulation for France at that time - three hundred and fifty thousand copies! And all over the world, the total volume of publication of the book, translated into thirty languages, exceeded one million copies.

Nineteen-year-old Françoise received fantastic money as a fee - one hundred thousand dollars. Even Pierre Quare, who was considered a man with a very substantial income, could have earned such a fortune in only a few years.

After such success, everyone expected the next novel from Sagan. Some hoped that it would be better than the previous one. Others were willing to bet that it would be a failure. Françoise understood that her success needed to be consolidated with a new work, otherwise her fame would be considered accidental, and this would forever close her future path in literature. But the work did not proceed. In addition, during that period she began a whirlwind romance with photographer Philippe Charpentier. The writer's openly, almost ostentatiously displayed feelings shocked the audience. For Philip, it was an ordinary affair, and he soon left Françoise. Sagan sank into depression, which she tried to treat with alcohol, but this despair led her to a new novel, “A Vague Smile” (1956), which was met with new enthusiasm.

In April 1957, Françoise only miraculously escaped death. She was racing in a car at high speed drunk. The gendarmes will then scrupulously calculate that her Aston Martin drove along the ditch for more than twenty meters, then jumped and landed almost another four meters later. The doctors themselves were surprised how they managed to save her. Françoise remained in a coma for a long time, and near her in the hospital all the time there was a man who was twenty years older than the writer - Guy Scheller, director of special projects at the Hachette publishing house. They got married on March 16, 1958, but the marriage was short-lived. Françoise herself filed for divorce: she could not get used to quiet family everyday life. In addition, during the time spent in a hospital bed, Kiki became addicted to drugs. She soon overcame her addiction, but her personal life has not developed since then. Having become pregnant, she married a second time - to sculptor Bob Westhoff. In 1962, the couple had a son, Denis, but soon this marriage was dissolved.

Françoise Sagan published nearly fifty books, many of which, such as Do You Love Brahms? and “A little sunshine in cold water", became global bestsellers. She also wrote several plays, which were successful and are still performed on stages around the world, including in Russia. But, despite the huge fees and fame of the Queen French literature, last years the writer lived in poverty and oblivion. She died on September 24, 2004 in a hospital in the Norman city of Honfleur - at the age of sixty-nine years, from a pulmonary embolism.

Chapter 2. Analysis creative method F. Sagan

1 Topic " lost generation"in the works of the writer

Most critics who study Sagan’s work (R.M. Alberes, P. de Bois-deffre, T. Whitman) agree that her novels are close in spirit to the works of a number of young writers who entered French literature at the turn of the 40s-50s. s and reflected in their creativity the negative mood that reigned in post-war France. Representatives of this layer of literature were R. Nimier, J. Laurent, A. Blondin, as well as a number of other writers close to their mood. T. Whitman, in his dissertation devoted to the study of the work of these authors, calls this generation “lost” by analogy with the “lost generation” that appeared after the First World War. Narrating the tragedy of the post-war generation, young authors touch upon the eternal theme of the French novel in their work - the problem of relationships between fathers and children, the theme of destinies younger generation. In this sense, they essentially continue the traditions of the genre family romance, at the same time abandoning its traditional form and plot.

The problem of the relationship between generations, usually considered in the traditional genre of a family novel, takes on a completely new meaning in the works of “lost” authors, who reflected in their work the mood of disappointment with the results of the war and pessimism about the future that gripped a significant part of the population of post-war France. The basis of the work of these authors was the rejection of the idea of “engagement”, popular during the years of the Resistance, from social and political issues, freedom from any moral obligations and moral standards. They created a type of novel specific to French literature - self-exposure, telling about unsettled, cynical, immoral young people, about the tragedy of the younger generation, faced with the chaos of a world collapsing before their eyes. The pessimistic worldview of the “lost” authors led to a unique interpretation in their work of themes characteristic of the family novel genre: the problem of relationships between fathers and children is clearly resolved by them as a rejection of the adult world, and extreme pessimism is expressed in solving the theme of the fate of the younger generation.

The work of the writers of the “lost generation” is symptomatic of its time, since it reflects the attitude and mood of a significant part of the post-war generation of young people. At the same time, it represents only a certain direction in the development of French literature of this period, in which the family novel continues to develop in its traditional form. Therefore, an analysis of Sagan’s early works from this point of view can shed light on the origins of the author’s pessimistic worldview and explain the hopelessness of her life concept, which was preserved in the writer’s later novels.

In the early works of F. Sagan, the theme and tone of her subsequent work are outlined, and the theme of love, female destiny, usually the focus of the writer’s attention, certainly occupies the most significant place in them. However, this is far from the most important thing. An example of this is the novel “Hello, Sadness” (1954), in which the theme of women’s fate is not associated with the image of the main character, but is revealed in the relationships of other characters in the book. In the novels “A Vague Smile” (1956) and “In a Month, in a Year” (1957), the theme of love is already directly related to the images of the main characters, but rather serves to reveal another, no less interesting and significant issue - the theme of the younger generation and his destinies and related problems of education, relationships between generations.

Considering in her work the problems characteristic of a family novel, a novel of education, the writer interprets them in the key of the “lost generation”. Sagan’s works are characterized by a complete absence of social background, narrowing the scope of what is depicted to the interpersonal relationships of the characters. The isolation of Sagan's characters in the world of feelings and love experiences appears as peculiar reaction young people to the surrounding reality and determines the peculiar “escapism” of the writer’s novels, inherent in the works of other authors of the “lost generation”. The main feature of the embodiment of family issues in Sagan’s work is that the writer examines the problems characteristic of a family novel through the prism love relationship. In Sagan’s works, the traditional family plot appears in a significantly modified form, since the writer does not show the family in its usual, traditional version. In the novel "Hello, Sadness" the family is represented by the main character Cecily, her father Raymond and Anna, his mistress. It is in the relationship between these three characters that a real conflict of generations unfolds in Sagan’s work. In contrast to Anna, who defends the world of old, traditional values, Cecile and Raymond are representatives of a new, disbelieving generation of Frenchmen. Describing the relationship between father and daughter, Sagan comes to explain the fact that an entire generation of young people, not being direct participants in the war, nevertheless became its victims, feeling its impact through the older generation. This generation of fathers, who emerged from the war disappointed and devastated, turned out to be unable to pass on to their children anything other than unbelief, lack of spirituality and a cynical attitude towards reality. In this regard, the focus of the writer’s attention is precisely the complex inner world a teenager, the problem of the mental maturation of a young heroine who is barely entering life and discovers the cynicism and indifference of adults around her.

In the novel “A Vague Smile,” Sagan continues to explore the theme of relationships between generations, completely transferring it to the realm of feelings, to love. In this work, the writer moves even further away from the original model of family relationships. She does not show the main character’s parents at all, but Dominica’s lover and his wife, who do not have children and took the girl under a kind of guardianship, could well be her parents by age. Similar depiction of a family, staging family problem are not accidental, since they are dictated by the peculiarities of the time, characterized by freedom of morals and instability, the collapse of traditional forms family connections. As a result, the post-war generation of youth turns out to be, as J. Urdain notes, “a generation without parents,” which is true both literally (someone’s parents may not have returned from the war) and figuratively. This older generation, who carried out a feeling of internal breakdown and emptiness from the war years, is unable to fulfill his parental functions in relation to children, since he is able to convey to them only negative experience, unbelief and pessimism. Thus, young people entering the world find themselves completely alone and defenseless in it.

In the novel “In a Month, in a Year,” in which Sagan moves away from family themes, the fate of the younger generation comes to the fore, or rather, the theme of the “lostness” of youth, which here acquires an even more tragic connotation, and the feeling of hopelessness becomes universal, spreading to a whole series of characters in the book - lethargic, jaded, tired of life, unhappy young people, unsuccessfully trying to fill the emptiness of their existence with love experiences and absent-minded flirting. Unlike those French writers who associate hopes for the future with the new generation (R. Martin du Gard “The Thibault Family”, S. de Beauvoir “Lovely Pictures”), Sagan does not believe in the future of his heroes, since historical reality gives too little reason for optimism, and, like the “lost” authors, he tackles the topic of the younger generation in a pessimistic way.

So, following the writers of the “lost generation”, F. Sagan in his early work from a certain perspective captured the appearance of the post-war era, reflected the mood of pessimism, disappointment, despair and hopelessness that gripped a significant part of French youth in the 50s. An analysis of the writer’s work against the background of the literature of “lost illusions” allows us to conclude that, despite all the apparent superficiality, Sagan’s works have quite serious problems, since they shed light on the spiritual and social drama of the 20th century, provide the key to understanding the post-war era, and also to the understanding of all subsequent work of the writer.

2 The embodiment of the “female” theme in Sagan’s work

Coming into contact, on the one hand, with the family genre, Sagan at the same time continues the traditions of women's literature, since the main themes of her works are usually expressed through female image, almost always at the center of the story. Even though the term " women's novel"is quite widely used in modern literary criticism; there is still no consensus on what this concept includes. The general legitimacy of separating this layer of literature into a special group is being questioned. In this work, speaking about women's literature, we mean works written by women about women, women's fate, a woman's perception of the world around her and herself in it, in other words, works in which an attempt is made to comprehend the special, different from male, existence of a woman in world.

In Russian literary criticism there is no tradition of considering women's literature as a holistic phenomenon, while in France an attempt at a similar approach to the study of the works of women writers was made at the beginning of the century by J. Larnac in his “History of Women's Literature in France” (1923). Among modern research in the field of the history of women's literature, one can name the works of E. de La Rochefoucauld, M. Mercier and some other authors.

As for domestic literary criticism, here, with the exception of rare articles touching on issues of American feminism, there are no works devoted to the study of theoretical aspects women's issue and women's literature as a holistic phenomenon. Analysis of Sagan’s works in the context of women’s literature makes it possible not only to determine the features of refraction of women’s issues in her work, but also allows us to give an idea of the state of modern women's prose in France and theoretical views on this problem.

An analysis of the theoretical aspects of the women's issue shows that the problem of women's destiny, women's destiny receives different solutions depending on how the essence of a woman is understood. If a woman is considered primarily as a sexual entity (E. Deutsch), the meaning of her existence comes down to her fulfilling her immediate biological function as a wife and mother. If the emphasis is on the cultural, human aspect of her existence (S. de Beauvoir), then in this case the purpose of a woman is no different from the purpose of a man and lies in realizing her human calling. The most appropriate is the statement of S. de Beauvoir that a woman is “a human being with sexuality.” In this case, her self-realization as a person includes two aspects: her fulfillment of her feminine destiny, that is, the natural role of wife and mother, and fulfillment social task, that is, self-affirmation in professional, creative, cultural activities.

In the works of F. Sagan, some social motives begin to be heard, but in general the writer remains faithful to the positions of the “lost” authors, which determines the originality of the interpretation in her work feminine theme.

In literature, the problem of women's fate acquires different solutions depending on the worldview and creative concept of the author. Thus, if S. de Beauvoir, considering a woman in the light of existentialist philosophy, almost always puts her heroines before the problem of a decisive choice, allowing them to either gain complete freedom or remain imprisoned within the framework of a situation that limits them (“Guest”), that is, before the problem realization of their feminine and human calling, then the heroines of F. Sagan fail to fulfill any of these destiny.

The most indicative in this regard is the fate of Paul from the novel “Do You Love Brahms?..” (1959), in which the writer brings to the stage not a carefree and idle young heroine, but a woman for whom the time has come to take stock. In this work, Sagan brilliantly demonstrates his ability to penetrate into female psychology, revealing internal state the heroine in a difficult, crisis moment, when she finds herself on the verge of old age and loneliness. If you look at Paul’s fate through the prism of existing ideas about the essence and purpose of a woman, there is no doubt that she failed to realize herself fully. Sagan’s heroines without regret reject the traditional role of homemaker that society offers to women, and at the same time refuse to fulfill their social role and self-affirmation in the professional sphere. The explanation for such a solution to the female theme in Sagan’s work should be sought in the author’s worldview, imbued with post-war pessimism. The absence of the theme of motherhood in Sagan’s novels, which is so characteristic of the works of women writers, is explained by the fact that in literature the theme of the future is usually associated with images of children, while F. Sagan, like most authors of the “lost generation,” is skeptical about the future of her heroes .

Meanwhile, the theme of childhood is still present in the writer’s work, but is connected here with the images of Sagan’s adult heroines, who are characterized by carelessness, irresponsibility, infantility, social passivity and inability to adapt to life. As for the negative attitude of Sagan’s heroines towards work, it probably comes from the writer’s conviction that work, in the form in which modern society offers it, does not correspond internal needs personality, since it is mainly coercive, inhumane in nature. In the writer’s works, work almost always appears only as a means of ensuring life (“Signal for surrender”), or as a way to fill the emptiness of existence (“Do you love Brahms?..”). Perceived in this way, it does not bring inner satisfaction to her heroines, but only evokes a feeling of protest and shame. Taking into account the writer’s views on work, in which her closeness to the “lost” authors is again felt, it becomes clear that the social passivity of Sagan’s heroines is not due to their feminine nature, as the Freudian concept of woman suggests, viewing her as a being prone to “passivity, narcissism and masochism", but is dictated, first of all, by the characteristics social environment. The social passivity of Sagan’s heroines in this case appears as a protest against a society that does not give them the opportunity to realize themselves in life. However, the protest of Sagan’s heroines is untenable, because, having refused to fulfill the traditional female role wives and mothers, from self-affirmation in the professional sphere, they did not find anything more worthy that would justify their existence and give it meaning.

This is the tragedy of the heroine of the novel “The Signal to Surrender” (1965), Lucile, who rejects the real opportunity offered to her by the writer to change her life, without trying to realize herself in motherhood, or to find a point of application for her strengths in professional activities. Unlike Paul, who acutely feels her loneliness and suffers from the fact that her life did not go at all the way she wanted in her youth, for Lucille, due to her age, the time has not yet come to take stock. Nevertheless, it is obvious that the heroine of “The Signal to Surrender” is unhappy, because she failed to find herself in life.

Describing the next sad story of his heroine, Sagan this time introduces some social motives into the novel, showing the role of money in the sphere of feelings and the impact of consumer ideology on women's psychology. Unlike other authors who raise the theme of “consumer society” in their work, Sagan, remaining true to herself and limiting herself to depicting the personal relationships of the characters, explores in her novels the spiritual rather than social aspect problems, showing the penetration of morals generated by the “consumer society” into the sphere of feelings (“Signal for surrender”, “A little sun in cold water”).

In the novel “A Little Sun in Cold Water” (1969), the theme of women’s fate takes on an even more tragic sound. As for the writer’s previous heroines, love for Natalie is of extraordinary importance, since it is her only way of self-expression. The collapse of love is perceived as a loss of meaning in life. Therefore, Natalie, who feels this more acutely than other heroines of the writer, commits suicide.

In Sagan’s pessimistic interpretation of the theme of female destiny, love, and human relationships, there is some connection with the theory of existentialism. In the 50s, existentialism ceased to have a direct impact on literature, but retained it indirect influence, since Sartre’s ideas, superimposed on the pessimistic mood that reigned after the war, were adopted by many young writers who proclaimed the rejection of Sartre’s existentialism and his ideas of engagement. Of course, the intellectual climate of post-war France could not but have an impact on the formation of F. Sagan’s worldview. However, the philosopher’s ideas received a unique refraction in her works. In relation to the writer, it would be fair to talk about “everyday” existentialism. Describing the love dramas of his characters, Sagan does not plunge into philosophical depths, but rather intuitively embodies ideas at the everyday level that are consonant with Sartre’s, as if transferring them from the realm of pure philosophy into everyday life.

The novel “Lost Profile” (1974) especially clearly demonstrates the nature and features of her creative evolution, expressed, on the one hand, in attempts to expand the range of her works by introducing new themes and characters into them and, on the other hand, in the inability to realize her plan on volume high level, on which Sagan's first novels were written. The novel “Lost Profile” also gives an idea of the development of women’s themes in the writer’s work. Gradually, Sagan reduces the protest of his heroines to nothing and tries to lead them out of the impasse in life by returning to previously denied traditional values. In the novel “Lost Profile,” she finally gives her heroine the opportunity for self-realization, introducing into the narrative the theme of work, family life, and motherhood. However, the writer does not show on the pages of the novel how things turned out further fate Lucili. This suggests that Sagan still failed to overcome her inherent pessimism in her interpretation of women's themes. Thus, the concept of female destiny in the writer’s work as a whole remains hopeless.

Conclusion

Sagan's novels, despite their closeness to the works of " mass literature“and the widespread opinion about the superficiality and insignificance of her work contain quite serious and significant problems and deserve a truly attentive and close reading.

The early works of the writer bear the stamp post-war pessimism and are a later modification of the novel of “lost illusions”, which arose in the late 40s in the works of the authors of the so-called “lost generation”, with whom Sagan shares a commonality creative principles, moods and perception of life. Coming into contact with the traditions of the family novel genre in his early work, Sagan, due to his worldview, gives a special meaning to the problems characteristic of him and, following the writers of the “lost generation,” offers an extremely pessimistic solution to the theme of the fate of the younger generation and the problem of relationships between fathers and children. Subsequently, Sagan somewhat departs from the positions of the “lost” authors, but the hopeless life concept, the origins of which are contained in her early novels, persists for more later works writer, determining the uniqueness of the embodiment of the theme of female destiny in her work.

It should be noted that Sagan raises this problem not only in relation to female characters, but also in relation to male heroes, who also cannot find a place for themselves in life. Thus going beyond the women's theme, the writer rises to comprehend the general, universal problem of the meaning of life and human destiny.

The peculiarities of Sagan’s worldview determined the pessimistic solution to the theme of human fate in her work and the persistent sounding in her works of the motif of a failed, unfulfilled life. Nevertheless, through the hopelessness of the life concept in Sagan’s novels, the writer’s faith in man, in his ability to live and love, invariably emerges. And it is precisely in this feature of her works that F. Sagan’s peculiar “sad” humanism lies.

List of used literature

1. Biographies of famous people [Electronic resource]. - Access mode: #"justify">. Biography of F. Sagan [Electronic resource]. - Access mode: #"justify">. Great people. Biography [Electronic resource]. - Access mode: #"justify">. Life and work of F. Sagan [Electronic resource]. - Access mode: #"justify">. Interview with Denis Westhoff [Electronic resource]. - Access mode: https://archive.is/20120804163203/www.izvestia.ru/person/article3112767/

Creativity F, Sagan. Abstract [Electronic resource]. - Access mode: #"justify">. Francoise Sagan: Fate's minion or the inevitability of the era? [Electronic resource]. - Access mode: #"justify">. F. Sagan. Biography [Electronic resource]. - Access mode: #"justify">. Francoise Sagan: life in the grand scheme of things [Electronic resource]. - Access mode: #"justify">. Francoise Sagan. “To be remembered” [Electronic resource]. - Access mode: http://chtoby-pomnili.com/page.php?id=635

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Introduction

The bright personality of F. Sagan, who became a literary star from a young age, has always attracted the interest of the public and the attention of critics. The perception of the writer as a kind of popular figure who reflected in her work some of the characteristic features of her time also determined the corresponding approach to the study of her work, in which Sagan is usually viewed as a kind of sociological phenomenon that obscures the creative appearance of the writer. In French literary criticism, critical literature devoted to the work of Sagan is represented by monographs by J. Mourgues, J. Urdain and J. Lamy, as well as numerous articles containing reviews of her works, devoted to the analysis of certain aspects of her work and the reasons for her popularity (P. de Boisdeffre, J. Gan, M. Nadeau, F. Senard, P. Vandrome, A. Villor).

In Russian literary criticism, recent times have been marked by the appearance of a number of articles in which there is a desire to revise the negative assessments of Sagan’s work made by literary criticism in the 50s and 60s and giving a rather distorted idea of him. However, the literature devoted to Sagan’s work is mainly represented by prefaces and afterwords of an introductory nature, as well as mentions in articles and essays of a primarily educational or review nature (L. Zonins, Yu. Uvarov, L. Andreev, N. Rzhevskaya, I. Shkunaeva ), and researchers mainly consider individual early works of the writer, while Sagan’s later prose remains unattended.

The purpose of this study is to present F. Sagan and her work not only as a sociological phenomenon, but also, by lifting the veil of the legend surrounding her, to see in her a writer, a personality, a woman, to determine the artistic significance of her work, its connection with the literary tradition and place in modern French literature.

Sagan female writer

Review of the biography of F. Sagan

Her father, Pierre Quaret, a successful engineer who graduated from the Industrial Institute of the North, traced his origins to the Spanish conquerors, and her mother’s ancestors, Marie Quaret (nee Lobard), followed the Holy Sepulcher, and the coat of arms of their family flaunts in the Versailles Hall of the Crusades. But Françoise herself - or Kiki, as her relatives called her - liked to assure that her grandmother on her father’s side was Russian, and on her mother’s side she was a descendant of St. Petersburgers. Since childhood, the future writer was tormented by a heightened sense of ownership towards loved ones, the fear of losing them - and, as a result, incredible jealousy, which terrified Françoise herself. And she transferred all these experiences to the pages of her novels.

Cajark, Françoise's hometown, was the center of the diocese and a stronghold of the Catholic Church, but was essentially a large village with a population of barely more than a thousand people, many of whom left the town for the winter. But Françoise, who had the habits of a tomboy, was not prone to despondency. In the company of older children, she played thieves and policemen, climbed trees and climbed rocks - while always being ahead, not afraid of anything and invariably getting involved in new adventures. Another side of her nature turned out to be a craving for nature. Contemplation of the surroundings fed Francette's romantic fantasies and from an early age became a necessity for her. However, besides all this, little Françoise’s soul was more and more captured by the world that reading opened up to her. She secretly made her way to the attic, where there was a closet full of books, and disappeared there all day long, enchanted by unknown secrets and feelings.

With the outbreak of World War II, Pierre Quare, being a lieutenant in the reserve engineering troops, was sent to the Maginot Line, where he regularly served for ten months. After his demobilization in 1940, the Quaret family moved to Lyon, and Kiki went to first grade. The girl was sent to the Le Cour de la Tour Pitra school. At the same time, she took music lessons. The poor widow who taught Françoise did not have a piano. The woman used a keyboard drawn on cardboard, and Francette had to practice scales on this more than strange device in complete silence. This is how she became familiar with Mozart and Bach, Beethoven and Brahms. Paradoxically, Kiki fell in love with classical music and subsequently served it well: after the publication of Sagan’s fourth novel, Do You Love Brahms? sales of recordings by her favorite composers increased fivefold.

During the occupation of France, the Quaret family hid Jews in their home. Somehow a German soldier mixed up the floors and knocked on Quare’s door. Françoise Marie's mother answered him very politely, and when she closed the door, she almost fainted.

From the age of 14, Françoise began to try her hand at prose and send her first works to publishing houses, but was rejected everywhere. The family did not attach any importance to their daughter’s attempts to write something. Marie Quare later said that Kiki read her works to her before sending them to magazines, but the mother only noted her daughter’s rich imagination. Françoise never passed the final exam, and she didn’t even try to. After leaving the boarding school in 1953, Kiki, with the approval of her parents, entered the philological faculty of the Sorbonne - University of Paris. However, a sense of freedom and the anticipation of new thrills prompted her to spend most of her life not in classrooms and libraries, but at the tables of literary cafes. Bohemia, like a whirlpool, captured her entirely. Only among writers and artists, poets and musicians, in conversations until midnight, did she feel at ease. A company of free, extraordinary people - this was her world! Who knows if it was there that she heard the plot of the novel that made her a celebrity?

Due to failure in the English exam, Françoise had to forget about the Sorbonne. Now only literary success could calm his wounded pride and justify himself to family and friends. With great passion, Kiki began to restore the lost text and finished the novel in just over two months. On January 6, 1954, Françoise took it to two publishing houses at once: Juillard and Plon. Pierre Javet, literary director of the Juillard publishing house, was extremely surprised by the age and appearance of Françoise Quare - her weight was 49 kilograms, her height was just over one and a half meters, she was completely drowned in a huge cloak. Having cast a quick glance at the first pages, Javet immediately discovered completely new, unusual notes in the manner of narration of this girl, so young. Pierre Javet introduced the find to editor François Le Gris, and in the morning a report appeared on the desk of Rene Juillard, the head of the publishing house, that in this novel “life flows like a stream,” and the author dared to reflect, without false modesty, the psychology of his characters so vividly that It is unlikely that the reader will ever be able to forget them.

In April 1957, Françoise only miraculously escaped death. She was driving in a car at high speed while drunk. The gendarmes will then scrupulously calculate that her Aston Martin drove along the ditch for more than twenty meters, then jumped and landed almost another four meters later. The doctors themselves were surprised how they managed to save her. Françoise remained in a coma for a long time, and near her in the hospital all the time there was a man who was twenty years older than the writer - Guy Scheller, director of special projects at the Hachette publishing house. They got married on March 16, 1958, but the marriage was short-lived. Françoise herself filed for divorce: she could not get used to quiet family everyday life. In addition, during the time spent in a hospital bed, Kiki became addicted to drugs. She soon overcame her addiction, but her personal life has not developed since then. Having become pregnant, she married a second time - to sculptor Bob Westhoff. In 1962, the couple had a son, Denis, but soon this marriage was dissolved.

Françoise Sagan published nearly fifty books, many of which, such as Do You Love Brahms? and A Little Sun in Cold Water became global bestsellers. She also wrote several plays, which were successful and are still performed on stages around the world, including in Russia. But, despite the huge fees and fame of the Queen of French Literature, the writer lived in recent years in poverty and oblivion. She died on September 24, 2004 in a hospital in the Norman city of Honfleur - at the age of sixty-nine years, from a pulmonary embolism.

Name: Francoise Sagan (Francoise Coire)

Age: 69 years old

Activity: writer

Family status: divorced

Francoise Sagan: biography

The vivid scandalous biography of the great French writer is complete love affairs, parties, wasting your life and money, and also books that made a splash in literature.

Future star romantic prose born June 21, 1935 in Cajard, France. On the same day with a loved one, whose works will be read in adolescence. Sagan's parents are the Quare couple, such are real name writers.

The head of the family is a wealthy industrialist, Françoise’s mother enjoyed doing household chores and shone at the social evenings she organized. In addition to Françoise, the couple had two more children, with whom the future star of the pen was sincerely and tenderly friends.

Since childhood, the girl loved reading - it became real passion. She always surpassed her peers in intelligence; her curiosity and mental alertness knew no bounds. But at the same time, the militant spirit and disobedience played a cruel joke in the prim and ascetic order of education adopted in the private schools that the young rebel attended. Parents treated disobedience condescendingly, considering behavior a manifestation of personality.

In 1953, an ambitious young lady entered the Faculty of Philology of the Sorbonne, however, failing the exam in English language, the unlucky student left the walls educational institution. However, for Françoise it was always more interesting to communicate with the bohemian elite in cafes and restaurants than to study boringly in stuffy classrooms. As her whole life would show, boredom became the writer’s most important enemy and phobia, from which she tried to hide.

Literature

The young writer quickly burst into the prim world of French literature with the novel “Hello, Sadness!”, scandalous in its frankness and unconventional character of the characters. In 1954, an 18-year-old girl brought into the office of the experienced and clever publisher Rene Juillard a manuscript about a cunning and insidious young nymphet who breaks the love of her own father and stepmother into smithereens. The story was filled with details of romantic encounters and intimacy between a man and a girl.

Writer Françoise Sagan

For the literature of that time, such a story became exceptional, scandalous, but had wild success the very next day after release on the shelves. Then, at the urgent request of her parents, who considered their last name too famous for the covers of dubious books, Françoise took the pseudonym Sagan. The young intellectual, who adored her, named herself after the heroine of “In Search of Lost Time.”

Having received her first colossal fee, the girl was confused and turned to her father with the question of what to do with such a fabulous sum. The head of the family replied that the money was destructive for his daughter and should be spent immediately. Actually, the writer adhered to this philosophy throughout her life.

Having rapidly soared to the pinnacle of success, Sagan was worried that if there was no second book as brilliant as her debut, she would be called a fly-by-night butterfly and forgotten with contempt. In 1956, the second novel “A Vague Smile” was published, which received no less success.

According to Sagan, she herself considered her work imperfect, and herself a lazy person. The writer was forced to take up the pen by the need for money. She never let publishers down and delivered work on time.

In total, Sagan wrote about twenty novels. All works are filled with love, sadness and loneliness. Clear, concise description of actions, precise psychological portraits heroes are the hallmarks of Sagan's prose.

Particularly popular were novels such as Do You Love Brahms? (1959), “A Little Sun in Cold Water” (1969), “Rumpled Bed” (1977).

In addition to novels, the great Frenchwoman wrote plays and short stories. In 1987, a biography written by Sagan was published, which the writer adored. And in 1980 it was published open letter Sagan Sartre, where she enthusiastically calls her idol the most honest and intelligent writer of her generation.

Françoise Sagan's books have been filmed, translated into hundreds of languages and are still reprinted in millions of copies.

Personal life

In addition to the stunning success in her work, Sagan’s biography was surprising in its richness, recklessness and brightness. The writer's fees allowed her to lead a wild life on a grand scale, which is exactly what the eternal rebel did. She threw grand parties at which alcohol flowed like a river, took a crowd of friends abroad, and paid for general parties in restaurants.

Sagan's passions remained gambling and speed all her life. In the casino, the carefree spender squandered fortunes. And Françoise’s passion for cars almost led to death. At the age of 22, a car driven by a playgirl overturned at high speed. Doctors miraculously saved her, literally piecing together the racing enthusiast. After a difficult rehabilitation, when the writer had to take morphine to get rid of pain, Sagan became addicted to drugs.

Waking up in the hospital, the girl saw near her bedside her old friend, publisher Guy Scheller, who was 20 years older than her. The man invited the writer to become his wife in order, as he clarified, to save her. And the eccentric Sagan unexpectedly agreed. However, the marriage was not destined to last long. After a year life together the woman realized that a measured marriage was not for her, frightened by everyday life, she, without a word of explanation, packed her bag and left her husband.

The second attempt to start a family was made by the writer in 1962, when Sagan married Bob Westhoff, a former Air Force pilot. After leaving military service, the man moved to Montmartre, tried to build a career as a fashion model, and called himself a sculptor. As the couple’s son, Dani Westhoff, who was born in 1962, said in an interview, his father did not know how to do anything other than waste his life with his wife. He called himself a sculptor only because his rented apartment had a clay kiln.

Soon this marriage also broke up, although after the divorce the former spouses lived peacefully under the same roof for another seven years. The son of the great writer shares that, of course, Sagan was not a mother who darns her children’s socks, but she always treated her son warmly and caringly.

Françoise was credited with many affairs, not only with men, but also with women. The writer's son confirms his mother's bisexuality and recalls that for a long time one of her favorite women, Peggy Roche, lived in the same house with Françoise. She was even buried in the same grave as the writer, although without mentioning her name on the monument.

But no one gives evidence of an affair with French President Francois Mitterrand. Sagan herself, like her son, said that it was a sincere, warm friendship. An influential friend more than once pulled the carefree Sagan out of trouble. And there were a lot of them - accusations of possession and use of drugs, some mysterious scam in which the writer handed over a letter from businessman Andre Gelfi with a proposal for oil production in Uzbekistan to the president.

When she was elected president, a tax audit came to the star woman’s house, as a result of which tax evasion was revealed. The writer was imposed an unaffordable fine. As a result, the star of romantic prose went completely bankrupt.

Death

The lifestyle that Françoise Sagan led could not but affect her health. The body was tired of constant doses of alcohol and drugs. On September 24, 2004, in a clinic in the town of Honfleur, the great writer died of a pulmonary embolism.

The work and fate of the writer is still of interest to fans and ordinary people. In 2012, the book “Loneliness and Love” was published, which collected interviews, archival photos, and correspondence of the great Sagan.

Bibliography

1954 – “Hello, sadness!”
1956 – “A Vague Smile”
1959 – “Do you love Brahms?”
1965 – “Signal to Surrender”
1969 – “A Little Sun in Cold Water”
1972 – “Bruises on the Soul”
1977 – “Rumpled Bed”
1980 – “Stray”
1981 – “Woman in Make-up”
1985 – “And the cup overflowed”
1991 – “Detours”
1996 – “In a Misty Mirror”

Françoise Quare was born in 1935 in the family of a wealthy industrialist and since childhood she has never been denied anything. She didn’t even think about studying at an elite Catholic boarding school - instead, she constantly protested against boring seminars: for example, she once hung a bust of Moliere in the middle of the classroom with a noose around his neck. Françoise lasted only one semester at the Sorbonne Faculty of Philology - and after the first session she was expelled. But she re-read the entire home library, admiring Proust, Sartre and Camus.

At the age of 19, Françoise chose the pseudonym Sagan from Proust’s work and, under the new name, published her first novel, “Hello, Sadness,” which instantly gained enormous popularity. No one could believe that the author was a young girl. Fame and huge fees fell upon her - within a year the novel, translated into 30 languages, reached a circulation of 2 million copies. France was gripped by “saganomania.”

Famous French writer Francoise Sagan

Françoise did not know what to do with her unexpected wealth. “I'm afraid that at your age, wealth can turn into a big disaster. Therefore, spend it all as soon as possible,” her father advised her. And she began to spend money, which became one of her favorite activities in life. “Yes, I love money, which has always been a good servant and a bad master for me. They are always present in my books, in my life and in my conversations,” the writer admitted. At the same time, she generously donated large sums charitable foundations. And when the money ran out, she went to the casino. She once won 8 million francs and bought a house in Normandy with it.

"Playgirl" Francoise Sagan

Françoise Sagan loved to drive at top speed, and one day she had an accident and ended up in the hospital. Then her friend, a 40-year-old publishing director, told her: “If you survive, I will marry you so that you will never do anything stupid again.” They really got married, but marriage did not save her from “stupidity.” They lived together for only two years, after which the girl got bored and left her husband.

Francoise Sagan

"Playgirl" Francoise Sagan

The second time she married someone who was just as playful and party-loving as herself. This marriage lasted 7 years, but even the birth of a son did not change the nature of the “protracted accident,” as the writer called herself. “Family life is nothing more than asparagus and vinegar. This dish is not my cuisine,” Sagan told reporters after the divorce and promised that she would never marry again. She kept her word.

The writer liked to shock the audience. Rumors about her affairs did not subside, and she was credited with having relationships with both men and women. With one of them, Peggy Roche, she lived under the same roof for a long time, and when she died, she ordered to bury her in the Saganov family crypt. After the accident, doctors prescribed her painkillers, and since then Françoise has become addicted to drugs and alcohol. In 1995 she found herself in the center loud scandal: During a search of her home, cocaine was found. At trial, she was found guilty of possession and distribution of drugs and was sentenced to suspended imprisonment and a fine.

Famous French writer Francoise Sagan

When Françoise was asked to become a member French Academy arts, she refused, citing the following reason: “Firstly, the green color of an academic uniform does not suit me, and secondly, there is not a single writer there whom I admire!”

She called herself "the old dragonfly"

Most of all she feared oblivion and poverty. This is exactly what happened to her in the last years of her life. She once received large commissions for brokering a deal: knowing about her close relationship with Mitterrand, she was asked to arrange a meeting with the president. She did not pay taxes on this amount, so she again received a suspended sentence and was obliged to pay a million francs. All her property was described and her accounts were frozen. She had to mortgage her apartment and sell her mansion, but that didn’t stop her from going to the casino.

Famous French writer Francoise Sagan

"Playgirl" Francoise Sagan

At 69, Françoise Sagan died penniless and alone. “Happiness is fleeting and deceitful, only sadness is eternal,” the writer said in her declining years. Many critics called her “an impudent person who got into literature by accident,” but she took her rightful place in it.

Biography

Born in the area of Kazhar. The girl was superior to her peers in terms of intelligence, although she was very undisciplined. After failing in her studies (in 1953 she failed the entrance exam at the Sorbonne), at the age of 19 she became famous thanks to the publication of her first short story “Hello, sadness” (Bounjour, tristesse) (1954), which was a brilliant success in society and among critics . Sagan, whom François Mauriac called a “charming monster,” won a Critics' Prize for this novella, among such veteran authors as Jean Guitton. Sagan shocked teachers of the French middle class with her simple story of an underage girl, sensitive and immoral, deceived by her frivolous father along with his mistress whom she does not like, told in a fragmented and disillusioned style. This novella depicts, first of all, the inner world of Sagan herself, which has not changed since then: a secular inner world consisting of idle and superficial people in search of a more convincing reality than the world in which they live. This novella was considered not only a reflection of the undoubted sensibility of the era (clearly peculiar in its cheerful difference in the face of the literary arbitration decisions of other writers, for example Sartre), but also the beginning of a certain style of women's literature.

Sagan's fame came from her first story, “Hello, Sadness,” published when she was 19 years old. The story was translated into 30 languages of the world and then filmed. This work was followed by other novels, and numerous short stories, plays, novellas, for example, “Do you love Brahms?” (), “A Little Sun in Cold Water” (), “Lost Profile” (), “Painted Lady” (), “Tired of War” ().

All works of Françoise Sagan are about love, loneliness, dissatisfaction with life; they are clear narrative style and the accuracy of the psychological drawing.

Françoise Sagan married twice. In 1958 for the forty-year-old publisher Guy Schueller, and then in 1962 for the young American Bob Westhoff, a pilot who changed the helm of an airplane to become a model. From his second marriage he has a son, Dani Westhoff.

While creating novels about fragile love, she herself continually became the heroine of scandalous gossip columns, calling herself a “playgirl.” In her life there were many scandals, unpaid taxes, strange marriages, car accidents, luxury yachts, addiction to drugs and alcohol, suspended prison sentences, gambling - and at the end of her life poverty, despite all the fees she received. Françoise Sagan died on September 24 from a pulmonary embolism.

Creation

Sagan's novellas were received favorably by an undoubtedly sophisticated audience, at first due to the folklore of the Latin Quarter, its vaguely existentialist climate, as well as the "objective" form of writing, more suggestive than persuasive. Her short stories, characterized by a small number of characters and brief descriptions, are distinguished by open consistency of intrigue, indicated by the scheme love triangle. The psychology of Sagan's characters is said to be rooted in that of Fitzgerald, but in him they are obsessed with their past, while Sagan's characters, such as Gilles in A Little Sun in Cold Water, understand that they have always lived in a fraudulent and boring world and do not return to their past. Of course, they are brilliant, this brilliance is primarily intellectual, but also egocentric. Moreover, although Sagan has been the subject of press scandals for a long time and has shown throughout her life a clear will to break free from all norms, of course, the female characters she created correspond to the opinions and desires of men. After Hello, Sadness, other successful short stories appeared, all based on the theme of love, sadness and melancholy: A Vague Smile (1956); “In a month, in a year” (1957); “Do you like Brahms?” (1959) and "Magic Clouds" (1961). Her other works were “Surrender” (1965), “Guardian of the Heart” (1968), “A Little Sun in Cold Water” (1969), “Velvet Eyes” (1975), “The Rumpled Bed” (1977), “The Painted Lady” (1981), "The Getaway" (1991) and "The Disgruntled Passenger" (1994). Accused of adhering to fiction that is artificial and monotonous, Sagan has demonstrated an ability to work in other literary genres. For example, I wrote theater plays Violinists Sometimes Hurt (1961) and The Horse is Disappeared (1966), and also wrote a biography of Sarah Bernhardt, entitled Dear Sarah Bernhardt (1987), and autobiographical works such as Blows to the Heart. (1972) and "With My Best Memory" (1984).

Novels

Hello, sadness! / Bonjour tristesse, Editions Julliard, 1954.
Vague smile / Un certain sourire, 1956.
In a month, in a year / Dans un mois, dans un an, 1957.
Do you love Brahms? / Aimez-vous Brahms?, 1959.
Magic clouds / Les Merveilleux Nuages, 1961.
Signal for surrender / La Chamade, 1965.
Guardian angel / Le Garde du cœur, Editions Julliard, 1968.
A little sun in cold water / Un peu de soleil dans l'eau froide, 1969.
Bruises on the soul / Des bleus à l"âme, 1972
Unclear profile / Un profile perdu, 1974.
Rumpled bed / Le Lit defait, 1977.
Pribluda / Le Chien couchant, 1980.
Woman in makeup / La femme fardée, 1981.
Unmoving Thunderstorm (When a Thunderstorm Approaches, 2010) / Un Orage immobile, 1983.
And the cup overflowed / De guerre lasse, 1985.
Fish blood / Un Sang d'aquarelle, 1987.
Leash / La Laisse, 1989.
Detours / Les Faux-Fuyants, 1991.
Goodbye sadness / Un Chagrin de passage, 1993.
In the foggy mirror / Le Miroir égaré, 1996.

Novels

Velvet eyes / Des yeux de soie, 1975
Blue wine glasses / Les fougères bleues, 1979.
Music for scenes / Musique de scene, 1981.
House of Raquel Vega / La maison de Raquel Vega, 1985.

Works for the theater

Le Rendez-vous manqué (1958)
Castle in Sweden / Chateau en Suede (1960)
Les violons parfois (1961)
Valentina's lilac dress / La Robe mauve de Valentine (1963)
Bonheur, impair et passe (1964)
The horse has disappeared / Le Cheval évanoui (1966)
In the thorn bush / L"Écharde (1970)
Piano in the grass / Un piano dans l'herbe (1970)
Il fait beau jour et nuit (1978)
The other extreme / L'Excès contraire (1987)

Biographies

Dear Sarah Bernhardt /Sarah Bernhardt: Le rire incassable, biography, 1987.

Literature

Delassin Sophie "Do you love Sagan? Translation from French T. V. Osipova. M.: LLC AST Publishing House, 2003. - 414 p.

Notes

Links

Sagan, Francoise in the library of Maxim Moshkov

Categories:

Personalities in alphabetical order
Writers by alphabet
Born on June 21
Born in 1935
Born in Kazhar
Died on September 24
Died in 2004
Deceased in Honfleur
Writers in French
Writers of France
Playwrights of France
Died from pulmonary embolism

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